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Hey folks,

In a lot of my reading, I feel like re-sampling is often a part of designing bass sounds (specifically for Reeses).

I have tried this, but even following instructions, I am having less than stellar (read: muddy) results (even with splitting frequencies and filtering).

My question: Why re-sample if you have the ability to automate filtering, run multiple instances (w/o draining your cpu too much), and have sophisticated effect chains? What does re-sampling add to the process?

nothing technical.. Just other workflow and interpertations. You limit yourself with bouncing your stuff, so you gonna find other solutions you might wont get if you automate. Its just personal imo

Depone wrote:Other benifits are if you have say a notch filter giving some movement, when you play up and down the keys when its re-sampled, then the notch movement gets faster/slower

I have definitely noticed this. I have used other folks bass sample hits and liked this effect. When I have done it on my own, I am having less luck. Sounds like I need to experiment more.

because if you keep everything automated, its like having one constant fluid line of changes, but you can get unexpected results from resampling basslines with different delay effects, loopers, filters, and whatever else you can mess it up with.

also you could just change the settings on the synth itself, so you have different versions of the same riff without too much work automating between the settings that you want, because they already exist in audio form.

i guess its a matter of preference but ive heard crazzzy dubstep that could only have been made with resampling and not just automating things.

try rendering multiple versions cut and paste via audio the best bits together into something cohesive then gel it together with some more fx etc

Working with samples means that you can retrigger ADSR envelopes/LFOs everytime a new note is played. this is useful if you want to have an envelope controlled filter over the top of your previous FX processing.

I'd say the main limitation of working with samples is the fact that their length changes according to the pitch you play them at. Any LFO biznuz going on in your prebounce processing will also change, e.g., a 4/4 wobble will be 2/4 when played back an octave higer.

if you use ableton live, each slot in the drum rack has an lfo. so do crazy modulations before the lfo (if you use it at all) then try slicing it up in the rack. lots of possibilities

hurlingdervish wrote:if you use ableton live, each slot in the drum rack has an lfo. so do crazy modulations before the lfo (if you use it at all) then try slicing it up in the rack. lots of possibilities

I DO use Ableton.

Can you explain this a bit better? Are you writing a bassline, slicing it to a drumrack and then using different LFOs for different notes and replaying new melodies or just recreating your original pattern with different LFO settings.

PS: VERY COOL IDEA

contakt321 wrote:

hurlingdervish wrote:if you use ableton live, each slot in the drum rack has an lfo. so do crazy modulations before the lfo (if you use it at all) then try slicing it up in the rack. lots of possibilities

I DO use Ableton.

Can you explain this a bit better? Are you writing a bassline, slicing it to a drumrack and then using different LFOs for different notes and replaying new melodies or just recreating your original pattern with different LFO settings.

PS: VERY COOL IDEA

thanks, but yea you pretty much got the jist of it.
each slice can be a different lfo speed plus extra fx like reverb delay et.
it doesnt even have to be that coherent before you slice it, just know the notes that you are going to make the riff with, and GO NUTS. just assign like 10 effects or something and turn each one on and off in a 20 second sample. if you know how to use the chain selector, that would speed up the process. or if your more comfortable just automate random stuff on the grid then cut it up. i was suprised just how little cpu the drum rack uses, i havent hit a wall with it yet.

+1 on the drum rack technique, guess the secrets out now

KnobGoblin wrote:+1 on the drum rack technique, guess the secrets out now

woops!

just kidding i dont care if they know that technique because i want to hear people make good music.

contakt321 wrote:My question: Why re-sample if you have the ability to automate filtering, run multiple instances (w/o draining your cpu too much), and have sophisticated effect chains? What does re-sampling add to the process?

DnB producers needed something to do to fill their time after they stopped having ideas.
(joke)
(sort of)

How about resampling in reason 4, what's the best way to go about this? assuming i've got my drone note with a bunch of processing and I want to export it as a wav, how would I do this?

I've found that re-sampling my bass it deffo makes them sound bigger and badder (in a good way). I think this is down to giving low frequencies their own space, and even more volume than the higher frequencies, if you want it bass heavy for example. Also you wouldn't want to be putting distortion or movement on the lower frequencies or they'll lose some of their power. I tend to split my bass into three, subs, lows and then the rest.

Subs -> Compression, EQ
Lows -> Compression, EQ, Bitcrusher/Small amount of distortion
Everything else -> EQ, Bitcrusher/Lots of distortion/Phaser/Lots of movement etc.

Then I tend to have the subs the loudest, followed by the lows and then the highs so you can just hear them. Send them all to a bus, put a compressor on that, and any EQing you feel it needs, and it should be sounding pretty weighty! Then you can do whatever you want, filters etc.

Audio can also be timestretched and pitch shifted... which gives it phat characteristics... also reversed..

Big Up Guys - useful thread.