Omg This Is Amazing!!!

Hey man!

I really like the sound design of some of these basses, I do agree with the other review saying it is a little too consistent, but I completely understand the reasoning, when your equipment and software is limited it's easy to get frustrated making a whole bunch of fresh basses. There can be a tendency to run far with a few sounds when you find something you like, which I've done myself on several occasions ahaha.

Good job on making the basses you have in the track, they're crisp and metallic and are fairly varied in the musical motifs. Keep cracking on and making music like this and when you have the synths and drive to make drum sounds you'll make some quality stuff but just focus on having fun creating!

i honestly have no idea how u made the drop on sytrus ;o

Lol, with Cymatics I usually just get their demo packs. I can't stand their manipulative business model.

So I kinda see what you were going for here. You have some low, square-y sounds happening, and that lends itself to a very dark sound. The problem is that you use that sound too much. In moderation, that kind of odd stuff works out really well for a lot of wobby kinds of music, but if you overdo it, and that's relatively easy to do, it makes the song sound odd.

Another quick thing - the sidechaining. It's really massive, it doesn't really need to be that way. I see that you use FL and I use Ableton (why have you fallen to the dark side? xD), but I know that Ableton's Compressor can Sidechain EQ so that the other instruments are only sidechained by the high clicky part at the beginning of the kick. Here's a better explanation: https://www.youtube.com/watch?v=WH7F_GBEfeY&t=268s

I have no idea if this can be done in FL, but I'd assume so.

Finally - the speed of the wobs. Usually, I find that the deeper the wob, the slower it should go. So with these low squarey things, you can't make a spastic rhythm because it just doesn't work that way... unless you can make it work, and if you can, by all means, do that. I'm just saying that it usually doesn't happen that way. To balance things out, you typically need something that's a bit higher in frequency so that you can make that thing be a bit more spastic - whether that's a lead or a super distorted bass with a bazillion harmonics. That's where sound design comes really handy. :)

I suppose there's one more thing - the buildup didn't quite "match up" with the drop. My suspicion is that you fell prey to the curse that is having to do things "start to finish." In this wobby stuff, DO THE DROP FIRST. You would think that'd be kinda odd, but it actually gives you the centerpiece for the entire track. Looking at it that way, it'd be kinda dumb to make all the other parts of the track first, even and especially what exactly the buildup should build up to.

SeamlessR workflow video: https://www.youtube.com/watch?v=-gHKCIxYraE

I hope all of that helps. :)

Good shit! The dub could've maybe used a li'l less reverb for the most part, and maybe a stereo effect (from a quick, single delay), since I can really hear that verb sticking out. It does sound super good for spots like 1:14, though, so it might be a good idea to automate.
Fading out on the dub was super weird. I'm not sure if I've heard that before. A bigger climax and more of a resolution would be cool.

Really nice, though! And Cymatics pulls through. I'm subscribed to their emails, but I've never actually tried their material. I should really give it a perusing.