The Bass Thread

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The Bass Thread

Postby Ocular » 01 Nov 2013 11:58

Post whatever sound design you come up with, whether it's an 80's pop synth or a modern growl bass. Remember, you have to explain how you made it too! You can go in detail if you want, but you can also keep it generic so others can play around and build off of your sound. Share any cool techniques or processes you might have as well, and feel free to ask questions.
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Re: The Bass Thread

Postby CitricAcid » 01 Nov 2013 12:56

I like this idea, and when I have a moment, I'll make a bass sound and post it here. I normally suck at sound design, so I could really use the feedback. (Thankfully I don't usually need to be good at sound design, since I don't work in electronic genres typically.)
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Re: The Bass Thread

Postby Captain Ironhelm » 01 Nov 2013 14:08

you can find some free bass presets I've made here:
http://freesynthpatches.blogspot.com/

They're labeled "bass", and as they're presets they should be self-explanatory. If I remember right, there's currently bass presets for Massive, Razor, and Z3ta+2.
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Re: The Bass Thread

Postby JSynth » 06 Nov 2013 14:24

My bass with my guitar.

Spoiler trolol:
Image


I will probably post something serious later.
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Re: The Bass Thread

Postby S.P.P » 07 Nov 2013 17:14

https://www.dropbox.com/s/kdiafu8olbvudis/JPhelpz.mp3

Something I knocked up earlier

Edit: The pattern was made in literally about 2 minutes, sorry about the shittiness. :3
Last edited by S.P.P on 08 Nov 2013 18:37, edited 1 time in total.
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Re: The Bass Thread

Postby ChocolateChicken » 08 Nov 2013 17:21

In Sylenth:

Osc 1: PWM Square, 1 voice, retrigger.

Osc 2: Saw, +1 Oct, Phase 317deg, Volume at 3 O'Clock, 1 voice, retrigger

Filter: Low Pass, no resonance, Drive at 9 O'clock

Optional: <10 cent detune on Osc 2.
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Re: The Bass Thread

Postby Mr. Bigglesworth » 14 Nov 2013 15:35

Take a sine wave in z3ta+2, set it to FM in the synthesis options (look for the word "ADD" in the oscillator menu and click that till you see FM). By setting osc 1 to FM you've set it up as an operator (someone correct me if my terminology is wrong), and oscilator 2 is being modulated. Select a triangle wave in oscillator 2. And simple as that you've got the basis for that odd squelchy FM bass you hear in bass music so often. It works with any other waveform in z3ta+2 (I like half saw modulating sinewaves) and you can create 3 operators and modulate 3 oscillators, so you can stack them. If you automate the selfsync on the oscillators being modulated you can make them growl a bit. But don't go overboard with the selfsync or it'll probably sound kinda sloppy.


It's probably nowhere near as capable as FM8, but it does allow for some more range in z3ta+2.
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Re: The Bass Thread

Postby S.P.P » 19 Nov 2013 10:54

Made a tear-out "bass". Pretty happy with this one. Again, the actual composition is super fast and abit boring, I just used it to make the sound.
https://dl.dropbox.com/s/teyf12wqlc2hjpx/A%20Thing.mp3
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Re: The Bass Thread

Postby ArisingFlame » 19 Nov 2013 21:53

Sexy... Quite sexy indeed.
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Re: The Bass Thread

Postby ChocolateChicken » 20 Nov 2013 00:27

PYR3LIGHT wrote:Made a tear-out "bass". Pretty happy with this one. Again, the actual composition is super fast and abit boring, I just used it to make the sound.


Are you going to explain how you made your sounds?
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Re: The Bass Thread

Postby ChocolateChicken » 20 Nov 2013 00:41

Basic saw bass heard in lots of trance and in some pop music:

Osc 1: Saw, 2 to 3 voices, anywhere between 8 and 15 cents unison detune.

Osc 2: Saw, +1 Oct, 2 to 3 voices, +8 cents detune, anywhere between 8 and 15 cents unison detune, slightly less volume than Ocs 1.

Optional:

- Some stereo (but don't use dimension expander if using Massive)
- Modulate lowpass cutoff filter frequency negatively with very quick attack envelope to make it sound plucky.
- Square wave on Osc 1 instead of Saw.
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Re: The Bass Thread

Postby HMage » 20 Nov 2013 17:44

http://dl.dropboxusercontent.com/u/1375 ... ss.wav.mp3

4 instances of Sylenth1:
————————————
Instance 1
—————
Oscillator B1 — 2-voice half-pulse (for stereo), no retrigger, slightly detuned, octave -2
Oscillator B2 — 2-voice noise (for stereo), volume very low — 0.14 or so — barely audible.
Filter B with 24dB bandpass to let mids through, drive to maximum.
Should give you a slight effect of 'static' and 'electricity'.

Oscillator A1 — 8-voice saw, no retrigger, quarter-dial detune, octave -1. Used for meat of the sound. Primary harmonic will be very unstable, so we'll reinforce it with another oscillator.
Oscillator A2 — 1-voice sine, octave -1. Carries the main harmonic.

Now play notes D1+D2 at same time.

Now we need to shape that sound — put this sylenth through a bus and put an EQ onto that bus like this one.

Image

Highs should start sizzling and the synth gets more 'meat'.

Now instance 2
————————
This is basically lowpassed instance 1 with sine one octave lower.
Oscillator A1 — same as instance 1.
Oscillator A2 — 1-voice sine with octave -2.
Enable lowpass on Filter A, move it down until only low frequencies go through.

This will reinforce and add to the missing low end of instance 1.

Route it through the same bus.

Now instance 3
————————
This instance will be played only for a few short bursts once in a while. Once or twice per bar, not more.

Oscillator A1 — 8-voice saw wave, detune it so it starts to flange right away when you hit the note.
Oscillator A2 — 8-voice pulse wave with octave -2, the point is to be as loud as possible with it.
Oscillator B1 — 1-voice sine wave at octave -1. This will reinforce the main harmonic.

Distort — bitcrush at max 100% wet. Now that 'flange' is the main modulator of square wave.
EQ — treble +2dB, treblefreq 440hz. This will make highs more yummy.
Reverb — size 4, 30% wet. This will spice it up in the arrangement.

Route it through the same bus.

Now instance 4
—————————
Oscillators B1 and B2 are exactly like in instance 1.
Filter B is exactly like in instance 1.
Oscillators A1 and A2 are exactly like in instance 1.
Filter A is highpass — only high frequencies allowed.

This is to reinforce the 'electricity' feel.

Set it to mono/legato, set portamento time high enough to be very noticeable.

Route it through same bus.

Now play it that way so it's pitch constantly changes up and down at end of the beat.

Voila, you have the mp3.

Now the same bass but with drums and, later, leads — http://dl.dropboxusercontent.com/u/1375 ... rr.wav.mp3 — I postprocessed that a bit to polish it up but the bass is the same.
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Re: The Bass Thread

Postby ArisingFlame » 21 Nov 2013 01:18

Sexy. I'mma give that one a shot.
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Re: The Bass Thread

Postby S.P.P » 21 Nov 2013 07:29

ChocolateChicken wrote:
PYR3LIGHT wrote:Made a tear-out "bass". Pretty happy with this one. Again, the actual composition is super fast and abit boring, I just used it to make the sound.


Are you going to explain how you made your sounds?


Ooooops, sorry bro!
Here's the patch for the first one, made in massive.
https://dl.dropbox.com/s/dwaggpu1czyk1in/JPhelpz.nmsv

If you don't have Massive, here's what the patch looks like: http://prntscr.com/25oss9
In that picture the only things you can't see are the EQ, where the highs are boosted and the lows cut slightly, and the phase modulation, which is set exactly the same as the ring mod but with it's own macro. The performer is irrelevant and can be automated however is needed.


As for the second one .. well, I kinda don't wanna give this one away so I guess I'll just take it down. I will say that: It was made in Massive, uses two oscillators (one low and "heavy", one quite high and tinny), and makes use of phase, heavy use of ring mod, and is run through a bandreject filter.
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Re: The Bass Thread

Postby Mr. Bigglesworth » 21 Nov 2013 19:06

Performer settings, voices, routing? C'mon dude that screencap isn't much to go on here.
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Re: The Bass Thread

Postby S.P.P » 21 Nov 2013 19:24

Just set the performer to how you want it, surely? http://prntscr.com/25u9l8

Voicing: Max-16, unison-1, always trigger, everything off for spread.
Routing: http://prntscr.com/25u94p
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Re: The Bass Thread

Postby Mr. Bigglesworth » 06 Dec 2013 08:46

In Razor. put both oscillators on Formant, setting oscillator one's Select knob to 13 and the Formant knob to 16, setting oscillator 2's Formant knob dead center with the Select at 24. Modulate both oscillators' Formant knobs to the right (set the range of oscillator 1's knob to 23 and 2's to around 50).

Then apply a Lowpass Dirty to filter 1 and a Waterbed filter to filter 2. Set the cutoff of filter 1 to 85, the cutoff does not modulate in this patch, rather the Stretch of the filter is. The Stretch is set to -0.25 and modulated right 51, while the Resonance is set to 73. This is where top end of the overall sound is effected, the mid range is effected by the Waterbed filter.

Waterbed is a slightly odd filter that works in a similar way to a bandreject filter does, but rather than moving the rejection zone from side to side it moves it up and down, raising and lowering the volume of certain partials.

The Limit knob is set all the way up, and the Frequency is set to the middle. The Level knob is set to 5 and is modulated right 58, the decay to roughly 27 (I have it at 26.75) and the Speed knob is set to full.

Next we're onto dissonance effects, which are usually for weird experimental sounds, but in this case can be used to give a sound a more 'fluid' sound. I used the default effect (centroid) and set the amount to 0.03 (this is a very drastic effect and only needs a small amount) and the pitch is set to the middle.

After that we're onto the effects, which will just be your basic chorus effect. The amount a bit under halfway, the offset just a bit over halfway, the rate sitting at just over 9 o'clock, and the depth at 10 o'clock. The specifics don't matter spectacularly with this patches chorusing.

And to finish off we add a dirty limiter with the drive at halfway and the dirt at about 0.7.

And with that you should have a pretty neat sounding growly sound. Try messing with Safe Bass if you feel it needs more low end, and messing with filters and formant positions produces some interesting variations of this.

If you need a reference at all, here's an image.

Image


the final sound will be something like this.

EDIT: Since Razor is pretty CPU intensive, I'd recommend resampling after you're happy with the patch. Because lawdy lawdy it's a greedy VST.
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Re: The Bass Thread

Postby Berri » 14 Mar 2014 13:35

suddenly, a wild necro appears

All made in logic 9/10 pro,ask if you want to know how to make any of them.
ok so im just gonna post some of the basses ive made:

Spoiler some wierd wobbles i dunno:


Spoiler and sone attempts at reeses:

i have a few more on my soundcloud page that you can find here:
https://soundcloud.com/theberri
https://soundcloud.com/theberri
https://www.tumblr.com/blog/notberri
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Re: The Bass Thread

Postby Injustrial » 14 Mar 2014 20:45

Berri wrote:suddenly, a wild necro appears

All made in logic 9/10 pro,ask if you want to know how to make any of them.
ok so im just gonna post some of the basses ive made:

Spoiler some wierd wobbles i dunno:


Spoiler and sone attempts at reeses:

i have a few more on my soundcloud page that you can find here:
https://soundcloud.com/theberri


These are a lot of cool sounds, but I don't really feel any "bassiness" in them. I did lower a few down, which made for some very sexy low ends. Cool sounds, nonetheless. I'm thinking of using a few for pad-like effects in the mid range
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Re: The Bass Thread

Postby Berri » 15 Mar 2014 09:11

Injustrial wrote:
Berri wrote:suddenly, a wild necro appears


These are a lot of cool sounds, but I don't really feel any "bassiness" in them. I did lower a few down, which made for some very sexy low ends. Cool sounds, nonetheless. I'm thinking of using a few for pad-like effects in the mid range

i see what ya mean, i will try to post basses in the future ;p

on that subject:
https://soundcloud.com/theberri/fukin-great-bass
i did another

EDIT:
heres a better verision of the bass i just posted
https://soundcloud.com/theberri/fukin-great-bass-v2
https://soundcloud.com/theberri
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Re: The Bass Thread

