Re: DIRTY BASSLINES EXCHANGE THREAD + HOW2!
Man this took me ages to do lol!
Right here goes :
This is a bassline from one of my tunes done about a year ago, theres a
320 of the tune and a
clip of the bass, ive used it very little in the tune, even tho i went thru quite a long process to make it lol always the way!
Also its more a highend added noise that accompanies the bass than the main part of the tune?
Now im not sayin this is amazing and im constantly learning so i may of done a few things wrong an gone a lil over the top with fx an wat not, but u can take or leave wat i say, on this occasion it worked out an its all been done from scratch which is the most important thing!!!!!! Trial an error!
For this you will need Frutiy loops 6or 8 this was done on 6 but ive upgraded since, massive vst to make a standard square/saw (wt- postion was in the middle of the squ-sw1setting) wave with no fx no boosts or anything. Export it as c3 then stick it in kontakt2
If you dont have these then follow the methods with your own bass and u may end up with much better results???
I also used vsts like the filtervst tube screamer, ohm boys delay, univibe, the waves reverb and c1 compression.
If u have alternatives to these use them.
Right im going to try explain this as best i can giving exact details to the positioning of knobs, numbers etc, if any 1 has any queries in what i have said mention it so i can edit the post cause if u dont get it some1 else wont??
Anyway here goes!
Fist off open up fruity add kontakt and load the sample of the squ saw in, add some saturation to the group fx only a little set at *16.8
Next put a tube distortion set at *25.0
Then put a band pass filter with the resonace at *16.8
Then a low pass 6 filter set at *3.7k and the reso at *16.8
On the insert effects add a chorus Depth *63.0, Speed *0.85, Phase at *62.0 with the wet turned down slightly
Also on the insert fx's is another tube distortion with the drive set at *35.8
And a Phaser Depth *50.0 Speed *0.85 Phase *45.0 Feedback *25.0
Ive added a modulator to the tune (pitch) which was an envelope ahdsr its on full whack with the curve set at *-33.2 Attack is on *143.5 and hold n sustain are set to 0 with the decay at *2.1 an release *6.3 while were there the volume envelope is default apart from the release which is set to *90.3
Right after u got that done set a midi link to the cutoff of the band pass filter.......
[To do this click on auto>host automation an drag an drop any of the cc numbers that arent in use to the cutoff knob it should then sat cutoff next to the number ur on remember the number set the port on kontakt to 0 then add a midi out channel to fruity go to the first knob right click configure type a name in the short name bit call it cf or watever then change the controller # to the same number as the one you chose in kontakt hit accept an then right click the knob an automate in piano roll or if u prefer to, creat an automation clip. i did the exact same thing again but with the pitch so repeat the process but add a cc to the tune knob instead.]
Right now for the hard/ looking back on it quite unnecessary part which is a waste of cpu lol but here goes :
Send kontackt to a free fx channel in fruty add the filter vst to the first free channel an turn the mix of it down slightly. Put the setting 6 on which is makin the filters work in series instead of parallel make the first filter a notch pass with the cutt off set at *943khz an the reso at 0 with poles set to 8, second filter turn on an set to high pass cut off set at *177 and resonance at 3% an 4pole. turn on sources 1 and 2 make 1 lfo1, amount +45 and dest, F1 frequency.
Set source 2 to lfo2 +66 an on F2 frequency leave everything default on lfo's 1 and 2 this is just adding some more dynamics, bit minor but helps all in all.
Back to the the fx set number 2 as a tube screamer if u have it, its a type of distortion. Have the gain at *5.984251 tone *5.0393370 level *8.188976
Then add the waves c1 compressor its seems to give it a click/crunch to the beggining of the hits. The make up is set to *16.1 threshhold is *-27.9 ration is *12.85:1 attack n release are default.
Okay now take the fx channel out of the master an link it to another fx this was done about a year ago so i dont see why i done this but im giving u the exact way how to recreate this noise.
Add a waves reverb to the first fx channel, change the reverb type to hall 1 take the low end out of the reverb eq and reverb dampning raise the high end slightly in reverb dammpning. Wet/dry at *100 early ref at *-2.0 Size at *65.7 and time at *1.10 everything else i havent mentioned stays default. (if u have another kind of reverb all i have done is make the high end come out more and sound quite distant. So try to recreat that in watever other program u have.
Second fx is the ohm boys delay with the mix slightly down, have it set to high pass *947.4hz have the amp of the lfo turned up to *44.00 and the per set to *8. turnt he feedback to *51.9 set the delay time to *2beat. have the master lvl turned down slightly an click on the pan and turn the amp up *34.22 an per 1.
This is basically just having it delay at a 2beat rate and filtering out while panning slightly left n right.
Last but not least another waves c1 compression to bring out the delay and reverb alot more in the mix. Have the makeup at *0.9 threshhold at -6 ratio *7.39:1 and attack n release are default again.
Thats the end of this incredibly long and pretty pointless tutorial seeing as the noise isnt that amazing lol but its the process of gettin there that counts!! Hope this is useful to some peeps an i hope you all share more of ur tips an ideas on makin more neuro bass.
Remember its all about the stinkface!
I have to say a special thanks to Polygon/Gravity without him i still think i would be using presets and samples! Safe for helpin me out over the last year and seeing the light!! Big Up an mad Restekpa!!!
*****These are my own personal settings which i made to fit the tune i was doing, obviously u can change an tamper with any of these to make it mold better for your own tune.
