Got any MP3's to demonstrate this? Does sound like a whole shit load of work on a bass sound!kraze wrote:I was talking about what i mentioned in the first post. Copy your bassline to 5-6 tracks and treat them all dramatically different, one for growl, one for glide, one for oomph, one for sub, one for crazy lfo sample hold stuff etc, then just send them all to a compressor buss (with some light distortion if you want, i use reaktor crow stuff) and adjust volumes accordingly to shape your sound. You can also add great motion by just automating volumes a bit over the coarse of the track, very easy and it sounds really good.Night Spirit wrote:Nice Kraze. Can you explain the "copy and effect"thing you mentioned? Also what exactly did you do with the LFO and gating?
To spark interest, this is how i made a very fat and harmonic bass sound in a discohouse/whatever song i'm working on right now:
Track 1: Basic bassline, this time actually a just a reese style synth from my Juno. A squarewave with pulse width modulation. Replayed an octave higher and mixed in at 20%.
Track 2: Dupe of track one, filtered with modulation on the hi-end
Track 3: Dupe of track one, eq'ed so there's nothing over 220hz, through a crow tapedelay, i love the vibe it gives sub.
Track 4: Dupe of track one with two pitchshifters, the first one lowers an octave with half wetness, the second one ups the whole thing an octave fully wet. This sounds great on analouge stuff, gives it a special quality like none other.
Track 5: Bassline recreated run through Rob Papen Predator.
Track 6: Dupe of track 5, ultra wide stereo imaging, very sharp for use in bursts.
Track 7: Dupe of track 5, distorted with Ohmicide Ohmforce for crazy feedback growl
Track 8: Dupe of track 5 through AudioDamage 914 filter, really good one.
Track 9: Dupe of track 5 run through Albino 3 FX, loads and loads of modulation going on.
Track 10: Re-rendered version of track five one octave higher with slow deep lfo modulation and a higher portamento setting
Track 11: A battery 3 kit i made with a bunch of pop and slap samples used to spice things up a bit. Through Ohmicide ohmforce for a great feedback distortion
Bus: IK Ampeg SVX, Sonalksis 315mk2 compressor, PSP Mixpressor, PSP Mixbass, Reaktor Crow GreenTape , and lastly a Sonalksis TBK2 for grime.
It might sound like alot with around 25 plugins and 10 audio tracks just for a bassline, but when you're done bussing, adjusting volumes and automation it's going to sound awesome, and let's face it, bass should always sound ridiculously awesome in this type of musc.
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see the light
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What EQ range does this technique fall into? Or is this aiming to be the centre piece of your entire track?kraze wrote:I was talking about what i mentioned in the first post. Copy your bassline to 5-6 tracks and treat them all dramatically different, one for growl, one for glide, one for oomph, one for sub, one for crazy lfo sample hold stuff etc, then just send them all to a compressor buss (with some light distortion if you want, i use reaktor crow stuff) and adjust volumes accordingly to shape your sound. You can also add great motion by just automating volumes a bit over the coarse of the track, very easy and it sounds really good.Night Spirit wrote:Nice Kraze. Can you explain the "copy and effect"thing you mentioned? Also what exactly did you do with the LFO and gating?
To spark interest, this is how i made a very fat and harmonic bass sound in a discohouse/whatever song i'm working on right now:
Track 1: Basic bassline, this time actually a just a reese style synth from my Juno. A squarewave with pulse width modulation. Replayed an octave higher and mixed in at 20%.
Track 2: Dupe of track one, filtered with modulation on the hi-end
Track 3: Dupe of track one, eq'ed so there's nothing over 220hz, through a crow tapedelay, i love the vibe it gives sub.
Track 4: Dupe of track one with two pitchshifters, the first one lowers an octave with half wetness, the second one ups the whole thing an octave fully wet. This sounds great on analouge stuff, gives it a special quality like none other.
Track 5: Bassline recreated run through Rob Papen Predator.
