> Mattias Fridell _ Techno Samples <

Some really quality sounds in here & easy to learn from / reproduce… if you are that way inclined: [url]http://bedroomproducersblog.com/2011/12/19/free-mini-sample-kit-by-mattias-fridell/[/url]

Well worth checking out.


Mattias Fridell has released Fridell Samples Mini Kit, a free set of one-shot samples from his personal sample library.

The Free sample pack contains all exclusive sounds from my personal sound library that I’ve built during the years. Half of the samples
are taken from various projects and the other half is specially created for this mini package and those sounds have never been included in my productions. The samples are peaking at approx -4dB to give you some headroom for further processing with the sounds (unlike most commercial sample packs where all samples are heavily processed at 0dB and give you no real room to process the samples

The samples are processed with several effects and synthesis to give them a unique character suitable for all kinds of electronic music really though the main focus for me has been Techno in various shapes. I choose to not include drum loops In this package because I personally find single-shot sounds very more appealing for production, however one folder contains loops and that is the bass / bottom folder, simply because its extremely hard to create nice movement and dynamics inn this region with one-shot samples.

Is it for PC only? I just clicked the download link and it just took me to a page full of mashed up symbols and computer jargon??

check your dl folder mate… mine sometimes goes in there anyway… when i get a blank page & it looks like uts done nothing.

If you aint checked out these samples… then do.

I asked Mattias how he made the Sub Basses - and he kindly got back to me. Utterly amazed @ how detailed he was.



Very happy you like the samples, thanks. They’re apparently pretty popular.
I’ll gladly answer as good as I can, about half of these samples were cut from many of my previous productions when
I re-visited the tracks so I can’t remember all of it I’m afraid. Would it be ok if I write it down and you copy it or something to the forum, I usually try
to avoid forums and similar . Soundcloud & Facebook takes enough time these days haha!

About the sub basses, the process I use is a method I go back to frequently when I produce:

I start with a kick drum (with a bit of decay cant be too short) playing 4 x 4 or 2 x 4 (or a rhythmic pattern, changing tone and pitch on the individual hits is nice also) then I send a Reverb or Delay (with a bit of modulation options) to the kick channel.
After that I make reverb channel mono and let the Kick slave the Send channel via a side-chained Gate effect. Playing with Pre-delay and Feedback timers as well as
diffusion and balance on the reverb is a good idea to get stuff moving and to start getting a groove out of it. The reverb follows the kicks tone and accent and it can be good to change the kick also to get some other results and go form there. Usually I tend to EQ away pretty much bass form the Kick & also cut away from of the muddy frequencies from the reverb. From here on I route both the kick channel and the reverb send channel to a sub / bus group channel and add a filter, (I personally like the Naive LPF Filter for this, it rounds transients and edges of very smooth and sounds fat & warm.) then low-pass the whole package to around 120-200 Hz, depends a little. If I get too much “kick” sound around 200 Hz or so I low pass a little more or adjust with envelopes or, if possible, adjust the attack of the kick drum and adjust the gain or level of the kick so it doesn’t take too much space in the bassey package. So far so good. Now here comes the reason why I removed pretty much bass on the kick earlier, on the bus channel I add some insert effects. Like another EQ and Saturation tool to give the bass a new kind of tone or feeling, very often I like to use the Bootsy Nasty LP plugin for this since it got both EQ & Saturation. I boost somewhere between 40-130 Hz with the wide Q filter active and cut some bass if it sounds too much, and add the saturation by +6 dB or more depending what sounds right at the moment. Obviously it all depends on the kick and reverb used what kind of freqs sounds good to boost / cut and saturate but thats the gift of it. So now when I have myself a nice fat bass sound I wanna create some nice movement with it and might go back to the kick and reprogram its rhythm or behavior, as well as the reverb. I add the “real” kick drum that the track will contain and make the bass and kick fit well with each-other (sometimes it works good to add another gate to sidechain the bus channel which contains all the bass with the main kick) with EQ:ing or filters etc. Thats it…
Now you could probably just do this in a less messy way, like low-pass the send channel the reverb is on right away and stuff like that but I found that the way I do this you cut away the natural “boring” bottom end in the sounds and add some fat saturated harmonics sculptured with a nice low pass filter which fits very well with the type of kicks I like to use for my music.

Now theres many other ways I use to create bottom but this is the method I use mostly and in the sample pack its this method to 100%. You can also replace the kick with a synth bass playing short notes or long legatos but with an LFO that works on the cut-off to create slopes in the synth to give more room for the reverb. I used this for at-least one loop in the sample pack, its marked as MS20 bass or something.

Right I need to get back here but I hope that works for now, I’ll comment on some of the other sounds in the pack later when I have time. In general for all my sounds I use in my music you can say that I use very much processing in a careful way if that makes sense? Haha. The source is nothing special, its the usual 909, 808 sounds and synths and other classic drum-machines. Today im very much in-the-box based, though I have some outboard i cant get rid of, like some Mackie mixers, Lexicon reverbs, Yamaha delays and synths, stuff like that. I don’t use much compression, if any at all…I used to ride those compressors in my music but these days I often skip that and I find working more closely with filters, EQing and saturation on individual groups and channels appeals more to me.

Ok speak laters!


[quote]MOZZATRON (27/12/2011)[hr]Is it for PC only? I just clicked the download link and it just took me to a page full of mashed up symbols and computer jargon??[/quote]

Right click - DL linked file as… goes into your DL folder

More info from Mattias…


About the other samples in my pack:
Most of the percussion, bassdrums and elements been created by layering different sources of sound. Nothing special yet again.
Been using much filters & EQ to cut and edit in different regions of the frequency spectrum here, one sound contains between 2-5 different sound sources (Which also requires 2-5 different sound spectrums, bass, low mid, mid, high mid and highs simply).
Drums like 909, 808 and similar classic machines, as well as synth sounds, been used to create these. I work much with phase linear EQ for this process since its easy to mess up the phase when layering so many sounds and making one package of it. As well as M/S EQ:ing to make sure the bottom really is mono and just some sparse spread on the sides when needed. Much pitch shifting, ring modulation, FM filtering, distortion & just about any type of processing of the individual spectrum region is used (without overdoing it) to give the layers some nice tone and character. At this point I toss all the layers in the same bus channel so I have them all in a package, then I use a transparent EQ to cut away lots of bass (and low-mid when needed) usually between -20 to -30 dB. From here I add lost of color in the regions I took away by boosting and saturating with other tools, like the Nasty LF plugin from Bootsy. Brilliant piece of ones & zeros that one! Its good at reshaping the bass spectrum and create a whole new character to it. Lots of boost while you can cut at the same time, and add a brilliant saturation.

Another thing I’ve been using (more then transparent EQ) is this method. You know the PSP Vintage Warmer right? Hehe, everyone uses this these days. But I found that this device works best the opposite way of its standard way of working. Instead of warming the sound with it…you kill and suck all life out of it with it! It’s very simple too, turn the Drive knob all the way down to -42 dB, then you can take away the bass to. Excellent tool to suck the life out of anything! It makes it extremely easy to reshape the character of the sound with saturation and dynamic EQ:ing. It needs lots of boosting and one gotta be careful here to not destroy the sound. But once used to it it works great in all cases. This is the most common way I create new sounds for myself. I can sit for days without actually producing any music but instead create new sounds this way, or hammer my synths, add effects and experiment while constantly recording what I do. I can re-visit these files and cut away great parts from it and keep processing it further or leave it as they are.

Hope that helps a bit as well to keep the ideas and inspiration flowing :slight_smile: