Ableton Forum

kraze wrote:

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?

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.

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.

kraze wrote:

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?

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.

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.

see the light wrote:

kraze wrote:

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?

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.

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.

What EQ range does this technique fall into? Or is this aiming to be the centre piece of your entire track?

DjViral wrote:

see the light wrote:

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.

What EQ range does this technique fall into? Or is this aiming to be the centre piece of your entire track?

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.

Machinate wrote:

DjViral wrote:

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?

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.

Yeah, it does seem like kind of a lot. Sometimes 11 tracks suffice... this is 11 tracks just for BASS!

I pledge to do a rocking chop-style song with 8 tracks or less this weekend.

kraze wrote:The main key is to just be open, i just made a really defined bass sound using automat and ohmicide in 2 minutes and it's pretty much blowing my mind right now.

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

kraze wrote:

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?

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.

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.