Track 6: Dupe of track 5, ultra wide stereo imaging, very sharp for use in bursts.
Track 7: Dupe of track 5, distorted with Ohmicide Ohmforce for crazy feedback growl
Track 8: Dupe of track 5 through AudioDamage 914 filter, really good one.
Track 9: Dupe of track 5 run through Albino 3 FX, loads and loads of modulation going on.
Track 10: Re-rendered version of track five one octave higher with slow deep lfo modulation and a higher portamento setting
Track 11: A battery 3 kit i made with a bunch of pop and slap samples used to spice things up a bit. Through Ohmicide ohmforce for a great feedback distortion
Bus: IK Ampeg SVX, Sonalksis 315mk2 compressor, PSP Mixpressor, PSP Mixbass, Reaktor Crow GreenTape , and lastly a Sonalksis TBK2 for grime.
It might sound like alot with around 25 plugins and 10 audio tracks just for a bassline, but when you're done bussing, adjusting volumes and automation it's going to sound awesome, and let's face it, bass should always sound ridiculously awesome in this type of musc.
ya these type of tracks are predominantly just bass, drums, a nice (possibly disorted) synth , and chopped up stabs whether it be samples or mangled vocals. dont need that much range once you can fit it all in right and compress the shit out of it. but yeah the bass is the beef and glue of the track, so i guess in some cases 11 tracks is suffice. i dont know seems like a lot though.see the light wrote:What EQ range does this technique fall into? Or is this aiming to be the centre piece of your entire track?kraze wrote:I was talking about what i mentioned in the first post. Copy your bassline to 5-6 tracks and treat them all dramatically different, one for growl, one for glide, one for oomph, one for sub, one for crazy lfo sample hold stuff etc, then just send them all to a compressor buss (with some light distortion if you want, i use reaktor crow stuff) and adjust volumes accordingly to shape your sound. You can also add great motion by just automating volumes a bit over the coarse of the track, very easy and it sounds really good.Night Spirit wrote:Nice Kraze. Can you explain the "copy and effect"thing you mentioned? Also what exactly did you do with the LFO and gating?
To spark interest, this is how i made a very fat and harmonic bass sound in a discohouse/whatever song i'm working on right now:
Track 1: Basic bassline, this time actually a just a reese style synth from my Juno. A squarewave with pulse width modulation. Replayed an octave higher and mixed in at 20%.
Track 2: Dupe of track one, filtered with modulation on the hi-end
Track 3: Dupe of track one, eq'ed so there's nothing over 220hz, through a crow tapedelay, i love the vibe it gives sub.
Track 4: Dupe of track one with two pitchshifters, the first one lowers an octave with half wetness, the second one ups the whole thing an octave fully wet. This sounds great on analouge stuff, gives it a special quality like none other.
Track 5: Bassline recreated run through Rob Papen Predator.
Track 6: Dupe of track 5, ultra wide stereo imaging, very sharp for use in bursts.
Track 7: Dupe of track 5, distorted with Ohmicide Ohmforce for crazy feedback growl
Track 8: Dupe of track 5 through AudioDamage 914 filter, really good one.
Track 9: Dupe of track 5 run through Albino 3 FX, loads and loads of modulation going on.
Track 10: Re-rendered version of track five one octave higher with slow deep lfo modulation and a higher portamento setting
Track 11: A battery 3 kit i made with a bunch of pop and slap samples used to spice things up a bit. Through Ohmicide ohmforce for a great feedback distortion
Bus: IK Ampeg SVX, Sonalksis 315mk2 compressor, PSP Mixpressor, PSP Mixbass, Reaktor Crow GreenTape , and lastly a Sonalksis TBK2 for grime.
It might sound like alot with around 25 plugins and 10 audio tracks just for a bassline, but when you're done bussing, adjusting volumes and automation it's going to sound awesome, and let's face it, bass should always sound ridiculously awesome in this type of musc.