Postby GCKrastin » 15 Mar 2014 12:45

Hey look, a topic I can sorta kinda contribute to! Prepare for neurobass. Also lots of pictures.

https://dl.dropboxusercontent.com/s/885 ... robass.mp3

This is a neurofunk reese I made in like 20 minutes with a buncha steps that I will mostly explain with pictures because it's a little complex:

The first thing you hear is the original sound. The second thing you hear is the first resample step. The second thing you hear is the final product after the second resample step. The first step is a Harmor in Patcher with a buncha effects on it.
Here's the Patcher, with super professional MSPaint text for explanation:

Image

Lots of chorus, distortion, and EQ.

Here's the actual Harmor patch:

Image

You can see everything you need to in order to make this patch except I have distortion set to log at 12% asymmetry and 56% amount. The most important thing in the picture is probably the unison pitch thickness settings. They aren't complicated, but without them it'll just sound like a boring saw reese. Also notice I have the prism set slightly to the right; this is not needed but it can give some nice movement to the high end.

Each EQ in the Patcher (other than EQ 4 which just a 100hz highpass) is a bandpass that looks like this:

Image

The positions of all the bandpasses are being somewhat randomly automated like this:

Image

It's important that they're all automated separately and slightly differently so that each of the 3 chains has some differences from the others. You can make the notes of the Patcher whatever you want, of course. I just messed around in E minor until I got something that didn't sound awful. (that's what I normally do for melodic things because who even needs music theory anymore)

All of the Waveshapers in the Patcher are just me clicking around until I got some subtle distortion. Most of them look like this,. If it's too harsh you'll just make everything into a square wave and that's bad. You can distort the final result if you like, I chose not to because this particular sound to me feels more "smooth", although more rough sounds are usually my specialty. Again it's important that each Waveshaper is different so each of the 3 chains has slight differences.

Once you've gotten it the way you want, record the pattern and drop that file into another Harmor. I use Edison for this because it comes with FL and it's pretty awesome. If you want to have stereo presence in your resampling (I did) then put the file in part A and part B of Harmor, and go to the advanced tab on part B and enable "side". This means that part A will be only the center and part B will be only the stereo. You can also just resample the mono signal and add stereo presence in the final step with unison or chorus or whatever. Or you can just have it completely be mono forever, but that's boring.

Now we're basically doing the same thing but the opposite, and without Patcher. Before, we used bandpasses to get movement in the midrange. Now, we're going to use Harmor's phaser as a notch filter.

Image

I also have prism slightly to the right again because why not.
I'm automating the width and offset (ofs) like this:

Image

Once you have it the way you want, resample again into another Harmor. This time I only automated the offset and not the width, but I DID automate the speed of the sample playback. This allows me to turn a 4-bar sound into an 8-bar sound without looping it, and it makes neat sounds. Normally these would be undesirable timestretching artifacts, but when done intentionally with some control it can sound pretty cool.
Here's my automation for the phaser offset and playback speed this time:

Image

Once you have it the way you want it, you can either resample again (I didn't) or record it and save it as a sample (I did). Make sure if you're doing stereo resampling that you link part B's phaser offset, playback speed, and phaser width to the same automation clips as part A, otherwise they won't move and only the center will have automation applied to it. That's about it, really. If you want to know more about this stuff I recommend you check out the How to Bass series by SeamlessR on YouTube, most of my sound design I learned was from his tutorials.


Also I appear to have broken all the spoiler tags in the universe so I just took them out for the moment. RIP dial-up internet users.

