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Sorry a basic question but how do i get a great Grime bass sound. Im using a ms20 from the legacy. I know i need an attack but there must be More?

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

Get on with the Square Wave forms mate. Thats a good start.

hmm find a way man ,on ur own ,then thats you .key wor dfor the day ;L.F.O
BLUP!

i have in ensence got the bass sound(squarewave/detuned/good distorstion etc) i just need to give it that werp sound if you get my drift but the ms20 confuses me. any more specific help would be great.

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

I think it's called sharing

A good trick for fatttening up your sound and introducing interesting harmonics is to copy the same MIDI part to two or more different instruments. That way all the parts are locked in the same rhythm but making different sounds and playing off of eachother. A couple of higher pitched elements can actually produce harmonics in the bass range. If I'm not mistaken, it's a technique that Macabre Unit uses to great effect.

and the rolling "wow" sound that everyone goes on about is achieved by adding envelopes to your filters, so that the filter changes over the duration of the note or bassline...

autonomic 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

I think it's called sharing

A good trick for fatttening up your sound and introducing interesting harmonics is to copy the same MIDI part to two or more different instruments. That way all the parts are locked in the same rhythm but making different sounds and playing off of eachother. A couple of higher pitched elements can actually produce harmonics in the bass range. If I'm not mistaken, it's a technique that Macabre Unit uses to great effect.

Right!

Best,

Bruno Belluomini.

King Roo wrote:Sorry a basic question but how do i get a great Grime bass sound. Im using a ms20 from the legacy. I know i need an attack but there must be More?

when you find out can you post it up

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 !

autonomic 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

I think it's called sharing

for real.. whats the point of a production forum if no one wants to share info.

portomento...(glide) set very quick


i also agree that knowledge is ALL.. allot of peeps spend along time workin things out.(myself included) 4 us 2 just say yea u do this like that and this like.... well this will never happen...

and shudn't happen..... spend a few months playiing with a synth and ull be amazed with ure results... trust me!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

lfo ...

A square or saw wave anyware from 40-60hz in a sampler should do it. Use a lowpass filter and tweak away. Use an EQ to cut the higher freq's out and boost what ever low end range your looking for. Compress carefully if needed.

Or just get a bassy sound out of any synth and again, cut the highs out and boost the lows just enough for it to hit as hard as you need it to.

Suburban Bather wrote:A square or saw wave anyware from 40-60hz in a sampler should do it. Use a lowpass filter and tweak away. Use an EQ to cut the higher freq's out and boost what ever low end range your looking for. Compress carefully if needed.

Or just get a bassy sound out of any synth and again, cut the highs out and boost the lows just enough for it to hit as hard as you need it to.

?????

how would a frequency between 40-60hz help?? this would not be tuned...

at least use a C reference... like 32.7hz.... then when u load in ure sampler and press C1 the note playing is C1 32.7hz!!

this thread is just gettin confusing 4 the poor geeza... lol 2 many cooks i think

Well, thats what I use and it works great.

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

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.....................

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

I look into "root frequency charts"

Thanx!
Thomas

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.