That “Flux Pavilion” Sound
You all know the one I mean. That shrill, full bodied wail that made tracks like Got 2 Know and the Gold Dust remix so addicting. It sounds about 3 steps shy of a sound I’m going for, but I need to get that for my base.
I’ve been working around in Operator for a bit now and I’m getting close, but this isn’t horseshoes. Ideas?
No idea what sound you’re even talking
Links please 
first time i heard flux it grabbed my ear. all i can think is that its a lot of osc. very far apart, dun really know… wish i did =\
at 35 seconds
at 28 seconds
super saturated synth that was cranked up a couple too many decibels. Otherwise a super distorted bloody beetroots electro house bass line
To build sounds like that you need to listen really closely at what is happening.
Likely you will be able to achieve the sound you are after by building the sound from 3 (or more, but 3 is usually enough) different sources, or with multiple osc’s in a synth supplying different parts of the sound.
You need a synth patch or osc running sub frequencies to give you the fat low end, another source supplying the mids to give the sound body and one last one to supply the top.
Basically you have 3 sounds
The low end (below 80hz) to make the room shake
The mid range (400hz to 2khz) for the body, presence and distortion
The high range (6khz+) for the sizzle and high pitched notes
This way you can affect each sound individually without affecting the other sound, this way you can filter and process the highs so you get the whine you want without it disturbing the other two sounds. This way you can also distort the shit out of the mids and process them without muddying up the low end.
For further tweaking group the channels together, send them to a bus/aux or group channel (whatever your DAW has) for further processing to help the 3 sounds gel together and then once you’re happy with the sound you’ve created bounce a sustained note to audio on every octave across the range. Then make a new sampler patch and import the sustained notes to the respective spots in the sampler and ensure that that they pitch up and down correctly.
You could do this with only 1 sustained note but I find most samplers start to seriously add artifacts to the sound if you try to stretch a sustained note past 2 octaves on the keyboard.
Hope this explanation was helpful.
Here’s how i’d go about getting that sound.
get an old am radio.
get it tuned between some stations so you gotta a real nasty ugly static sound.
record that
Chop a bit out of the recording and stick it in you sampler
Add some kind of bit reduction to further fuk it up
Roll off anything below 100hz in the sound (and probably anything above 18khz as bit reduction can add some nastys in the high frequencys)
Layer an oscillator underneath it playing a pure sine wave.
Play a riff with that sound. job done
Additionally you could then use the excellent instructions above this post to resample what you’ve just made and go round and round with the technique till you’ve got something you like!
a broken printer
Without messing around with it a ton myself, the key element seems to be bitcrush distortion. I would try using Tone 2 Gladiator 2. Really effective at making this kind of sound.
unplayable? yes I know that one.
Hi There,
You will need multiple instances of massive, in your project.
All his ‘basslines’ are essentially massive chords covering most of the frequencies.
The high pitches wail come from setting some of the oscillators in massive to ‘Formant’ under the ‘Spectrum’ drop down, and messing around with the intensity. Assign Performer, Step and LFO’s to the settings to get some movement into the different variables.
best of luck.
RJ x
although I like the sound, its just not one I would ever want to put in a song I produced…
Without messing around with it a ton myself, the key element seems to be bitcrush distortion. I would try using Tone 2 Gladiator 2. Really effective at making this kind of sound.
Best advice so far IMO, although you might be able to achieve it with just one instance of Massive and using all three oscillators. Also, there’s definitely some distortion there.
I agree that he’s probably using massive. Also, I’m almost positive that you just need 3 oscillators at slightly different pitches to make the sound. Messing around in Gladiator I’d need a 3rd osc to fill up the sound at the higher range.
However, I don’t think the synth is really important here. You could make similar sounds with a wide range of synths. I think the key thing the OP is looking for is that bitcrusher. It’s what makes that staticy overtones that really characterize the sound. I suggested Gladiator just because I know you can test the concept in it really quickly. Like I said though my attempt doesn’t get that super high part right, and the lower parts needs to have more of an organ sound ala ghosts n stuff. I’m betting once you do it in Massive those parts will come naturally out of the synth.
Of course, you would want a sub bass too which would be on a separate channel, and could be done with just samples to make it easy.
can do it with one instance of massive. love it
you can get that ‘the specific sound’ with one instance of massive, you can do it with one oscillator in massive in fact, just a formant option from the spectrum menu. maybe scream filter.
I was just saying he uses multiple instance to get those chords sounding so ‘massive’. (groan)
this.
I actually came pretty damn close by doing this…
in massive, set osc 1 to sine at -12 oct and osc 2 to f-saw at +24 oct with the wt-position around 1:20 o’clock. push both through filter one, which should be set to scream with cutoff at 3:30, scream at 3:00, and resonance at 10:30. then push all that through the b-tube with a relatively high drive and the chorus. once you’re done with that, put it through an eq-8 with a lowpass to get rid of the rumbling lows and add the redux to taste.
layer with a sub and whatever else you fancy and you’ve got it made.
LOL quite true