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This is a step-by-step guide to recreating the Skrillex track ‘Fuck That’. Skrillex used a vocal sample 'fuck that beat up' from our Dirty South Vocals sample pack, so we thought it would be good to show you exactly how he made the whole track!
This rebuild makes heavy use of Camel Audio Alchemy to manipulate the vocal sample. Alchemy uses granular synthesis to manipulate audio creating effects you could never achieve with a sampler.
1. Import the audio file into Osc A by right clicking on the black box and selecting ‘Import Audio’
2. Use the ‘Position’ dial to select the part of the sample you wish to play, and the ‘Stretch’ dial to lengthen the sound.
3. Load the same sample into Osc B with similar settings and use ‘Coarse -Tune’ to pitch it down.
4. Use an ADHSR to modulate the ‘Coarse-Tune’ of both Osc B and the overall ‘Coarse-Tune’ of the Alchemy patch.
5. Apply Camel Phat to thicken the sound
6. Apply Bitcrush (Erosion) to add extra high end sizzle.
7. Layer a low pitched sampler cut of the same vocal underneath to fill it out.
8. When more rhythmical vocal cuts come in experiment with playing higher pitched midi notes to create a punchy rhythm.
9. Create a higher croak with Alchemy using similar settings as before, but then apply vocoder and ring shifter to add a more ‘synthetic’ sound.
10. To create the long vocal stretch before the drop use the same techniques as before but stretch the sample out much more, and then automate the grain size so it increases as the note is played.
11. Finally, to create a building sound, use a delay on the vocals automating the volume of the delay and the feedback to increase as we head towards the drop.
Native Instruments FM8 is the perfect tool to create rich bass sounds. Its modulation matrix allows for very precise sound creation.
The leading ‘melodic’ bass is created with three layers.
12. Create a clean sine sub layer.
13. Create a noisy mid-range sound with a sharp attack.
14. Using just a higher pitched sine wave and some noise make a more melodic top end, adding some reverb to create space. Add duplicates of the midi notes an octave apart to fill out the harmonic content.
The Wobble/Reese bass is create with plenty of rich wave shapes and automation.
15. Set up all the oscillators to cover a range of wave shapes and pitches and route them all through A.
16. Feed the output of A through Z (the filter) set to low-pass.
17. Automate the filter cutoff and the modulation amount of oscillators B - X until timing and harmonica content has a nice movement to it.
18. Add some reverb using EQ to bring out a resonant frequency.
Add drums, and you’re ready to go!