Adding warmth to basslines

spliffy · Post by **spliffy** » Sun Jan 11, 2009 2:50 pm

Anyone got any good tips for making more warmer, less harsh basslines? I'm finding it pretty hard at the moment so any help would be much appreciated.

b-lam · Post by **b-lam** » Sun Jan 11, 2009 3:25 pm

not really sure what you mean, might need some audio examples to really help you but generally speaking the warmth comes from midrange frequenies (100-500hzish).

Sharmaji · Post by **Sharmaji** » Sun Jan 11, 2009 3:38 pm

start w/ something with a bunch of nice warm overtones-- square wave or triangle, etc.

try saturating/distorting it 1st, to increase harmonics.

from there, lowpass until it loses the edge, either via the filter in the synth or through eq.

try adding some 80hz, and again up around 250hz, for a combination of deep warmth and 'fullness'. very, very small changes from around 200-500hz in bass can really change the character of the sound.

the biggest factor is the lowpassing.

keep everything-- synth, plugs, output-- well below 0db to avoid harsh digital distortion as well.

spliffy · Post by **spliffy** » Sun Jan 11, 2009 4:12 pm

Thanks TeReKeTe, I'll give that a try.

macc · Post by **macc** » Sun Jan 11, 2009 6:28 pm

What TeReKeTe said - though peerrrrsonally I prefer to go the other way.

That is, start from a sine or very low-passed square, then get soft 'distortion' using the appropriate methods to get the sound I want. Might be a certain compressor, usually the analogue stuff comes in, certain plugins, blahblah. So building up, rather than errr, building down. Amounts to the same thing though I spose

futures_untold · Post by **futures_untold** » Sun Jan 11, 2009 8:07 pm

All very good ways to add warmth to a bassline

futures_untold · Post by **futures_untold** » Sun Jan 11, 2009 8:18 pm

B-LAM wrote:warmth comes from midrange frequenies (100-500hzish).

I completely disagree.

I think harshness comes from anything over 200Hz and warmth from between 60Hz & 150Hz. In my opinion, anything over 150Hz is a midrange bass, and thus implicitly cannot be a 'warm' bass as it is always heard as opposed to felt.

Here is an interactive frequency chart for you to make up your own mind... ---> http://www.independentrecording.net/irn ... isplay.htm

Macc wrote:Start from a sine or very low-passed square, then get soft 'distortion' using appropriate methods to get the sound I want. Might be a certain compressor, certain distortion plugins etc. So building up, rather than subtracting from a frequency rich sound.

I concur.

Starting with a sine, use gentle overdrive or saturation to get warmth.

Also, low pass filter things with a hint of resonance to achieve warmth (as Terekete recommended).

macc · Post by **macc** » Sun Jan 11, 2009 9:14 pm

futures_untold wrote:
B-LAM wrote:warmth comes from midrange frequenies (100-500hzish).
I completely disagree. I think harshness comes from anything over 200Hz and warmth from between 60Hz & 150Hz. In my opinion, anything over 150Hz is a midrange bass, and thus implicitly cannot be a 'warm' bass as it is always heard as opposed to felt.

Mmmmmm.... dunno about that. Small components at those frequencies are what give warmth if you ask me. It doesn't make it a midrange bass, it's an upper component of a low bass

Starting with a sine, use gentle overdrive or saturation to get warmth.

Exactly - which introduces harmonics - ie components up in the area we're talking about. 50Hz sine wave will generate 100 150 200 250 etc Hz harmonics in varying proportions depending on the transfer curve of the saturator, and/or the particular distortion used.

FWIW it doesn't have to be saturation either - you don't have to run a tube hot to have harmonics present. And there's other ways of generating them too. Has to be said proper analogue kills it here... Switching in the compressor on my 747 just goes BOSH and sounds super nice. Watching an FFT of a sine wave going through that shows you how much it is generating, and nothing is saturating. Even more so with the tubes in, but again not saturating.

Also, low pass filter things with a hint of resonance to achieve warmth (as Terekete recommended).

Again, assuming there's no saturation in the filter then when using resonance you are merely enhancing upper components (1st/2nd/3rd harmonics, depending where the cutoff is sitting) in those areas we're discussing. And if there is saturation then you're going even further.

We're talking about the same thing really I think - but the fundamental alone is a sine wave and can't be 'warm' by itself exactly. That is, if we can agree on the definition of warm

Just discussing btw, not dissing!

futures_untold · Post by **futures_untold** » Sun Jan 11, 2009 11:44 pm

I see your point about harmonics and thus the need for higher frequencies (however that's achieved).

