Okay, assuming we're gunna layer a sine for pure bass-weight, how do we get the rest of the frequency range sounding phat?
We need to fill out at least the 'low mids' with something, and possibly the 'high mids' too (although that becomes cack territory imo).
> Modulating the pulse width of your oscillator is an obvious way of making bass. If your synth has other oscillator level waveshaping controls, modulate them too! (Makes standard hoover basses)
> Detuning two oscillators against each other is another way. (Add a low pass filter for standard Reese basses)
> Likewise, two oscillators tuned an octave apart can achieve a fuller bass sound.
> Gently modulating a comb filter with a low frequency cut off is another way again.
> Saturating your sound with distortion as yet another way.
Suhk, Bar9 and co use the follwing techniques for their midrange biznuzz...
futures_untold wrote:
1> Take a complex waveform, (one that isn't sine/triange/saw/pulse/square)
2> Create a waveshaper on your signal path as an insert effect and get shabby.
3> Pass the the audio through a distortion unit, also set as an insert effect. Experiment to taste.
Another variation on this theme has been beautifully summarised by Deadly Habit.
Deadly Habit wrote:
Try reshaping existing waveforms like sawtooths/squares so they have a more digital or fm-esque sound. (Use a waveshaper, ring modulator or bit crusher to do this).
Layer your oscillators, either several semitones or several octaves apart to thicken things up. Fine tune the distance between the top and bottom notes played by your oscillators. This will produce a beating (wobble) effect.
Possibly use subtle amounts of Frequency Modulation (FM) between your oscillators.
Phasers, chorusses and flangers can be used to add some movement to your patch.
As per usual, modulate a low pass & notch filter over the entire sound via lfo or hand drawn automation etc
If we add automated filters to our sound, that will generate interest instead of simply having a static tone. The main ways of automating filters are via modulation sources like ADSRs & LFOs or by drawing in automation by hand in your sequencer. ADSRs and LFOs are found on most synths and samplers and can be set to retrigger with each midi 'note on' event.
Now we need to consider effects on the bass itself.
> Reverb adds space. Small reverbs on bass work well.
> Chorus makes sounds 'phatter' yet with less punch.
> Really short delays make shit sound robotic.
> Extreme flanger settings also make things sound robotic.
> Phasers add mellowness to sounds (or simply sound cheesy if used with extreme settings (imo haha))
> Distortion can easily be over done. Less is more usually!
Layering effects via frequency splitting can achieve gnarlier sounds than simple fx chains. Resampling a bass after processing it with effects, only to process it more as a sample is another technique to consider.
But of course there are no rules to the use of effects. Use whatever you think will sound good in any way you see fit!
Finally, we come back to the arrangement. Things to consider in your arrangement include:
> When to drop sounds in & out of the mix.
> When to 'replace' your bass with 'non bass' sound effects. (Excision and Datsik do this alot, hence their robot shizzle...)
> When to switch on & off audio effects like chorus, reverb, & distortion etc.
I guess it takes practice to really make 'music' sound interesting through sound selection, good use of effects and arrangement. However, if developing these skills ain't your cup of tea, I'd suggest finding a new hobby!
Peas
im sad now
