Weeklybeats is a 52 week long music project in which artists compose and publicly release 1 song a week for the entire year.
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GET HIGHER

By naught101 on April 14, 2024 1:50 pm

Some punchy half-time DnB. Started off copying some ideas from Lewis James's Nutso, and quickly went off the rails.

Pretty happy with how far I got, though this definitely still needs some work tidying up the composition/arrangement and improving transitions.

Audio works licensed by author under:
CC Attribution Noncommercial Share Alike (BY-NC-SA)

ooo really grooving to this, so much good work being done by that bass. favorited!

stank face enabled

Nice groove :]

Great groove & sound design is brill—are the tonal elements using the M8's on-board synths?

nedsferatu wrote:

ooo really grooving to this, so much good work being done by that bass. favorited!

mzunguko wrote:

stank face enabled

Techson1390 wrote:

Nice groove :]

Thanks y'all smile

ineff wrote:

Great groove & sound design is brill—are the tonal elements using the M8's on-board synths?

There are a fair few samples: snares, thumb piano, flute (with some variations of effects), a soul sample, a couple of vox stabs. And some of the more agro high-end stuff at the end is resampled from my Virus TI2, using the sequencing+sampling trick I described in the m8 Discord last week (I could have probably done something similar with the m8 and some resampling here, but it would have been more fiddly). Everything else is m8 synths.

Nice. How do you do your bass and 808? They are always solid

Appreciate a good “yeah” 😆

prophisee wrote:

Nice. How do you do your bass and 808? They are always solid

Appreciate a good “yeah” 😆

No 808s in this - just the M8 braids/macrosynth kick with some tweaked drive (I guess that's 808-y), plus the sub with a bit of sidechain.

Basses are usually the m8 FM synth with sines these days - the operator level gives you some clipping, which can then be filtered and then driven again, which makes for lots of sweet spots. Dial in the sweet spots by tweaking the FM algorithm, and using envelopes to modulate the FM levels, volume, filter, and amp. As much reverb as possible (reverb input is high-passed, so how much this works depends on the individual bass).

Sometimes I also use the wavsynth, or a macrosynth engine, just for something different. The hypersynth is also excellent for wide reese basses.

large

I love how each element come as soon as your "ohhh yeaaah" face starts to fade and then just fix it right up

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