Location: NYC

ok, so about the 10th person has PM/AIM/e-mailed me about that bassline I posted in the "teebee" thread. So, I'll do my good deed for the day and give you a basic idea of how to do it.

I'm not gonna give the exact settings cause quite frankly that involves opening up cubase/screenshots/scribbling down settings/etc. Basically I'm lazy and the actual concept is the important part.

For this little excercise your goin' to need

1. Kontakt

2. a computer and sequencer to run it on(cubase, logic, fruity whatever)

3. a midi keyboard with adleast 2 knobs

4. 3 different lead samples:

a. "wha" sound (I'm pretty sure there's a similar 1 in my dillinja construction kit) think ram remix of warhead.
b. a reece of some sort
c. a lead with a lot of PWM on it. I'm not gonna tell you where I got mine. But listen to the fills on Tudor Rose remix
d. a sub sample (yes I know that's 4 samples, cheeky bastards)

Bust out kontakt

step 1: load up each sample as it's own instrument, except for the "wha" sound, double that and pitch one of them up an octave. For ease of explanation set this all up like this

instrument 1: wha sound
instrument 2: wha sound an octave up
instrument 3: reece
instrument 4: lead you just ripped of the tudor rose remix
instrument 5: sub patch

Ok, instruments 1 & 2 each get EQphasers synced to LFO's. Set the LFO's to "bar" increments and set them each to a different odd numbered increment. DON'T SET THE LFO'S TO RETRIGGER!!!

These instruments also both get 2-pole low-pass filters on them. Assign the cutoff n' resonances to 2 faders on your keyboard.

But Jon? Why do we need low-pass filters if they already go
"Wha Wha Wha??" We'll get to that in a minute.

instruments 3 & 4 both get vowelEQ's on them. Sync both of these to LFO's also, but DO set the LFO's to retrigger and set them both to 1/4 notes

Now put 2-pole high-pass filters on instruments 3&4. Assign the res and cutoff to THE SAME two faders on your keyboard as you did for instruments 1 & 2.

Set the audio output of instrument 5 to a different output then your franksteinien monstrosity of filters fx and lfo's, Say audio channels 3&4 (while everything else is on audio channels 1&2)

Put a high pass eq on audio chanel 1&2, I recomend the waves renessance eq. Set that bugger to around 140-170 hz

add reverb n' delay to taste

Make sure all 5 patches are set to the same midi channel

Now plunk out a 2 bar bassline, loop that and start playing with the faders.

Go fetch a clean pair of boxers from the drawer

I hope you've found this brief tutorial entertaining and informative. If you have, please take a moment to visit
here:

http://www.breakbeatscience.com/ind...xt=Nag%20Champa

and consider buying my latest drum n' bass masterpiece
"Nag Champa/Check this out"

NYC Dn'B needs your support and 30% of all proceeds
will go to alcohol and gear.

EZ,
Juan

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Location: No where near

Man this is like homework or something...

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Location: Brooklyn

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Location: des moines, Iowa, USA(AKA a black hole)

quote:

---

Originally posted by Jon [s]


For this little excercise your goin' to need

1. Kontakt

2. a computer and sequencer to run it on(cubase, logic, fruity whatever)

3. a midi keyboard with adleast 2 knobs

4. 3 different lead samples:

a. "wha" sound (I'm pretty sure there's a similar 1 in my dillinja construction kit) think ram remix of warhead.
b. a reece of some sort
c. a lead with a lot of PWM on it. I'm not gonna tell you where I got mine. But listen to the fills on Tudor Rose remix
d. a sub sample (yes I know that's 4 samples, cheeky bastards)

---

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Location: Auckland NZ

quote:

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Originally posted by l33t
damn son, nice! >adds to the too do list.

in re: to the lead source, i know that pwm stands for Pulse width modulation, but a clue to find a good lead source for that might help. i guess i know sounds more when i hear them, but some sounds may be better than others. i guess it never hurts to experiment tho...

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Location: Jannersville, UK / Margaret River, WA

What a guy.

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Location: North

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Location: in a tea daze

quote:

---

Originally posted by Jon [s]

NYC Dn'B needs your support and 30% of all proceeds
will go to alcohol and gear.

---

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jon your me hero!

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cheers moite

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cheers moite

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Location: London

wikked tips im sure and thanx alot for taking tiem out to put this up as it's soemthing i've been messing with myself recently since i borrowed an emu
one thing tho, i've done exactly what u told me in kontakt and it sounds like crap! the wha bass jsut sounds totally out of place like it shouldnt even be there, the vowel filters dont seem to be helping in any way.. infact it jsut sounds like a total mess i wont even bother embarresing myself explaining any more lol

any chance u could elaborate as to what each filter is adding to the overall sound cos mine jsut sounds like some random shit atm!
cheers maaang

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Location: NYC

about the vocal filters
erm, fiddle with the vocal filters a bit, try cranking the resonance.
when you hold the note down it should sound like
"iiiiiieeeeeaaiiiiiiieeeeeeeaaiiiiiiieeeeaaaiiiiiieeeeeaaa"

about the low-pass/highpassfilters
The basic concept is that your taking low-pass n' high-pass filters n' using them to cross-fade between 2 different sounds(or in this case 2 different groups of sounds). 4 different instruments is a little ambitious, so maybe try 2 different instruments at first then build from that.

about the wha
Now that I think about it, the wha sounds might not sync proper if you pitched one up an octave(i used a multisample). So yeah just use a multi-sample. Or make a wha sound in kontakt and resample it at 2 different octaves.

so basically, don't think of it as 4 independent instruments really, but 2 groups of 2. When you hit one it sounds like "wha" when you hit the other it sounds like "aaeeii". And when you play with the lpf/hpf filter while doin' this it sounds like, er.....dope

So yeah experiment a bit, there's like 4 or 5 different concepts in there. It's gonna take a lil practice to get your head around them.

And for 10 points, see if you can figure out why I told you to resample the "wha" sound instead of running it straight offa konkakt.

Now once again, a word from our sponsors:

Nag Champa/Check this out!! The latest Dn'B hits by
Garon n' Jon [s]!!!! Priced to own at only $7.99 get your copy today!!!

BUY NOW!!!

Man, are you guys lucky that cubase is broken n' i'm bored off my tits

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Location: London

cheers for that man it all makes proper sense to me now.
and if u want any mc's for ya new grime tracks i know where to find em

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Location: Ohio

Are you guys making little multi samples of each part or just combining the whole thing in to one loop and sampling that?

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Location: RVA

How can I make a multisample instrument? Is it just the same sample pitched to different octaves, or would you sample a C note, a D note, an E, etc...?

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Location: Vienna, Austria

quote:

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Originally posted by PrestoMagnetic
How can I make a multisample instrument? Is it just the same sample pitched to different octaves, or would you sample a C note, a D note, an E, etc...?

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Location: London

Nice one......Cant find any "eqphasers" in kontakt though

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Location: Edinburgh

here's was my quick attempt

Attachment: optical style bass attempt1.mp3
This has been downloaded 0 time(s).

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Last edited by Enkoder on 07-04-2004 at 07:32 PM

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Location: seattle, wa

good tips, but it's also good to point out that each voice group in kontakt can have its own effects/filters on it. it might be better to just create one instrument with several voice groups, so that way you can keep the lfos, envelopes, and filter settings local to the instrument. if you need multiple outs, just assign the voice groups to whichever outputs you want them on (but this will make it impossible to freeze using logic).

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