Yeah, it does seem like kind of a lot. Sometimes 11 tracks suffice... this is 11 tracks just for BASS!DjViral wrote:ya these type of tracks are predominantly just bass, drums, a nice (possibly disorted) synth , and chopped up stabs whether it be samples or mangled vocals. dont need that much range once you can fit it all in right and compress the shit out of it. but yeah the bass is the beef and glue of the track, so i guess in some cases 11 tracks is suffice. i dont know seems like a lot though.see the light wrote:What EQ range does this technique fall into? Or is this aiming to be the centre piece of your entire track?kraze wrote: To spark interest, this is how i made a very fat and harmonic bass sound in a discohouse/whatever song i'm working on right now:
Track 1: Basic bassline, this time actually a just a reese style synth from my Juno. A squarewave with pulse width modulation. Replayed an octave higher and mixed in at 20%.
Track 2: Dupe of track one, filtered with modulation on the hi-end
Track 3: Dupe of track one, eq'ed so there's nothing over 220hz, through a crow tapedelay, i love the vibe it gives sub.
Track 4: Dupe of track one with two pitchshifters, the first one lowers an octave with half wetness, the second one ups the whole thing an octave fully wet. This sounds great on analouge stuff, gives it a special quality like none other.
Track 5: Bassline recreated run through Rob Papen Predator.
Track 6: Dupe of track 5, ultra wide stereo imaging, very sharp for use in bursts.
Track 7: Dupe of track 5, distorted with Ohmicide Ohmforce for crazy feedback growl
Track 8: Dupe of track 5 through AudioDamage 914 filter, really good one.
Track 9: Dupe of track 5 run through Albino 3 FX, loads and loads of modulation going on.
Track 10: Re-rendered version of track five one octave higher with slow deep lfo modulation and a higher portamento setting
Track 11: A battery 3 kit i made with a bunch of pop and slap samples used to spice things up a bit. Through Ohmicide ohmforce for a great feedback distortion
Bus: IK Ampeg SVX, Sonalksis 315mk2 compressor, PSP Mixpressor, PSP Mixbass, Reaktor Crow GreenTape , and lastly a Sonalksis TBK2 for grime.
It might sound like alot with around 25 plugins and 10 audio tracks just for a bassline, but when you're done bussing, adjusting volumes and automation it's going to sound awesome, and let's face it, bass should always sound ridiculously awesome in this type of musc.
I pledge to do a rocking chop-style song with 8 tracks or less this weekend.
Well, i always bounce down bass down right when i'm done automating, too many choices too deep into the process makes me insane. I bounce it down to one track and then chop it up a bit and maybe try some glitchy pitch editing. I do that with everything when it comes to this genre and these songs are usually 6 tracks when i'm done. Drums, Bass, Synth Lead, Extra Synth, Chords/Stabs, Vocal/Fx. I then mix it with cheap 80's outboard gear and it's easy to keep it nice and beefy.
A big bass sound with a wide but controlled frequency range and motion stables the track up and allows me to go nuts with the post-distortion eq and hi-freq delay on the leads, which sounds great on a stomping pa.
And yeah, DjViral is right on the money with his simplified description of the genre.
A big bass sound with a wide but controlled frequency range and motion stables the track up and allows me to go nuts with the post-distortion eq and hi-freq delay on the leads, which sounds great on a stomping pa.
And yeah, DjViral is right on the money with his simplified description of the genre.
sick! giver a post when your done..Machinate wrote:Yeah, it does seem like kind of a lot. Sometimes 11 tracks suffice... this is 11 tracks just for BASS!DjViral wrote:ya these type of tracks are predominantly just bass, drums, a nice (possibly disorted) synth , and chopped up stabs whether it be samples or mangled vocals. dont need that much range once you can fit it all in right and compress the shit out of it. but yeah the bass is the beef and glue of the track, so i guess in some cases 11 tracks is suffice. i dont know seems like a lot though.see the light wrote: What EQ range does this technique fall into? Or is this aiming to be the centre piece of your entire track?
