frisbeehead
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Posted : Jun 27, 2013 21:27
There's plenty: have you checked it on Trash2? Just pick something that ends with bass, there's more then a couple there. You can use the "guitar amp" from waves audio to, there's some bass amps there that sound very cool - you need to fine tune the settings of course - but it's well worth the trip for more sound design options.
Fakso
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Posted : Jun 27, 2013 23:34
I guess I'll stick to saturn if I get that right it has amp emulation too?
I also managed to get something near the lish and yotopia bassline, I just put the dry/wet on sylenth disto down under 50% and from there amount and dry/wet one has to try out https://soundcloud.com/noordzee-laborant
frisbeehead
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Posted : Jun 29, 2013 03:34
Quote:
On 2013-06-27 23:34, Fakso wrote:
I guess I'll stick to saturn if I get that right it has amp emulation too?
It has more then one type of amp emulation there. Now there's plenty of those in Logic and Cubase to. They're mainly thought out for real bass players or guitarrists, but there's nothing preventing us from using them with synthesizers as well. Just opens up more possibilities, that's all.
Cheers
Fakso
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Posted : Jun 29, 2013 09:41
Quote:
On 2013-06-29 03:34, frisbeehead wrote:
Quote:
On 2013-06-27 23:34, Fakso wrote:
I guess I'll stick to saturn if I get that right it has amp emulation too?
It has more then one type of amp emulation there. Now there's plenty of those in Logic and Cubase to. They're mainly thought out for real bass players or guitarrists, but there's nothing preventing us from using them with synthesizers as well. Just opens up more possibilities, that's all.
Cheers
distortion is great for synthesizer sounds, and what would be the acid sound without a nice guitar pedal? for me it would be half the deal and acid techno wouldn't be acid techno anymore , well in some electronic tracks it is better without it
the onboard ableton disto.fx are nice for percussion but for the bass not really in my ears, at least not when you can have something better
and saturn with the dynamic knob and mutiple bands holly molly just great, can really FATTEN things up
I just bought the new sample magic A/B tool to have easy reference and I think it can also compensate the room acoustic fooling isse quiet well this way...anyway for my current track I was refering and my bass still sounded a bit weak in comaprison so I put up an saturn instance on my kick/bass group and dialed in some presets, alternated them a bit and the difference was... well surprising, big difference in other words
https://soundcloud.com/noordzee-laborant
frisbeehead
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Posted : Jun 29, 2013 17:12
There's a lot of ways to skin a cat. We're seeing better emulation of analogue circuitry being implemented in plug-ins and becoming the new standard. Even zero feedback latency on filters, feedback internal circuits, very detailed behaviour on classic compressors, eqs, amplifiers...
You're saying that for acid techno. What about The Prodigy? Plenty of clever distortion use on that! We now have access to very good emulations of the kind of gear used there. Ok, rant over...
If you want it to sound fatter, using layers will do the trick. I wouldn't worry to much about comparing with mastered tracks though.
Don't know that tool you're talking about... Does it level the unprocessed and processed sound for fast comparison? If it does that I'm sold XD
Fakso
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Posted : Jun 29, 2013 18:15
Quote:
On 2013-06-29 17:12, frisbeehead wrote:
If you want it to sound fatter, using layers will do the trick. I wouldn't worry to much about comparing with mastered tracks though.
Don't know that tool you're talking about... Does it level the unprocessed and processed sound for fast comparison? If it does that I'm sold XD
Yeah I already use layering, but a third bass layer wouldn't help that much aas the bass was missing bite and crunch and I just had a sampled note left, no synth
processed and unprocessed, no not really, it just makes the A/B reference from your own and releases tracks pretty easy and comfortable
frisbeehead
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Posted : Jun 29, 2013 20:26
If "byte" means the attack portion of the sound, I'd pay special attention to the filter envelope settings. Sometimes adding just a tiny bit of attack to this envelope, similar setting to that of the amp helps. Other then that, a "transient shaper" won't hurt either. Other things to look at would be filter saturation/drive, and perhaps a tiny touch of resonance as well. Other then that, watch your compressor's envelopes, making sure the transient gets through by turning the attack knob up appropriately.
About crunch... I think you need to enhance some upper frequencies (harmonics) to bring out that kind of texture. Sometimes all it takes is some cool analoguish EQ to help bring that out - I wouldn't go with an ultra clean, digital EQ for that for sure.
Fakso
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Posted : Jun 29, 2013 21:34
Jup but had nothing to compare to and I was satisfied and deleted the synth track and was left with my sample, but when I bought AB it revealed that this was not enough in comparison to other tracks (well I wanted a similar bite and crunch and it was just to lousy in comparison to some other tracks
isn_t saturn a good thing for that I mean I have bands and can play with the dynamic knob in that range?
