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BreakBeat wreCka
Join Date: May 2007
Age: 28
Posts: 1,991
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12-21-2007 05:50 AM
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Anthology of Sick-Bass Quotes
I made this post in a thread a while back and thought to myself just now that maybe it deserves it's own thread.. it's a collection of quotes ive cut and pasted from all over to create a small anthology of sick-bass quotes for anyone who's missed out on them. enjoy.
and also, if you have any suggestions for threads/quotes i missed out on, post up a link in this thread and ill update the list.
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To serve as a symbol of hope to those just starting out, I'll start it off with one of my fav. quotes coming all the way from 2002:
Fast Forward To 2005...
Quote:
Q&A Session 1: Noisia AKA Drifter
Source: http://www.dogsonacid.com/showthread...hreadid=298904
Originally posted by audiotheory - Reply by NOISIA
How do you make a reece?
detuning waveforms
or recording weird shit.
a week ago they were cleaning our windows with some high pressure cleaning device, we recorded it... sounds SICK :)
look out for it in the tide :-p
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Quote:
Q&A Session 1: Noisia AKA Drifter
Source: http://www.dogsonacid.com/showthread...hreadid=298904
Originally posted by project - Reply by NOISIA
wot do you use to get that evil distortion?
distortion: we use our ears to get that evil distortion, there's not really a set path or plugin or whatever...
just to give an example, a few weeks ago nik and martijn recorded a reese that was actually an arp on a drum kit preset on the korg n5, so it was basically a bunch of drum sounds being played in succession rapidly and recorded into the pc way too loud. it sounded evil as fuck and somehow we could even tune it. you never know.....
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Quote:
Calyx Production Interview
Source: http://forum.breakbeat.co.uk/tm.asp?...2&mpage=2&key=
Reply by Calyx
Those basslines... any tips on getting them to move like that?
To cut a LONG story short; regardless of whether you’re using a single ‘bass / mid’ sound or a collection of different ‘bass / mid’ sounds, once you’ve got the beginnings of a bassline composed or even just a small part or sound, create two identical tracks playing the same part (whether audio or midi-instrument). Then using EQ and/or high-cut and low-cut, dedicate one of those tracks to the bass / sub element of the sound, and dedicate the other track to the mid / tops character of the sound. Use EQ and subtle compression to make the sub element heavy and consistent. Then experiment with a myriad of plug-ins and effects on the mid / tops channel. Try all sorts of combinations of effects and experiment with automation of plug-in parameters to create movement and variation in the texture and character of the mids/tops. Every time you’ve made sounds, combinations and settings that you like, bounce down / record the audio of the mid/tops track and move on to another variation. Once you’ve made LOADS of variations and parts, then select what you think are the best of the best. Then experiment with chopping them up, inserting hits and notes of different mids/tops bounces, and try using more effects and filters to create more movement and flow between the different pieces of effected audio. Then just keep on working it and experimenting endlessly with the aim of evolving your own new techniques and sounds.
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Quote:
Q&A Session 1: Noisia AKA Drifter
Source: http://www.dogsonacid.com/showthread...hreadid=298904
Originally posted by project - Reply by .probe.zero
HOW THE FUCK DID U GAVE BACKDRAFT THAT SICK GROOVE ?
theres no other tune which lets me move my ass like this !
(serious question  !)
we wrote a bassline and then accidentaly (or intentionally, dont remember) offset it by half or a quarter of a bar. we were struck with awe by it.
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Quote:
Anally analyzing Calyx&Teebee abnormal basslines
Source: http://www.dogsonacid.com/showthread...hreadid=505068
Originally posted by NLB
Shit, where do i start?!
The general gist is to make a nice reece or whatever on the synth, eq, distort, compress in any order, till you have a fairly nice(er) sound.
Resample that, modulate the lo pass filter, then split eq it (I usally only do lo/sub and hi/tops but you can split it into more bands if you want.)
Keep the lo's raw and clean (No distortion small bit of compression to keep it constant)
For the hi's, add reverb, distortion and modulation and try not to compress coz you need the dynamic range here.
Now this meathod has been mentiond many times here before but I found that the thing that really made the difference is to put the right kind of reverb on the hi's. I'm talking very short delay, no predelay and fairly wet.
Now I might repete this process with different settings if nessary. The 'recreation' was made using samples that I made in this way.
Hope this helps, let us know if this is too vague.