I pledge to do a rocking chop-style song with 8 tracks or less this weekend.
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MacBook Pro Retina | MOTU Traveler mk3 | Ableton Live 9 Beta | SCI 440 Tom | TR-707 | DX7 | Predator
MacBook Pro Retina | MOTU Traveler mk3 | Ableton Live 9 Beta | SCI 440 Tom | TR-707 | DX7 | Predator
Cross-fading!
I personally think the key to that Ed Banger sound is sampling. Line up two loops then cross-fade like crazy between them and tweak as necessary, and repeat if necessary. Try experimenting by off setting the start point of one loop. This is basically what I done for a mash-up / tune called Working It, have a listen.
myspace.com/babyboomvalley
I personally think the key to that Ed Banger sound is sampling. Line up two loops then cross-fade like crazy between them and tweak as necessary, and repeat if necessary. Try experimenting by off setting the start point of one loop. This is basically what I done for a mash-up / tune called Working It, have a listen.
myspace.com/babyboomvalley
Your track "working it" is definitely workin it!!! Would you mind explaining in a little more detail how you offset samples and then crossfade to acheive this wicked sound.Ism wrote:Cross-fading!
I personally think the key to that Ed Banger sound is sampling. Line up two loops then cross-fade like crazy between them and tweak as necessary, and repeat if necessary. Try experimenting by off setting the start point of one loop. This is basically what I done for a mash-up / tune called Working It, have a listen.
myspace.com/babyboomvalley
BOOOOOOMkraze wrote:I was talking about what i mentioned in the first post. Copy your bassline to 5-6 tracks and treat them all dramatically different, one for growl, one for glide, one for oomph, one for sub, one for crazy lfo sample hold stuff etc, then just send them all to a compressor buss (with some light distortion if you want, i use reaktor crow stuff) and adjust volumes accordingly to shape your sound. You can also add great motion by just automating volumes a bit over the coarse of the track, very easy and it sounds really good.Night Spirit wrote:Nice Kraze. Can you explain the "copy and effect"thing you mentioned? Also what exactly did you do with the LFO and gating?
To spark interest, this is how i made a very fat and harmonic bass sound in a discohouse/whatever song i'm working on right now:
Track 1: Basic bassline, this time actually a just a reese style synth from my Juno. A squarewave with pulse width modulation. Replayed an octave higher and mixed in at 20%.
Track 2: Dupe of track one, filtered with modulation on the hi-end
Track 3: Dupe of track one, eq'ed so there's nothing over 220hz, through a crow tapedelay, i love the vibe it gives sub.
Track 4: Dupe of track one with two pitchshifters, the first one lowers an octave with half wetness, the second one ups the whole thing an octave fully wet. This sounds great on analouge stuff, gives it a special quality like none other.
Track 5: Bassline recreated run through Rob Papen Predator.
Track 6: Dupe of track 5, ultra wide stereo imaging, very sharp for use in bursts.
Track 7: Dupe of track 5, distorted with Ohmicide Ohmforce for crazy feedback growl
Track 8: Dupe of track 5 through AudioDamage 914 filter, really good one.
Track 9: Dupe of track 5 run through Albino 3 FX, loads and loads of modulation going on.
Track 10: Re-rendered version of track five one octave higher with slow deep lfo modulation and a higher portamento setting
Track 11: A battery 3 kit i made with a bunch of pop and slap samples used to spice things up a bit. Through Ohmicide ohmforce for a great feedback distortion
Bus: IK Ampeg SVX, Sonalksis 315mk2 compressor, PSP Mixpressor, PSP Mixbass, Reaktor Crow GreenTape , and lastly a Sonalksis TBK2 for grime.
It might sound like alot with around 25 plugins and 10 audio tracks just for a bassline, but when you're done bussing, adjusting volumes and automation it's going to sound awesome, and let's face it, bass should always sound ridiculously awesome in this type of musc.