A complete and annotated layout: http://www.mediafire.com/i/?6gslsv6w2scju87
A sound of what the annotated layout shows: http://www.mediafire.com/?l5cqgb47q22oto7
I was thinking of keeping this to myself, like a secret weapon or something, because as far as I know, no-one else uses this method. But..... of all the people I could want to share it with, Brony musicians come first. So... here it is.
Note: This technique, and therefore, this post, is written with FL 7 in mind. Slight differences may occur with earlier/later versions, and MAJOR differences where other software is concerned. The theory, however, is sound. If you are unfamiliar with FL 7, you should endeavor to become so. This post is written for someone who already has a moderate to advanced knowledge of how the FL platform works.
What you'll need:
1) A Vocal Clip, preferably one longer than five seconds.
2) Fruity Slicer
3) An Overdrive Plug-in
4) A Distortion Plug-in
5) Optionally: A Stereo Enhancer, EQ, Compressor, Limiter, Low Pass Filter
Step 1:
Load a vocal clip into the slicer. FL usually Autodumps the clip to the Piano Roll 'as-is' with it's preset default slicing.... I recommend trying to isolate each word, or at least, each major change in timbre. Timbre is the key to this technique, as you can get many different sounds in just one channel, and therefore, controlling the wobble will be easier than having, say, six different synths and running them through a group channel, or (Celestia Forbid) giving each one it's own Automation clips. O.O
Step 2:
In the Piano Roll view, set each slice to run the desired length, and then chop the notes into 64ths, which is generally as fine cut as you can go. You can zoom in as far as the Piano Roll view will go and select 'Quick Chop' from the Menu, and it should cut them right. Later on you can experiment with fast octaves (as used in Chipstyle music mainly, for the purpose of simulating chords with a monophonic soundwave) or even arpeggios, but so far, jackhammer fast 64ths have worked fine for me. I usually use 1 measure of each tone at first, in order to demo which slices sound best. The trick is each slice retains it's individual timbre but sounds SUPER NASTY when Jackhammered.
Step 3:
Run the clip through a channel with the Distortion and Overdrive on it. I recommend running through the Distortion first, but music is about anything goes, so if it works better the other way more power to ya!! To me, the clip is not gritty enough without these two, and a fine balance between the two may take awhile to find. You can always go back and readjust later. I also use a Stereo Enhancer to widen the tone, but this is not necessary. EQ, compression, and limiting are fall under the 'if it needs it' category. You can usually control the output volume with the gain knob on the final distortion/overdrive plugin.
Step 4:
It's time to make that clip WOBBLE!! I use the built in LP conrols, the ones directly attached to the channel, but an external plug-in will do just fine, maybe even better. I usually set the Resonance Knob (also known as 'Q' in some instances, I believe) to about 25%-30%. Too high and your ear drums will be shredded. I also prefer to directly control the Low Pass Cutoff knob rather than try to mane-ipulate it with an LFO, because I can make 1/8, 1/4, 1/2, 1/3, Rise and Fall Automation Clips and then write the wobble out just like I write the notes out. I always aim for the simplest method in order to reduce the brain-to-input ratio, because many good idea's are diminished or even lost when it takes too much time to set them down. I find that the knob doesn't usually need to rise any further than about 40%. Too high of a sweep with the LP cutoff knob and the distorted harmonics will go CRAZY, resulting in a sound that is nasty in all the wrong ways. As far as clip timing goes, I set the peak of the rise as close to the beginning of the clip as possible without it sounding like I started at that cutoff frequency. I like a sharp attack for proper note definition. Too far forward and the note sounds offset.
Step 5:
A few extra tweaks you may want to use is the Pitch Shift Slider in FL Slicer. I usually lower it all the way. I also like to lower the Individual Note Pitch in the Piano Roll view as well. Finding the right depth of pitch without bottoming out is the key, but once you have something you like, I recommend saving before you make any further tweaks. No guarantees that it'll be 20% cooler, and these tools tend to be a little finicky when you're bending sound in realtime!!
Here is an example from my one and only Pony track to date. The drop near the middle and the drop at the end both use the Pinkie Pie vocal sample from the song...
http://soundcloud.com/automaticjack/glaze-pinkies-lie-automatic-1
In closing, I have used this method in two different songs, and was very pleased with the results. I hope I've made everything clear, but if I haven't let me known and I will update this post.
Happy Music making, Everypony!!
P.S......Pinkie is best pony!! We all wanna party with Pinkie; don't even deny it
