Bass

suburban bather · Post by **suburban bather** » Mon Jan 23, 2006 2:52 am

Well, thats what I use and it works great.

suburban bather · Post by **suburban bather** » Mon Jan 23, 2006 3:39 am

Here's an example of a 40hz saw wave used in Live's sampler played in the C2 range.

http://s50.yousendit.com/d.aspx?id=0Q0X ... FH5SN5NF7K

Peace

Thomas

protocolx · Post by **protocolx** » Mon Jan 23, 2006 6:17 am

Suburban Bather wrote:Here's an example of a 40hz saw wave used in Live's sampler played in the C2 range.

http://s50.yousendit.com/d.aspx?id=0Q0X ... FH5SN5NF7K

Peace
Thomas

no m8...........

sounds weak if u ask me....

the point i was makin.. is that when u generate waves they need 2 be tuned!!!!!!!!!!!!!!!!!!!!!!!!! 2 a musical scale .... search google for root frequency charts!!!!

we are making music here.....................

suburban bather · Post by **suburban bather** » Mon Jan 23, 2006 12:19 pm

I thought its sounds pretty good, leaves room for a heavy bass drum. Atleast I tried.

I look into "root frequency charts"

Thanx!
Thomas

untold · Post by **untold** » Mon Jan 23, 2006 2:03 pm

thought I would post a few examples of how you could go about making a grimey bass. First off I wouldn't recommend learning with the Ms20. Its a nice synth, but is quite confusing to program with that patchbay going on. All you need to get going is a synth that has an envelope(ADSR) and LFO that can be assigned to control a filter. I've used Abino for the examples.

http://www.linplug.com/Products/Albino_2/albino_2.htm

This is worth a look, cheap as chips too: http://www.amazon.co.uk/exec/obidos/ASI ... 13-4243612

1. Create a basic triangle wave sound.
Start off with a basic patch on the synth.
Get rid of any fx, lfos, etc
Set the filter type to low pass. Set the cutoff and resonance of the filter to around 50%.
Disable all but one of the oscillators. Switch this oscillator to the triangle waveform. (^). If the synth doesnt have a triangle wave then set it to square.

You should hear something like this:

http://www.jackdunning.com/bass_tutoria ... iangle.wav

2. Adjust the filter
This sounds nasty. The sound we're after doesn't have any of those "trancey" hi frequencies in it. Reduce the filter cutoff and resonance until the sound is a more muted. Any tweaking of the filter cutoff will return to this tone.

http://www.jackdunning.com/bass_tutoria ... educed.wav

3. Set the envelope of the filter
You get the "wha" sound from opening and closing the cutoff of the filter near the begining of the sound.
Assign an ADSR envelope to control the cutoff of the filter.

Here the attack of the envelope was set to around 1/3 on the dial, with the decay set slightly higher. The higher you set the attack, the longer it will take to open the filter.

http://www.jackdunning.com/bass_tutoria ... r_adsr.wav

4. Add an lfo to the filter
we've got the "wha" sound, but it only happens once. if you want it to repeat while the sound is playing, then you can use an LFO that is also assigned to the filter cutoff. In the example I have kept the envelope "wha", and assigned an LFO that tweaks the cutoff every 1/8th (triplet) note.

http://www.jackdunning.com/bass_tutoria ... cutoff.wav

5. Add some sub
So far this sound doesn't have any low frequencies that are going to suck the air out of your lungs when played on a system. The more complex sounding basses are made from combining 2 or more sounds, one for the texture, and one for the sub. Here I have taken the sound above and dropped it down an octave.

http://www.jackdunning.com/bass_tutoria ... _lower.wav

then combined it with the original sound

http://www.jackdunning.com/bass_tutoria ... mbined.wav

You can get some interesting effects by changing the speeds of the envelopes and filters of the 2 sounds.

You could of course have just used the lower sound, and applied the filters and LFOs to it. It depends what vibe you are after.

These examples only control the filter cutoff. You can use envelopes and LFOs to control the pitch of the oscillators, filter resonance, pulse width etc.

suburban bather · Post by **suburban bather** » Mon Jan 23, 2006 11:41 pm

Great tutorial! I believe this diserves a BUMP!

james g · Post by **james g** » Mon Jan 30, 2006 3:08 pm

Untold, thank you very much for that post.

stone · Post by **stone** » Mon Jan 30, 2006 11:15 pm

STEALTH wrote:
plankton wrote:If someone tells you how to do it won't that just cheapen the whole thing

I think that's something you should try to figure out for yourself
What a ridiculous thing to say !

How will someone saying 'use a square wave, mate' cheapen anything - what will it cheapen ?