I tend to use parallel compression on kick and bass to let the attackphase and pluck stand out and fatten things a bit, works quite well
https://soundcloud.com/noordzee-laborant
frisbeehead
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Posted : Jun 29, 2013 23:53
Quote:
On 2013-06-29 21:34, Fakso wrote:
isn_t saturn a good thing for that I mean I have bands and can play with the dynamic knob in that range?
Yep, but many times I find a little EQ can be enough if using analoguish ones. Not saying that you won't saturate or whatever after that, but for shaping the tone with some broad strokes it's really cool.
I don't usually use parallel compression for kick and bass but honestly see no reason not to... lately I've been using a gentle bus compressor on the group, some very gentle eq that's not meant to correct anything - that's taken care of in the tracks temselves - but to enhance a tiny bit the characteristics I like most in the "group" sound.
Now, the advantage of using a plug-in that emulates the amplifier for bass or even guitar (who cares, right?) is that it's got it's own drive knob (pretty much like saturn does), but also the three band eq with Lows, Mids, and Trebble, plus the presence Knob. And you still get to choose the kind of mic you want and the cabbinet (if you want, or turn that completely off for more standard sounds)... Anyway, you can get the grinder from the bass sound (if that makes any sense to you) in the upper mids or something by doing this, and plenty more stuff.
Chemogen
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Posted : Jun 30, 2013 18:38
Fakso
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Posted : Jul 1, 2013 00:54
Quote:
On 2013-06-29 23:53, frisbeehead wrote:
Quote:
On 2013-06-29 21:34, Fakso wrote:
isn_t saturn a good thing for that I mean I have bands and can play with the dynamic knob in that range?
Yep, but many times I find a little EQ can be enough if using analoguish ones. Not saying that you won't saturate or whatever after that, but for shaping the tone with some broad strokes it's really cool.
I don't usually use parallel compression for kick and bass but honestly see no reason not to... lately I've been using a gentle bus compressor on the group, some very gentle eq that's not meant to correct anything - that's taken care of in the tracks temselves - but to enhance a tiny bit the characteristics I like most in the "group" sound.
Now, the advantage of using a plug-in that emulates the amplifier for bass or even guitar (who cares, right?) is that it's got it's own drive knob (pretty much like saturn does), but also the three band eq with Lows, Mids, and Trebble, plus the presence Knob. And you still get to choose the kind of mic you want and the cabbinet (if you want, or turn that completely off for more standard sounds)... Anyway, you can get the grinder from the bass sound (if that makes any sense to you) in the upper mids or something by doing this, and plenty more stuff.
frisbeehead
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Posted : Jul 1, 2013 16:54
There's nothing preventing us from treating the groups just like we would do with individual channels. The trick - like in most things - is not to go overboard. At this stage we're not really addressing any bad frequencies or anything similar, that's taken care off, we're proud of our earlier work, we're just bringing forth the best qualities of what we've done.
Analogue modeled plug-ins are cool for this: specially when we're talking about boosting, as it tends to sound more musical then simply boosting the gain with a digital - you get what you ask for - device.
On topic, don't know if many people have tried this: but on such modeled plug-ins, like in the real thing, if you stress your audio into clipping territory (the red zone, but on the plug-in, not the channel!!!), you can pull pleasant distortion out of them, not the digital clipping mess kind... I don't mean you should do that for Bass, let alone the "psy bass" thing, but it's worth experimenting with that also in a more experimental sound design approach. Some plug-ins out there have been so meticulously emulated that it's a shame if people don't drive them into the extremes to see how they behave.
Soundmagus
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Posted : Jul 11, 2013 11:18
There are no set parameters, its different for every track, every type of kick, every type of bass or every whatever you are using on it, use your ears - thats the best way Check out my site for Video tutorials and other tips & Tricks
frisbeehead
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Posted : Jul 11, 2013 18:36
Quote:
On 2013-07-11 11:18, Soundmagus wrote:
There are no set parameters, its different for every track, every type of kick, every type of bass or every whatever you are using on it, use your ears - thats the best way
Sure. We know that and we've known that for a while. But the thing I was asking about here was what kind of distortion and approaches to it people like to use in their sound design adventures... You can do pretty much anything while making fx or breaks. I was aiming for this to be answered with that kind of mindset, not just another thread for "how to get perfect psy bass".
Something like Trash 2 gives you the option to use convolution technology, for example, enabling us to do much more then what's needed for the rather simple (yes, I dare say it...) psy bass sound.
some things just sound good. like filtered kick bass group with a bitcrusher on it, possibly some reverb... people test this kind of stuff as well and then it sticks. like when people started using wavetable bass leads on dubstep, or fm sharp ones coupled with multi-band distortion, and this and that...
I'm going to argue here that there are combinations that work, same way as you patch different things on a modular synthesizer...
of course when mixing, every situation requires adjustments in context and therefore there are no set rules, but I was thinking more like THE DAW IS THE SYNTHESIZER and this tools are cool and offer new stuff for us sound mangling freaks to play with and possibly share wild, very extreme ideas!
, well in some electronic tracks it is better without it
