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amphibian wrote:

+verb wrote:example 1 is defo scrapyard oscillator inside massive.

example 2 is more of a pitchbend affair... easy to do.

Eskmo seems to love his pitch bends on the bassline. I always wondered who was the driving force between he and Antiserum in Speaker's Corner for the bassline - until i started listening to Eskmo's tracks

Not to toot my own horn or anything but I actually created the sub bass in this tune on my virus ti synth.. here is how it was created:

a sine wave from the virus ti synth stands out from most soft synths.. it has a very rich sound to it.
I used the "pulsine" patch which is basically a couple of wavetable sine waves...
i then used lfo1 and assigned it to OSC1+2 pitch and then put it in envelope mode with a saw tooth waveform with a rate of about 50 for the sub pitch "drops" the other sub lfo pulses were done by assigning the lfo to a filter cutoff with a sync'd lfo with a sine waveform. (1/8 notes)

you can really crank the eqs on the virus ti and it sounds awesome no matter what.. for the pulsine patch i cranked 52HZ at + 12DB to really make it hit hard. If you have a virus ti give it a shot!

here are some more ideas on how to make really big sounding basses that pulse and move:

-seperating basses into multiple bands by using very tight high and low cuts and effecting each band differently (different, eq, fx, etc)
-automating pitches, filters and oscillator parameters like crazy!
-sidechain compression!

mikey_antiserum wrote:

amphibian wrote:

+verb wrote:example 1 is defo scrapyard oscillator inside massive.

example 2 is more of a pitchbend affair... easy to do.

Eskmo seems to love his pitch bends on the bassline. I always wondered who was the driving force between he and Antiserum in Speaker's Corner for the bassline - until i started listening to Eskmo's tracks

Not to toot my own horn or anything but I actually created the sub bass in this tune on my virus ti synth.. here is how it was created:

a sine wave from the virus ti synth stands out from most soft synths.. it has a very rich sound to it.
I used the "pulsine" patch which is basically a couple of wavetable sine waves...
i then used lfo1 and assigned it to OSC1+2 pitch and then put it in envelope mode with a saw tooth waveform with a rate of about 50 for the sub pitch "drops" the other sub lfo pulses were done by assigning the lfo to a filter cutoff with a sync'd lfo with a sine waveform. (1/8 notes)

you can really crank the eqs on the virus ti and it sounds awesome no matter what.. for the pulsine patch i cranked 52HZ at + 12DB to really make it hit hard. If you have a virus ti give it a shot!

your a genuine hero of mine!
thanks for the tips, you killed it in NYC btw

decree wrote:you killed it in NYC btw

here is a Q&A with eskmo
http://bassmusicblog.com/producer-qanda-eskmo
its only a year old

Eskmo uses a moog little phatty and a livid ohm midi control for simplification of multiple control parameters of his basslines. After recording midi sequence he fine tunes with vst effects and then does the master recording were he actually records the audio output of the little fatty. There you go its a spoiler. The Little Phatty puts all and any vst to shame. You have no idea until you hard map one yourself. bottom line.

interview I did w/ Eskmo for MTV:

http://blog.mtviggy.com/2010/12/06/qa-w ... nd-kale/2/

calypsobomber wrote:Eskmo uses a moog little phatty and a livid ohm midi control for simplification of multiple control parameters of his basslines. After recording midi sequence he fine tunes with vst effects and then does the master recording were he actually records the audio output of the little fatty. There you go its a spoiler. The Little Phatty puts all and any vst to shame. You have no idea until you hard map one yourself. bottom line.

I'm so freaking in love with the LP Stage II right now it's not even funny. It's going to take me a while to save up for it, but damn...DAMN!


FAP FAP FAP.

he also usesa lot of found sounds/ field recording. I reckon the third sound in OP is a sample of water babbling or something liek that and then very harshly EQ'd. Amon tobin does similar sorts of things. Also you can get that rushing up bassline neuro effect by having a peak go from abt 500hz to 1200hz

yeah I listened to it and thought "brutal electro" but lots of people already made that comment.

I love how Eskmo with Hypercolor aimed to be experimental and NOT dancefloor fillas and yet by that very notion I think he will be filling more dancefloors than his previous albums/works.

Absolutely love his work.