I'm thinking of the wobbles sounds used by Quanta, Akasha, Land Switcher, Tipper, Sun in Aquarius, Mumukshu, Kalya Scintilla (Search these artists on soundcloud to hear what i'm talking about).
They're just these 3dimensional noises that seem to just reach out of the speakers and take physical form of some sort. they feel hefty, like they have a weight behind them; the opposite of flat. like plastic ripping, water boiling, reptillian creatures clicking their tongues, what the flying fuccckkk
Lately I've been using Ableton's Analog, throwing on a saw wave, and using high res bandpass filter w/ an LFO. Then automating like crazy ^__^ quick pitch bends help trip it up even more
Who loves 'em? Who loves to make 'em? What are your favorite tricks and synths/software to use to get tripped out?
Saws with 4+ square LFO's modulating pitch & many more on multiple (parallel) filters tends to get me there. Resampling that with some more pitch bending / shifting and lots of transient attack designing really makes something like that 'jump-out' for me.
Also, just pinching a snare or hi-hat with some granular sampler like The Mangle tends to make for some cool, unpredictable kinds of that.
I too love that watery sound you are describing! One way I found you can get that sort of effect is by some light use of the vocoder. I noticed that messing with the processing filter and the formants you can get some nice "watery" sounds. It might be beneficial to make a completely wet and dry chain so you can jack up the volume and add other effects (reverb) if needed.
Pretty much filter automation...cutoff and resonance...I can't listen at the moment, but I'm guessing this is the case since you say wobbles. Personally, I like to record a long C note (or the root of the key I am writing in) and manually manipulate the cutoff and res, you'll get some trippy moments you wouldn't with simple automation. You could also try stacking several filters with unsynced noise shaped LFO's routed to different settings. I favor notch and lowpass filters personally.
Also, don't discount sending these sounds to short delays on sends. You can get some trippy stuff that way. Also, compression may be important since dynamics can vary wildly when messing around with this kinda stuff. Finally, a nice reverb on a send will really set these kinds of sounds in a mix space, but make sure you somehow cut out the low end of the reverb, probably a good idea on the delay too.
One simple rubbery patch you can make is simply a saw wave, with pitch automation going downwards the same time a bandpass automation goes upwards. Resonance/Reverb/Chorus/Flanger/Distortion to taste and enjoy.
Yeah, like Blingley said you can get very far with saw wave, pitch LFO and modulated bandpass sweep with high resonance. Add some saturation, chorus, delay, reverb, etc.
edit: You can get more interesting results if you parallel filter the signal, or layer with additional interesting sounds/FX/noises. You can also add another bandpass cutoff with different LFO than the first bandpass cutoff (like noiseLFO for example), to make it more "vocal".
hey i also love these kind of sounds and am very curious about making similar and reverse engineering
A thing i've noticed is that automation of delay time corresponding to track's tempo, key, etc would get me to a similar zone. delaying a filtered percussive sequence for instance. using found sound click's, blips crack zaps, farts etc, then resampling, putting into a sampler, pitch env automation and running through delay bus.
hey, Evelon, i pm'd you some time ago (another sound design question), but is it possible you haven't got it
These things are fun to make. I just bought a screen capture software, which I still haven't figured out all the ins and out of, but I made a quick tutorial on the bandpass thingy (for those who don't really know how to make these kinda sounds). The video was supposed to be a bit longer (where I stack the saw, detune them and spread them out) but the video and audio died on me, so it only became 2 minutes long:
Just stack tons of eqs on top of each other, compressors between each one if you want to keep the level static. Peaks in the upper range specifically get the sound wet if you move them around really quickly