NLB
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Quote:
Anally analyzing Calyx&Teebee abnormal basslines
Source: http://www.dogsonacid.com/showthread...hreadid=505068
Originally posted by NLB
Tis not a fake but i take that as a massive complement!
The funniest thing is that it was all made in Reason. Teebee is gonna love that!
I won't post a tutorial on this specific bass noise coz that would be well long. I've resampled god knows how many times, plus the bass noises I used to make this recreation are noises that have been resapled god knows how many times too!
1st i'll post the individual bass noises (for the non believers and the inquisiters) and a pic of the reason session. Then i'll post tips on how to make noises like this.
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Quote:
Q&A Session 1: Noisia AKA Drifter
Source: http://www.dogsonacid.com/showthread...hreadid=298904
Originally posted by Echelon - Reply by NOISIA
favorite instrument and fx plugins?
kontakt 2 is great
and everything else by native instruments... sick things.
we dont use synths/vsti's an awful lot tho, a big part of our tunes is just audio loaded straight into cubase's arranger (you can cut up breaks so much faster if you bypass recycle and your sampler and midi and all that, also applying individual processing is a lot easier this way)
waves bundle fx are very good, we use the C4, the Rcomp, the REQ and the L2 a lot
ultrafunk plugin range is good if you want to spare your cpu
od:
amplitube, big tick nasty shaper, predatohm, campelphat, of course always, it all depends on what you use it on...
PSP vintage warmer and the bluetubes DR and the antares Tube are cool too for od fx.
the TC NAtive 3.0 bundle has a good filter and a compressor with sidechain ability :)
the kjaerhus audio classic series has some nice vintage gear emulations, with a very musical sounding limiter (as opposed to the very hard brickwallish L2 by waves)
for filtering psp nitro and antares filter have some cool modulation options and for simple filtering with low cpu load the littleduck filter is quite cool.
hexaline blue plugins. although a bit buggy here and there, are still cool... free :)
but again, the trick is too apply these fx with care and skill, applying presets to any sound wont get you anywhere...
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Quote:
I think i figured out how to make *FILTHY* bass! (without kontakt!)
Source: http://www.dogsonacid.com/showthread...28#post6629428
Originally posted by JustinTodd
How to Make Twisty bass in Cubase SX3
- Justin Todd (AIM: VancityJunglist)
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First of all, everything within this tutorial has been discussed on the grid many times. I'm just re-iterating it my own words and adding a few additional techniques.
You'll need some samples before you get started, so if you don't have any, there's going to be some prep work. Basically, any type of sample can be used but for my example I used:
- 2 distorted 808's
- 1 stabby and punchy bass hit with lots of fx and filter modulation ('uhmwaaaa')
- 1 reese at constant pitch
- 1 reese sample with a pitch-bend (+7 or +12 will do)
Step 1: Set up a Cubase Project Template
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I've recently discovered that Cubase project templates really speed up your work flow! This is the hardest step, but luckily it only needs to be done once. Start by making a "Twisty bass" project template:
- Set the project bpm to 170-175
- Create 3 group channels and name them low (150hz lowpass), mid (150hz hipass + 3.5Khz lowpass), high (3.5khz hipass). On the first insert of each channel, add an EQ (I use Sonalksis) and filter each channel appropriately.
- Create another group channel and name it BassMaster. Send low, mid and high to it (0db, prefader). Optionally, you can just send the lo-mid-hi channels directly to your master buss.
- Create 5 audio channels and route each of them to low mid high (0db, prefader). To do this quickly, create 1 audio track with the routings and "Duplicate" it 4 times.
- Create 1 or 2 midi channels. add a couple instances of your favorite bass vsti's (Massive, Z3ta, etc) and route the midi channels to them.
- Save this big mess as a Cubase template.
Here is a diagram to help you visualize whats going on:
Step 2: Make an Initial 4bar "Massline"
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I'm not sure who coined the term "Massline" (FeedingCone?) but I love it! Using all of the samples you collected, start sequencing them. I'm all about melody, but try to forget about it when doing a twisty bline. Think of the bline as if it where a 4 bar percussive loop. You'll need to use volume and eq automation to blend everything together.
During this phase, go f'ing crazy with effects!!
- Phaser+flange+reverb+waveshaping on the High channel,
- chorus+distortion+compression+modulation(antares filter, camelphat3, psp nitro) on mids
- minimal processing on lows. mabye some l2 and compression
- and don't forget individual processing on each of the audio channels
- Once you're done, go back and automate the parameters!!
