Absolutely not. Not with stock plugins anyway.

It’s a game rip. It plays in the Argent Tower level, I think, and you won’t find it on the soundtrack album.

@@LordofDiamondsMetal thanks

@@LordofDiamondsMetal what music app are you using

@@joshuamonreal1266 Look at the title of the video

I don't know, honestly... I haven't used Reaper hardly at all, but I imagine there probably is

I tried to do it nit cant.

Can you tell me which tracks are sidechaining and in which order?

@@timswanson8980 I don't remember... I actually lost the project file for this thing a while ago

I don't know. I haven't used FL Studio enough to give an educated answer. I will say, though, that FL Studio stock effects (especially distortion) don't sound as good as Live's. But after all those layers of sound destruction, it probably won't matter.

@@LordofDiamondsMetal alrighty, thanks man

@@justforwillow5948 try using the gms stock plug-in there's a distortion option.

You mean the transient that forms the attack? Well, even though Mick said in his GDC talk that no pitch envelopes were used, there are some parts of the soundtrack where a pitch envelope can clearly be heard in the bass synth (Vega Core and Command & Control being notable examples). Plus, it's just not possible to create that attack transient without a pitch envelope or bringing in other sounds.

@@LordofDiamondsMetal 1. He said that the punch was created only by the compressor at the outlet, I have not yet been able to repeat this. But this is very well heard at the GDC presentation, when there is a change in pitch and amplitude - punch disappears. 2. Even if you're right, you haven't shown the creation process on video. You have shown only the creation of the simplest sinusoid, which cannot sound like this in any way.

@@3LOCTHbIuDo6poZELATELb For your first point, I'm not exactly sure what you're talking about. I addressed the pitch envelope and what Mick said about it in my previous response. I know that he claims that the compressor creates the attack transient, but the sound of the soundtrack and knowledge of audio science says otherwise. The compressor would only create that attack transient if there had been a complete absence of sound for long enough for the release time to elapse, therefore when audio reappeared, the attack time on the compressor would create the transient. However, there's never a lack of audio signal flowing through the array, and the compressor(s) must make sure that everything is equal in volume so that the artifacts and feedback get brought up. Therefore the attack must be created with a pitch envelope. For your second point, yeah, no shit a sine wave can't sound like this in any way. I passed it through three channels full of every audio-destroying effect I could think of. That's what Mick did; that's what I did too. At the end of the day, it doesn't matter. I created a sound that sounds like the original in some way, and that's what I set out to do.

@@LordofDiamondsMetal This is exactly how it works in the original - release, only then there is a punch. No release - no punch. You always have a punch because it is created through a sine, while Mick's punch is created through an array.

Well, I don't know how that works (if it's even possible for it to work at all), so I did the next best thing - which still managed to sound like the original. My thing is all digital, so there's no ground hum or analog artifacts anywhere. I have to create my own. I'm really tired of people finding my tutorial videos and then immediately commenting about what I've done wrong, or how my method is inefficient. If I arrived at a way to do it and somewhat resemble the original thing, then that is all that matters. If you know how to do it better than me, then why don't you make your own tutorial?