I'm just scared to say 'midrange' to somebody then hear them come back with a nasty shrill bassline thats all nails scraping down the blackboard and no sub!

I'll take your perspective on the matter as you earn your living through music and I just mess about with vsts occasionally lol

skeletor · Post by **skeletor** » Mon Jan 12, 2009 12:19 am

Some very valuable advice in here..cheers guys!

subindex · Post by **subindex** » Mon Jan 12, 2009 2:27 am

Macc wrote:
futures_untold wrote:
B-LAM wrote:warmth comes from midrange frequenies (100-500hzish).
I completely disagree. I think harshness comes from anything over 200Hz and warmth from between 60Hz & 150Hz. In my opinion, anything over 150Hz is a midrange bass, and thus implicitly cannot be a 'warm' bass as it is always heard as opposed to felt.
Mmmmmm.... dunno about that. Small components at those frequencies are what give warmth if you ask me. It doesn't make it a midrange bass, it's an upper component of a low bass

Starting with a sine, use gentle overdrive or saturation to get warmth.

Exactly - which introduces harmonics - ie components up in the area we're talking about. 50Hz sine wave will generate 100 150 200 250 etc Hz harmonics in varying proportions depending on the transfer curve of the saturator, and/or the particular distortion used.

FWIW it doesn't have to be saturation either - you don't have to run a tube hot to have harmonics present. And there's other ways of generating them too. Has to be said proper analogue kills it here... Switching in the compressor on my 747 just goes BOSH and sounds super nice. Watching an FFT of a sine wave going through that shows you how much it is generating, and nothing is saturating. Even more so with the tubes in, but again not saturating.

Also, low pass filter things with a hint of resonance to achieve warmth (as Terekete recommended).
Again, assuming there's no saturation in the filter then when using resonance you are merely enhancing upper components (1st/2nd/3rd harmonics, depending where the cutoff is sitting) in those areas we're discussing. And if there is saturation then you're going even further.

We're talking about the same thing really I think - but the fundamental alone is a sine wave and can't be 'warm' by itself exactly. That is, if we can agree on the definition of warm

Just discussing btw, not dissing!

man knows whats what.

future one · Post by **future one** » Mon Jan 12, 2009 3:29 am

A nice analogue lowpass filter.

Try layering subs with some analogue white noise before analogue distortion.

Of course saturating through a Neve preamp is always good for warmth.

mass-c · Post by **mass-c** » Fri Jan 23, 2009 11:04 pm

Try http://www.musicproducerxxx.com some nice videos there on bass

rendr · Post by **rendr** » Fri Jan 23, 2009 11:08 pm

Add white noise (low passed)

Saturate (which type can make massive difference)

100 - 150Hz Boost.

Overdrive (while adding warmth)

Low Pass

Put in microwave.

flateric · Post by **flateric** » Sat Jan 24, 2009 3:06 pm

Future One wrote:A nice analogue lowpass filter.

The Kontakt Ladder filter is 100% analogue. Although that isn't completely true it can sound amazingly warm and is the best sounding moog filter emulation I have ever heard (I'm not saying it's the most realistic but it's certainly the best sounding ladder filter I've ever used, very clear). PSP VW2, Wave V-comp and Guitar Rig are also amazing for warmth. From reading the thread it seems everyone has gone for the technique angle (with the exception of Future One) but I think your tools are equally as important.

macc · Post by **macc** » Sat Jan 24, 2009 4:48 pm

flateric wrote:
Future One wrote:A nice analogue lowpass filter.
The Kontakt Ladder filter is 100% analogue. Although that isn't completely true it can sound amazingly warm and is the best sounding moog filter emulation I have ever heard (I'm not saying it's the most realistic but it's certainly the best sounding ladder filter I've ever used, very clear).

UAD Moog filter - ding dinggg!!!! :love:

The drive on that is monstrous, TRULY unbelievable coming from a plugin. Smoother than a shaved baby's bottom smeared with goose fat.

Actually that reads really badly

b-lam · Post by **b-lam** » Sat Jan 24, 2009 6:35 pm

futures_untold wrote: I'm just scared to say 'midrange' to somebody then hear them come back with a nasty shrill bassline thats all nails scraping down the blackboard and no sub!

lol nah that's not what i meant, but my post was kindof vaague.

and lol at macc greasing up babies

Adding warmth to basslines

Adding warmth to basslines

MusicProducerXXX

Who is online