Edit: I some words.
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Re: The Bass Thread

Postby Luks » 15 Mar 2014 17:02

I usually use two types of bass, first more "sub-bass"-like low bass and one higher resonance saw-bass. I don't make dubstep, so my basses aren't very modulated. Just simple and sounding good. Too lazy to write more about them :D
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Re: The Bass Thread

Postby Berri » 16 Mar 2014 04:18

https://soundcloud.com/theberri
https://www.tumblr.com/blog/notberri
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Re: The Bass Thread

Postby S.P.P » 17 Mar 2014 05:48

Berri, the point is to explain how you made the basses
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Re: The Bass Thread

Postby Berri » 22 Mar 2014 05:19

ok i will explain how i made a bass.

heres a little growl i made in razor (first ones just the patch, second one is with some affects on top of it):
https://dl.dropbox.com/s/2ht8usazghuo1n0/Growl.mp3

heres the patch:
https://www.dropbox.com/s/2zl4lo6a4n89p61/Growl%201.nrkt

but anyway heres how i made it:
Image
the bassis (he he) of the sound is the two format waves (ignore the modwheel and pitch bend changer below the formant, they're not needed to make the sound) the first wave (http://i.gyazo.com/621adf05cba4c89435fec831edc303dc.png) is at almost half formant and its ratio is left at one (turn the colour down a lil bit too maybi :3) whilst the second (http://i.gyazo.com/11581cb3942178542f668568eac38598.png) is at full formant and a ratio of 1.97.

the first filter used is vowel filter (http://i.gyazo.com/c1a55ee48d37fc0c530730f59851333d.png), this gives it the sound most of its shape, remove that filter from the patch and you just get messy noise ([url][/url]) (not always a bad thing for some music genres but it is bad when trying to make a bass). the formant is above half , around two aclock, and is modulated by env 2, the filter it is on the middle setting and the singer has been turned down a bit.

the second filter is the comb peak which makes the sound a bit more... interesting (without second filter http://i.gyazo.com/7c2eaf04e2b7d0d2f124e42a646c15e2.png). the best way to describe it is that it makes the sound more like a "sound" and less like a "noise". the cutoff is below half and is modulated by env 2, the boost is full and is modulated by env 3 and the phase is above half and is modulated by env2.

the dissonance effect used is metal (http://i.gyazo.com/6067264360e789e9beb4f500aef9bd04.png), to make it sound more roboty and... well... metallic ;p. the amount is up a tiny bit (1.5 on the razor readout) in this little sweet spot which took ages for me to find, the amount and quant are modulated by env 2 and the quant is put in the middle.

then i added a stereo spread to make the sound fuller (http://i.gyazo.com/b31c4f5b41da2bf43066d0c0c2f81a53.png), the amount is a bit below half and is ,once agian, modulate by env 2. the ramp is all the way down, the rate is around a quarter and the cycles is just below half.

the saturator (http://i.gyazo.com/1de55f5fc08f0595440916ba13645916.png)was added in right before making this , it adds some br00talness to sound if ya get what i mean ;). the drive is a bit above quarter and the drive high is a bit above that.

now the envelopes (http://i.gyazo.com/b872b93064fa1ed9e34353ab935067c9.png),i kept the amp envelope the same as the default. i made env 2 have a little attack and a bit more decay to bring some movement in the sound , the sustain is down because that isn't really useful for movement, and release really doesn't matter with this kinda sound. env 3 is essentially the same as env 2 but with a little bit of sustain which i put on accidentally but then really did help the sound gain some dirty power.

the voicing of the sound (http://i.gyazo.com/bfecb1d536de86e8bd7fbcb39016d653.png) is down by -24 (or two octaves i think) because thats useful, i think :/. all the other voicing options were kept the same as default tho.

i added a spectral clip, although it really didn't do much at all to the sound, so i am not going into the details with that. however the safe bass really added some power to the sound, i only changed the amount i think and i changed that too be a bit above a quarter.(http://i.gyazo.com/7abcc50fb1ef7b59663d36e3d453042e.png)

after making the patch i quickly put some affects on it, not gonna go into detail with this one, just gonna post some pitctures.
some ringshifting (don't now if this is just a logic thing or whatever):
Image
some distortion (this can be done with any daw or plugin or whatever)
Image

thanks for reading this guide/ tutorial / whatever, its my first one so its probably a bit shit, but im not gonna get better unless i try right :smile: .

thanks for ya time :grin:
https://soundcloud.com/theberri
https://www.tumblr.com/blog/notberri
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