I think you should change your name from plankton to plank, mate !

this is the Production forum
we talk about Production techniques

will · Post by **will** » Mon Jul 03, 2006 5:02 pm

good tutorial

maybe we should have a sticky with all the best production advice and useful info in?

threnody · Post by **threnody** » Mon Jul 03, 2006 5:05 pm

Will wrote:good tutorial

maybe we should have a sticky with all the best production advice and useful info in?

Check the production forum. Plenty tips to be had there.

will · Post by **will** » Mon Jul 03, 2006 5:21 pm

threnody wrote:
Will wrote:good tutorial

maybe we should have a sticky with all the best production advice and useful info in?

Check the production forum. Plenty tips to be had there.

ah yeah, thought this was actually in the production forum sorry - shouldnt have so many browsers up at once

there should be a production sticky with this stuff in though

threnody · Post by **threnody** » Mon Jul 03, 2006 5:39 pm

finch · Post by **finch** » Tue Jul 04, 2006 9:19 pm

well useful, nice one

3dm · Post by **3dm** » Wed Jul 05, 2006 12:19 am

My best advice to you is stick to synthesis for the time being, as pitching down samples will introduce other audible 'artifacts' to the sounds (to do with the aliasing and resolution of the sample), which will require further filtering to eliminate - unless you can set a higher sampling rate to get around this.

Pretty much all my bass sounds are sourced straight from an instrument (be it a Bass Station or synth plugin) rather than a sample for this reason.

Well, let's not also forget how Junglists get those sub bass rumbles - with Sine Waves, although they have less 'presence' in a mix (so may have to be mixed higher or compressed a little more), because of their lack of harmonics.

And yes, stacking the sound is a very good way of fattening things up, but you need to be careful it's not overdone - usually one additional patch with more harmonic content about an octave above the bassline is enough, possibly set to a slightly lower volume so it doesn't drown out other elements, although this very much depends on what sound you're aiming to get.

It can be fun to mess with the tuning intervals of the second patch, so it harmonises with the bassline, as this can lead to interesting chorusing effects.

These are fairly universal rules that can be applied to most genres of dance music.

dr_genius · Post by **dr_genius** » Wed Jul 05, 2006 7:16 pm

I am a dubb / hiphop/ drum&bass and funky house producer, but i have been introduced by sessman of (terror phonics) I am ready to feed the peeps what they need indeed rate or slate me then ill do the same 4 u

one love!! Dr_Genius, whatch out 4 future releases under the name Is-Real-Lights

http://www.soundclick.com/bands/pagemus ... dID=567469

dvnt · Post by **dvnt** » Thu Sep 28, 2006 3:51 pm

@ untold.

wicked post mate. defo trying that one out.

hamilton · Post by **hamilton** » Mon Oct 09, 2006 7:50 pm

The subject when exposed to a 10 ?T 50 Hz square wave magnetic field for 40 min together with a radioactive pulse, showed a marked increase in amino acid uptake into intact roots. A more modest increase was observed with a 100 ?T 50 Hz square wave. An increase in media conductivity at low field intensities from 10 ?T 50 Hz square wave, 100 ?T 50 Hz sine wave, and 100 ?T 60 Hz square wave fields, indicated an alteration in the movement of ions across the plasma membrane, most likely due to an increase in net outflow of ions from the root cells. Similarly, marked elevation in media pH, indicating increased alkalinity, was observed at 10 and 100?T for both square and sine waves at both 50 and 60 Hz. Our data would indicate that low magnetic field intensities of 10 and 100 ?T at 50 or 60 Hz can alter membrane transport processes in root tips.

k13 · Post by **k13** » Mon Nov 06, 2006 9:04 pm

im new and i really wanna learn how to make grimey bass lines. that tutorial sounded easy but i got lost when i was applying it to fruity loops lolz. what kind of sample do i need 2 mess about with any old bass line sample? and when i tell fl to do it it wont do it. help please.

purecain · Post by **purecain** » Sat Dec 16, 2006 9:48 am

basically you can use a triangle, square, saw tooth and others... just add a 4 pole low pass filter to get rid of any higher pitch tones in the wave.
then assign a master filter and away you go. everyone uses a slightly differant combonation of initial waves you just have to experiment and keep the stuff you like. you'll soon develop your own style of making base which is so complex no one will be able to copy. a lot of the originality comes from the processing you apply be it reverb flange or anything else. it all makes your sound original.
i just finished my first dubstep tune and i'm gonna post it soon, i love it and it sounds like no other. the samples i use are from a dvd no one else has ever sampled which all helps to make the sound my own. if someone walked you right through the bass sound development technique youd end up making bass that sounded similar and that isnt going to help dubstep to keep original and ever evolving... good luck man and smoke lots a ganja...

Erpo4 · Post by **Erpo4** » Wed Jan 03, 2007 1:11 pm

Bass

My debut tracks in da dubstep scene!! blessingz!!

Bioelectromagnetics

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