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basically I haven't resampled a midrangebass in over a year, at that time i was naive about the importance of having a subbass under your midrange, just id just resample it as is without much processing but with plenty of automation and glitch to create these really really intersting patterns, thing is they were mixed down pretty shitty so it was very hard to work with, some even had pitchbending but i had cut and paste different parts together and now wouldnt have known how to apply a subbass to its corresponding mid range pattern, so thats what basically stopped me from re sampling more is cause i was simply inexperienced and shitty at mixdowns at the time.

so now i am getting back into it, thing is, i need to ask the forum if you guys process as much as you can on your midi bass WITH subbass, then resample etc etc. after it all do you still use the subbass written into your resampled midrange for its sub weight? or do you high pass it to its respective area for applying a subbass under it after wards? what if you have cut it up into different pieces that had lfo automation or pitchbending, how do you retain it's subbass dynamics without having to do so much work? Thats the only problem that holds me back from resampling is all the tons of technical and repetitive work of resampling your subbass without your midranges then applying them together on your audio canvas, there must be a better means of unaffecting your subbass of your resampled midranges?

High pass at 100 > Sample > put back in daw > add straight sine > done

When you're done resampling just copy the original patch and make it a pure sine. Keep the automation in case you want it to follow the midrange lfo for example.

Divane wrote:When you're done resampling just copy the original patch and make it a pure sine. Keep the automation in case you want it to follow the midrange lfo for example.

As long as you change it to only automate the volume

I usually high-pass before all the processing so i dont distort the low end. Plus i just think a sine wave underneath the mid bass sounds cleaner :3

I think what he's asking (sorry if one of you already answered this) is, say I start with my midrange bass (with sub frequencies in it). I lay out a few MIDI clips, then, right before I decide to resample, I cut out all of my sub frequencies. I start fucking around with my newly sampled midrange sounds and screw up the ordering of all the notes, etc etc to make it sound super glitchy. Now, when I want to go back and add my sub underneath using just a pure sine wave, how do I know what notes to lay down? If I use the original MIDI clip that I converted into audio, my sub bass lines wont be accurate because I've screwed around with my midrange bass a ton. But I don't see any other way to do it without literally going through all of my little chopped up audio slices again, finding what notes they hit, and slowly adding my sub underneath (which would be a huge bitch).

I usually just leave the sub in when I resample, but I have also been wondering about the OP's question, since my process for resampling bass lines usually sounds like shit.

This has been one of my problems, getting the sub sync to my midbass.
But then i started to do it so that i make my midbass, cut sub freqs and then copy it and change the copy of it to sinewave and change the automation to the volume only.
How bout you do this with your mid and sub and chop both of em the same way? dunno if it works since i dont do resampling....

MaZa1 wrote:i make my midbass, cut sub freqs and then copy it and change the copy of it to sinewave and change the automation to the volume only.

Yeah, i guess this could work but do you really want your sub bass to be changing in volume so much? I'm not sure if that would sound too good or not. Time for some experimentation!

Assuming you make your sub along with your mid range,
You could split your frequencies and send the hi/mids to a bus and the lows to a separate bus.
Apply any pitch autimation on the original track.
Put your effects chain on your hi'/mids bus
Make your low bus mono.
then send your high/mid and low buses to another bus
to then resample.

Although, I tend write them separately.
I find that a sub bass which just follows
the mid range usually bores me.

Or you could create your midrange patch with the sub included in it and when you resample/chop all that up, just make sure to round the edges of your resampled wav clips. (in ableton it gives you the option to drag your fades on each wav sample and allows you to fade out/in and if two clips are lined up side by side, you can even crossfade to blend the clips together to prevent clicking and popping).

Swelly wrote:Or you could create your midrange patch with the sub included in it and when you resample/chop all that up, just make sure to round the edges of your resampled wav clips. (in ableton it gives you the option to drag your fades on each wav sample and allows you to fade out/in and if two clips are lined up side by side, you can even crossfade to blend the clips together to prevent clicking and popping).

Why would you do that tho.....

because when you resample and if you're "glitchin" it up, probably including repitching samples, why would you trouble yourself with trying to tune your glitched samples/new sub bass track? Seems logical to me.

Why would you pitch something that you could have just done in midi before you resampled...and then tune it... Regardless high passing and then a designated sub is going to yield the cleanest results everytime,and nothing but the volume should ever be automated on a sub

/thread

just isolate everything under 200 when applying distortion and make sure to mono the low end, processing it all together can produce some really warm and moving subbasses.

Bump for more responses...

For those of you who gave your input, thank you, but I still don't really understand how to solve the issue at hand. Yes - a clean sine wave underneath your midrange produces the best result. I understand this. But the issue MassAphekt and I are both trying to figure out is different.

If you assume that resampling is nothing more than bouncing a bass riff to audio and then adding some effects, then yes, adding a sine wave underneath is simple. However, I like to glitch up my basslines a shit ton, i.e. warping stuff, reversing clips, transposing, etc. How then would I go about adding a clean, new sine wave under this if I no longer have a MIDI clip to reference which notes are being played? Hope this makes sense.

almostskate100 wrote:Bump for more responses...

For those of you who gave your input, thank you, but I still don't really understand how to solve the issue at hand. Yes - a clean sine wave underneath your midrange produces the best result. I understand this. But the issue MassAphekt and I are both trying to figure out is different.

If you assume that resampling is nothing more than bouncing a bass riff to audio and then adding some effects, then yes, adding a sine wave underneath is simple. However, I like to glitch up my basslines a shit ton, i.e. warping stuff, reversing clips, transposing, etc. How then would I go about adding a clean, new sine wave under this if I no longer have a MIDI clip to reference which notes are being played? Hope this makes sense.

That's why i suggested just building your patch with the sub in it already and smoothing out the chopped up bits...but if that doesn't make sense, and you use ableton, maybe this will help

Swelly wrote: That's why i suggested just building your patch with the sub in it already and smoothing out the chopped up bits...but if that doesn't make sense, and you use ableton, maybe this will help

Gotcha. Yeah, I usually just build it with the sub in it. The Corpus thing is pretty cool. I'll have to try that out.

Same here. I mean, music is an artform. Do whatcha gotta do. Why do we have to follow rules when expressing ourselves?

almostskate100 wrote:Bump for more responses...

For those of you who gave your input, thank you, but I still don't really understand how to solve the issue at hand. Yes - a clean sine wave underneath your midrange produces the best result. I understand this. But the issue MassAphekt and I are both trying to figure out is different.

If you assume that resampling is nothing more than bouncing a bass riff to audio and then adding some effects, then yes, adding a sine wave underneath is simple. However, I like to glitch up my basslines a shit ton, i.e. warping stuff, reversing clips, transposing, etc. How then would I go about adding a clean, new sine wave under this if I no longer have a MIDI clip to reference which notes are being played? Hope this makes sense.

Write down what notes you played, Know what key your in,
Bounce a midi clip of your work before you resample,
Make a identical sine wave sub copy of your mid range before you bounce then process them together......
Just throw random bass samples on there and hope for luck?
I dunno...

dont highpass basslines before you resample, low frequencies are basically what makes distortion sound the way it does..
highpass at the end of all the resampling