Pro Bass

On 2009-03-10 11:25, gutter wrote:
even with a sampled waveform like trilogy has you wont have the envelopes and filters of the synth (like juno or sh etc)

On 2009-03-10 09:38, x-rayz wrote:
nah.. thats all good for the bass, but if u want fat clear and smashing bass than just get a prophet.. or minimoog at least..
heres some nice article on how to program analog bass, I know u read it all but it explains why prophet.. so I dont have to
http://www.darksonus.com/DS_articles_analogbass02.php

On 2009-03-10 09:05, orgytime wrote:

Quote:

On 2009-03-10 04:15, Speakafreaka wrote: Play with different EQs, understand what they are doing to the sound in the 200-500hz area...

why from 200-500?

thanks

On 2009-03-10 11:25, gutter wrote:
even with a sampled waveform like trilogy has you wont have the envelopes and filters of the synth (like juno or sh etc), since you have (@greententacle) a virus, should be really easy to achieve a great bass out of it, keep it simple, one waveform, one 4pole and play with envelope amount and filter decay to fit it, plus velocity, & a little afterward processing with a distortion/saturation (quadra etc) and a touch of eq should be fine..

On 2009-03-10 12:47, Soul Kontakt wrote:
I think if you want a nice FAT bassline and you are using VST's, you will get a medium result whatever you do because tha basslines you hear are either hardware sources like a roland or passed through an outboard compressor...What i mean is that professional sounds are made with professional equipment and no matter how much you try with the vsts there is something missing compared to the hardware...Keep in mind that pro's use the best equipment on the market to get that sound you so much love...

Hope this helps

On 2009-03-10 12:47, Soul Kontakt wrote:
What i mean is that professional sounds are made with professional equipment and no matter how much you try with the vsts there is something missing compared to the hardware...

On 2009-03-10 13:51, pipe&slippers wrote:
There are a lot of things to consider when you are wondering how some people get a great sounding bass. THE most important bit, is the source. Get a good source and you have a solid foundation to build "that" bass patch (not that you can't fuck it up later). But bare in mind that a lot of soft synths, do sound very good today and they will sound a lot better if you put them through some good outboard gear (or some posh plug in suite), a process that we almost always forget to repeat for soft synths, yet we almost always go through, when recording hardware synths.

Anyhow, the main reason pros get pro sounding bass, is because they really know what they are doing. Being pros, they've played numerous gigs and test their tunes on big systems and they simply understand how a bass patch should sound in their studios, in order to sound fantastic on a big P.A.
What we can gain from that is that we can pay careful attention to what is happening in their tunes and get to the same level, by practicing. The stuff available to us today (even the native plug ins in our audio packages) is more than enough to get a good sounding bassline. The solution is not finding an excellent condition sh-101, or a moog voyager, or what have you, the solution is by really trying to listen and understand what the amount of envelope modulation is, how fast the decay of the filter ADSR is, where is that notch in the EQ, is it 400hz? is it 340hz? is it 450hz? how high is the Q? move the notch around with different Q settings and you can sculp a new bass sound from an existing one, simply by careful use of EQ. Then there's compressor settings, back up the attack to 15-20ms and you let the transient with all that high mid definition through and allow for the bottom end to punch out for a few msecs.
And then you make the bassline to fit your kick. Is your kick good sounding to start with? If you got a shite kick sample (or made your own) and you make a bass patch to go well with a shite kick, you just might end up with a shite bassline...

There's a lot of things. Practising and using (training more like) your ears is THE solution to pro bass, not a post on isratrance...not saying this forum won't help, but the holy grail is not hiding in these blue pages, its hiding in the parameters of the synth that you have in front of you.

On 2009-03-10 13:51, pipe&slippers wrote:
There are a lot of things to consider when you are wondering how some people get a great sounding bass. THE most important bit, is the source. Get a good source and you have a solid foundation to build "that" bass patch (not that you can't fuck it up later). But bare in mind that a lot of soft synths, do sound very good today and they will sound a lot better if you put them through some good outboard gear (or some posh plug in suite), a process that we almost always forget to repeat for soft synths, yet we almost always go through, when recording hardware synths.

Anyhow, the main reason pros get pro sounding bass, is because they really know what they are doing. Being pros, they've played numerous gigs and test their tunes on big systems and they simply understand how a bass patch should sound in their studios, in order to sound fantastic on a big P.A.
What we can gain from that is that we can pay careful attention to what is happening in their tunes and get to the same level, by practicing. The stuff available to us today (even the native plug ins in our audio packages) is more than enough to get a good sounding bassline. The solution is not finding an excellent condition sh-101, or a moog voyager, or what have you, the solution is by really trying to listen and understand what the amount of envelope modulation is, how fast the decay of the filter ADSR is, where is that notch in the EQ, is it 400hz? is it 340hz? is it 450hz? how high is the Q? move the notch around with different Q settings and you can sculp a new bass sound from an existing one, simply by careful use of EQ. Then there's compressor settings, back up the attack to 15-20ms and you let the transient with all that high mid definition through and allow for the bottom end to punch out for a few msecs.
And then you make the bassline to fit your kick. Is your kick good sounding to start with? If you got a shite kick sample (or made your own) and you make a bass patch to go well with a shite kick, you just might end up with a shite bassline...

There's a lot of things. Practising and using (training more like) your ears is THE solution to pro bass, not a post on isratrance...not saying this forum won't help, but the holy grail is not hiding in these blue pages, its hiding in the parameters of the synth that you have in front of you.

thanks man

On 2009-03-10 12:47, Soul Kontakt wrote:
I think if you want a nice FAT bassline and you are using VST's, you will get a medium result whatever you do because tha basslines you hear are either hardware sources like a roland or passed through an outboard compressor...What i mean is that professional sounds are made with professional equipment and no matter how much you try with the vsts there is something missing compared to the hardware...Keep in mind that pro's use the best equipment on the market to get that sound you so much love...

Hope this helps