I personally like to use voice samples and tune them down allot. They often give very nice and deep organic bass sounds. Reversing them can make it even better. So it involves resampling of course. But the possibilities are infinite :)
My two cents; if you want lots of low end, there's nothing like resonance over the fundamental frequency with keyboard tracking so that it sounds consistent over the note range. And distortion for harmonics. The voice sample trick is great, hadn't thought about it :)
Need to check out ur trick Jordi. I think i never used the keyboard tracking of the pulv. Dont know what it does :)
What i do use is resonance on a slope when i make a multiband compressor. That way u can create a louder bass by cutting bass ;) (do i make any sense?) It keeps the low end mixing more clean and less muddy
Keyboard tracking uses the pitch of incoming notes to modulate the filter's cutoff frequency, so that higher notes sound brighter and lower notes darker. When using resonance, it helps you keep it consistent no matter the pitch of the note you play. In synths where resonance reaches self-oscillation, it allows you to "play the filter" as just another oscillator.
Here's a little tip i found super handy! Add alot of white noise to your bases, and make it in an 0-1 octave range. IF you have the right synth that is. I always make my synths (bass) with a squarewave on osc 1 and 2.
That's atleast how i do it.
Mess around with taking a waveform and pitching it down 2 octaves, and then taking a long, curved wave, and put it at a very low note and modulate that waveform by the other. This is good for guttral sounds. Then just add a high-pass filter, a notch filter, a phaser with a pulverasteur (just use the input, and enable only the audio in, turn the lp/hp filter mode on, and filter spacing at 10%[you will have to put in a seperate note for the pulv, though.]) Then add a helmholtz and right-click the automation nodes to turn it into a default interpolation instead of no interpolation to get a ramp. You also turn down the decay all the way down on the helmholtz. Then add an exciter and automate it DOWNWARDS, unlike the high-pass, which you automate upwards. then ott the fuck out of that shit. Then, if needed, add exciters to boost certain areas of the frequency spectrum, and low-pass it, but only if it has too much airy high-end. then ALWAYS add a chorus at the end, and turn down the spread and time all the way. also, if u want to, turn down the depth on the chorus a little bit. I made this https://www.audiotool.com/track/kutnpiwns/ sound with this technique.
Comments (21)
damn ... misspelled basses :/
yup he's the evil bass GOD
I personally like to use voice samples and tune them down allot. They often give very nice and deep organic bass sounds. Reversing them can make it even better. So it involves resampling of course. But the possibilities are infinite :)
I use JonJons trick and detune the basses slightly, giving them a more "stereo", deep and dark feeling.
My two cents; if you want lots of low end, there's nothing like resonance over the fundamental frequency with keyboard tracking so that it sounds consistent over the note range. And distortion for harmonics. The voice sample trick is great, hadn't thought about it :)
Detuning is always good. I mostly detune two different operators of the heisen. Gives it a more dramatic feel.
Need to check out ur trick Jordi. I think i never used the keyboard tracking of the pulv. Dont know what it does :)
What i do use is resonance on a slope when i make a multiband compressor. That way u can create a louder bass by cutting bass ;) (do i make any sense?) It keeps the low end mixing more clean and less muddy
@E-trim: Yes, I know what you mean. I sometimes use this HP filter with resonance to make kick drums more powerful. I learned about it here: https://samplesfrommars.com/blogs/tips-tricks/53554819-how-to-add-huge-bass-to-any-kick-without-eq.
Keyboard tracking uses the pitch of incoming notes to modulate the filter's cutoff frequency, so that higher notes sound brighter and lower notes darker. When using resonance, it helps you keep it consistent no matter the pitch of the note you play. In synths where resonance reaches self-oscillation, it allows you to "play the filter" as just another oscillator.
Here's an explanation of it on the Pulv: http://www.manula.com/manuals/audiotool/audiotool-user-manual/1/en/topic/devices-pulverisateur-filter-section
Omg this is cool as hell.
heavy bass = white noise + distortion + 4 sin waves
Here's a little tip i found super handy! Add alot of white noise to your bases, and make it in an 0-1 octave range. IF you have the right synth that is. I always make my synths (bass) with a squarewave on osc 1 and 2.
That's atleast how i do it.
Notch (band reject) is a best friend :)
Bandpass, double notch, and loads of compression.
as well as unison for more nuro type basses
I would recommend checking out seamless's how to bass series on YouTube (https://www.youtube.com/playlist?list=PLEC1FFC318383DAE0). He works mostly in fl studio but most of the concepts still work in Audiotool
Mess around with taking a waveform and pitching it down 2 octaves, and then taking a long, curved wave, and put it at a very low note and modulate that waveform by the other. This is good for guttral sounds. Then just add a high-pass filter, a notch filter, a phaser with a pulverasteur (just use the input, and enable only the audio in, turn the lp/hp filter mode on, and filter spacing at 10%[you will have to put in a seperate note for the pulv, though.]) Then add a helmholtz and right-click the automation nodes to turn it into a default interpolation instead of no interpolation to get a ramp. You also turn down the decay all the way down on the helmholtz. Then add an exciter and automate it DOWNWARDS, unlike the high-pass, which you automate upwards. then ott the fuck out of that shit. Then, if needed, add exciters to boost certain areas of the frequency spectrum, and low-pass it, but only if it has too much airy high-end. then ALWAYS add a chorus at the end, and turn down the spread and time all the way. also, if u want to, turn down the depth on the chorus a little bit. I made this https://www.audiotool.com/track/kutnpiwns/ sound with this technique.
High-pass and notch filter and pulv give it the main sound. The Helmholtz adds tonality, and the ott adds girth. The Chorus adds stereo.
Also if u want to add a rasselbock for some glitchiness.
This is for a heisenberg synth btw