Now, add some pure sub with your vst. I use it to reinforce any melodic content I may have inadvertently created. Make sure it doesn't clash too much with your existing sub-bass.
There's a good chance you'll sit there looping these 4bars for a while. It'll sound totally sick, but if you give your ears a rest for an hour and listen again, it might sound totally ridiculous! Don't worry about it!! Overcome your fear and just export that beast
Step 3: Use Recycle to Slice your Massline
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Fire up Recycle and slice your freshly exported massline. Try to isolate 808 hits, bass stabs, etc. I've just created a "Masslines" subfolder under my bass sample folder. I'm going to start building a collection of rx2s (excellent source of individual basshits, which can be used to sequence future masslines :) )
Step 4: Create a song using your Massline Rex
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Create a new song using your massline.rx2. Much like drums, you can resequence it for edits to keep things interesting. And if your inital massline sounded shite, you can correct that with a bit of clever resequencing.
Hope this mini-howto helped you!!
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Quote:
Tips on processing subs?
Source: http://www.dogsonacid.com/showthread...hreadid=432318
Originally posted by texel
rather than using a sine wave, use a lowpassed saw wave. i don't know what people are talking about when they mention a "warm sine" because a sine is just one frequency, no more. if it's got some harmonic distortion, it's no longer a pure sine, and that's probably what you're seeing on analog synths or processed waveforms.
the important thing to remember is that the first harmonic is absolutely essential if you want a "thick" and "present" sub. a sine wave a 30Hz will sound weak on anything other than the valve system, but a waveform with a fundamental of 30Hz and a prominent harmonic at 60Hz will sound pretty huge on any good system. saw waves have all integer harmonic partials, so that's why they make such good starting points for sub tones. square waves sound "hollow" because they have every *other* harmonic partial... so your square wave at 30Hz also has components at 90Hz, but not at the all-important 60Hz.
if in doubt, use a spectral analyzer, and look for that peak in the 60-80Hz range. if there's a big gap there, your bass won't hit.
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Quote:
Sub problemos
Source: http://www.dogsonacid.com/showthread...hreadid=355302
Originally posted by Full Clip Audio
I disagree. In DnB especially the line is blurred. The sonic impact is an equally important part of the writing.
If you just begin writing a bassline melody without thinking about the sonic characteristics and the note that hits on the drop or where you need a lot of impact happens to hit at 40hz then there is no amount of EQing you can do to make it hit the way it would if it was 65hz. You cant EQ something in that isnt there and trying to do it is going to leave your track a disaster. On the other hand if you consider where you need your strongest punch and impact when writing your melodies, you can make decisions that will get you closer. This may mean adjusting your progression or even transposing the entire melody a few steps. You can still keep the same feel and get the impact you need.
Every single patch and sound should be chosen of course for feel but also for its frequency content. You can only EQ so much and if it isnt there it isnt there. This isnt just for bass but for everything. Think about kicks.
Lets face it, DnB is not very musical at all when you get down to it. Even the most 'musical' DnB isnt. It is just as much about engineering as it is musicality. There is nothing wrong with that and there are plenty of other genres that are not like that but DnB definately is.
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Quote:
[HELP NEEDED]Bass on fruity studio
Source: http://www.dogsonacid.com/showthread...hreadid=409078
Originally posted by Zardonic
If you want a bass that sounds a bit rock, you could use BooBass in a layer, then blood overdrive it and cut the subs, then add a sine in the 3xOsc with a bit of detune then apply GMonoBass below 400hz then compress...
I use an insane (but intuitive) preset on compressor for the 3xOsc that works great to make them damn phat. open fruity compressor set threshold to -30db, ratio 30:0, gain 30db, attack and release to minimum and type vintage... then use post EQ to kill mids. And then if you just want more insanity add Antares Tube VST (REMEMBER TO CUT DOWN THE VOLUME ON THE BUS AFTER THAT!! )
Hope that helps!
(notes from endquoth: I noted in my compression tutorial that a fast attack and release time on a compressor together creates distortion because the compressor tries to follow the actual waveform rather than the general shape of the audio. This technique by Zardonic is a good example of what I meant when I said that some people like to take advantage of that type of distortion)
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Last edited by endquoth; 12-26-2007 at 05:12 AM..
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Linear Mode
