Wow thanks a million man! This sounds so good. So many options and cool modules in VCV nowadays. Most people go from VCV to Eurorack I presume, but i sold almost my entire (massive) Eurorack setup for VCV Pro.
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In the meantime, I bought the dark matter, and some other eurorack to play with. Really cool module, but you can also get pretty close to what it does in VCV. For me, one thing I overlooked when doing this in VCV, was using the envelope follower to side-chain the feedback to the original signal. To do that, you can use TroubledMind’s patch, and replace the drums/dust/feedback mixer with a mixer that also has cv for the inputs (I like audible instruments quad vc-polarizer, also because you can invert the feedback, which can also heavily effect the sound). Then use the envelope follower to duck the feedback signal every time the drums hit.
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That fighting sound is it feedback that makes the resonant squelch squelch? Here the guitarist uses a pedal that squelches. I have been on the lookout for an effect module that lets me squelch everything like in this video:
Daft Punk - Da Funk (Basscover)
Also how the pedal alters the sound of the bassguitar is very intriguing.
Wow, this is an old thread!
I didn’t think the bass sounded particularly squelchy at all in that video, but the second part sounded like a bit of autofilter plus distortion. You can make that in VCV using an envelope follower patched into the cutoff of any lowpass filter, and turn the resonance up for ‘squelch’.
The first part with the formant filter/vocal effect can also be made by patching a sample rate reducer into a band pass filter. I made a ‘talk box’ guitar patch years ago which sounds quite similar, here’s the updated version. The original demo was appalling though, don’t watch that please! 
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Yes squelch is the wrong word for it. By squelch i meant the resonant “residue” that comes after the “original bass harmonics”.
Thank you for the patch! I will try it out. By the “first part”, is that what he plays on the bassguitar, is it achieved with a formant filter, it does sound like a vocoder yes.
Can you perhaps tell me what kind of distoriton i get when i do this to the mixer:
I have a kick in channel one and main volume is on full. It creates a “distortion like” outcome but it seems fuller, is it overdrive?
THANKS =)=)
I thought the resonance came from some kind of feedback?
I watched the original video sorry. 
It plays automatically when you go to the patch so I did not have any hand in it!
That’s digital clipping and doesn’t usually sound good! You’re basically exceeding the maximum value that can be represented with the dynamic range available, so it clips, or squashes the waveform.
I’m not really sure what you mean by resonance or residue, but that patch should get close the formant effect. For drive there are plenty of modules but for guitar or bass you may get better results using a plugin amp sim.
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Thank you for engaging 
I have a hard time finding the distortion I like, i dont know if its distortion, compression, saturation, drive or overdrive. Normally in my experience is that the distortion weakens the bass of the sound. So the sound “looks” heavy but the sonical fatness content is taken out from it.
On this track at exactly 6:06 he adds “distortion” to the baseline and from what I can hear the sound feels like when you increase the pressure of water going through a pipe. Normally to me what distortion does is to create the feeling when you have water coming out from a hose and then you put your finger on top of the opening, shure the pressure increase put now you have increased pressure from a smaller mass. The kind i try to find increase the overall volume (mass) going through a medium and the one i normally find disintegrates the sound into smaller pieces.
The base guitar has a resonant tale to it, I cut it out in audio but i had a problem with screen recording it and uploading it as a video. I suspect the envelope follower opening a filter+resonance will do it as you say.
Being a guitarist, my ideas about distortion are mostly shaped by the experiences using guitar pedals or high gain amp settings. For the most part in the synth world, these sounds are rarely connected with synth distortion, but more akin to clipping or overdrive. To get a driven sound I have been using a few clippers, especially CV Funks CLPY which can also function as VCA, and the DocB CLPR which has many clipping and distortion algos, easy to test, and sounds great and cv modulation can make it even more useful. Also Vult Debriatus has the excellent quartet of saturate, fold, bit crush, and distort. The saturate will resemble typical audio overdrive circuits and fold will add edge like many distortion circuits, the crush is great and noisy, and the distort is just what you describe, a way to make a waveform so mangled it barely makes a clear sound at all, but just a noisy facsimile of the original.
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So waveshapers and wavefolders are both types of distortion?
I like the saturation of debriatus to. It ads mass to the sound, when i turn up distortion however the bass dissapears.
Also check out Airwindows. There are some really nice distortion/saturation effects, as well as Amp sims.
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Sébastien Léger - “Morodesque” - YouTube
I gave it some more thought, and what i think happens at 6:06 is that he also opens the vca envelope more in conjuntion with adding an effect.
Most distortion effects tend to directly distort (change) the incoming waveform and are thus a form of waveshaping. There are many ways to distort/change a waveshape. The way the waveshape is is generally described by the ‘transfer function’.
Changing the waveshape will change the harmonic content (and vice versa). Generally, waveshaping will produce non-linear changes in the spectrum. Generally, sharper edges will generate more higher frequencies then rounder shapes. Waveshaping can easily lead to frequencies above Nyquist, leading to aliasing in digital systems. This is why many digital distortions have some form of anti aliasing (e.g. oversampling).
Waveshaping can be applied symmetrical or asymmetrical. In symmetric waveshaping the distortion/transferfunction is mirrored over the x-axis (time) and y-axis (amplitude). Asymmetry can be introduced in both the x- axis (time) and/or the y-axis (amplitude). Thus shifting where in the waveshape the distortions/changes are applied. Either shifted left/right (time) and/or up/down (amplitude).
Some generic terms:
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Clipping simply cuts off (flattens) the waveform above a threshold, creating sharp edges. Compare: hard knee in a compressor/limiter. Likely to create many higher frequencies.
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Overdrive is mostly seen as soft clipping-based distortion. Instead of hard clipping above a threshold, amplitude is progressively reduced as it approaches the threshold. Compare: soft knee in a compressor. Often implemented via a hyperbolic transferfunction (e.g. tanh).
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Wavefolding folds (reflects) the waveform back into itself when the threshold is reached.
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Bitcrushing effectively creates more stepped waveshapes, by reducing the resolution on the y-axis (amplitude). Therefore creating sharp edges along the waveshape, when jumping to the next amplitude. Every bit reduced halves the resolution in amplitude.
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Samplerate reduction also effectively creates a more stepped waveshape, by reducing the resolution on the x-axis (time). Effectively a sampled value is held for longer.
Feedback will soon complicate things. Feedback feeds an output signal back into the input. Generally summing/mixing both at the input. Thus leading to an increases in amplitude, which might already lead to distortion/overdrive effects. Any delay between output and input will also lead to a phase shift and thus combfilter effects. In digital systems there is generally at least 1 sample delay between output and input. Also, any difference in waveshape/harmonic content between output and input can compound and affect the behaviour of the loop. Some frequencies in the resulting spectrum might be amplified, while others might be attenuated. Until everything spirals out of control….
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