I’m still a beginner when it comes to creating electronic music, but I’ve already made some nice stuff in ReNoise. I have a lot of VSTs, but I can’t seem to get a certain sound. I first got interested in ReNoise because I wanted to make something that would sound like Nine Inch Nails, Sister Machine Gun, KMFDM, these kinds of bands. Like a more modern, '90s/2000s dance sound, not your typical '80s synth stuff.
Anyway, can someone help with trying to re-create, or create similar sounds to these songs?
Particularly at 2:20, the breakdown. I really like that sound but I don’t know how I can get something similar in ReNoise.
It’s pretty obvious - that main “riff” that just makes the song.
That chunky techno bass that kicks in at 0:17. Now, I know how to get a nice-sounding bass…sound (especially with Renegade), but nothing as heavy as that.
Pretty much the first 36 seconds, the chunky bass in the opening, and that high-pitched thing that kicks in alongside the guitars.
And the first 0:26 seconds of this song.
I know it’s a lot to ask, but these kinds of songs are the reason I got interested in ReNoise/Fruity Loops in the first place. Any help here would be great, yeah…
808 kick (drumatic can do this) + random guitar strumming (need an electric guitar for this) + almost any run of the mill bass synth (triangle II should be able to pull it off with some tweaking)
saw wave patch on any synth, use low octave… tweak to taste
that’s most definitely a 303. find something with an acid preset… crank resonance and cutoff to max… and play the lower octaves. If that doesn’t work, render the midrange octave to sample, and play the sample 2 octaves lower than you recorded it at.
that “high pitched thing” that’s playing with the guitars is most likely a looped orchestral movie soundtrack sample that’s playing quite a few octaves higher than it was recorded at.
good luck recreating the noise at the very begining… I can hear a filter on it however… so it’s probably just a chain playing random samples through resonant filter => distortion
the intro synth sounds like a unison saw, sometimes called a supersaw, available in most synths
bass = real bass guitar
hihats = standard hihats… just go through some hihat samples till you find some decent ones
other sounds (synth and noise) are played through a “wow and flutter” type pitch wowing effect and a phaser with extreme settings
synth = another basic synth patch… can’t pinpoint which one this is
noise = brown noise perhaps? shrug … could be a sample as well
from the sounds of it, you need a few plugins (free unless otherwise noted):
- DR Fusion
- Triangle 2
- NI Massive (Not free… but has MANY nice industrial synth patches… and is very easily tweaked. Great UI)
- ABL2 (not-free 303 synth… useful for making acid basses like the KMFDM one)
- Rebirth (not a plugin… is free!.. best 303 acid sounds evar. Better than ABL2 imho)
- Wow and Flutter
- Guitar Rig II or III (amazing guitar distortion/effects… not free… but great for turning any synth into a guitarlike sound)
- Izotope Trash (more guitar distortion… this time you can do multiband. Also not free )
- Renoise’s lofimat will please you greatly if used right
That all said, it also helps to be Trent Reznor. Luckily, I am Trent Reznor: http://bytesmasher.com/foo/audio/wips/NINlike-Test.mp3
Mwuhahahaha … hahaha.
Cool, thanks guys. I’ll try all these.
Apparently I’m multiple people. I have achieved super-human status! MWUHAHAHA!
I just mwuhahaha’d more than once in a thread that is 3/5 me. I’m so full of epic wtf.
Ha, didn’t notice it was just you double-posting. Thanks, guy*.
I also have good recommendation for you how to get cool sounds that sound like X. Sample!
In other news, if you or anyone else needs some guitar riffs recorded drop me a pm with XRNS file with the notes and tempo.
It looks like Sir Smasher has given a solid reply to the technical twists to your question.
The only thing that I can add is that “Industrial Music” is a mindset. It was, and is, created to confront the the popular norm of the music industry as a whole. This includes the sound, ideology, and inherent processes in production (circa 1978).