- Joined
- Aug 29, 2011
A few tips from DATA (Nick Burne)
Beginners
Nick Burne Creating midrange 'bass' sounds using Native Instruments Massive.
I'm fairly sure everyone has their own techniques and methods of creating midrange snarls, warps and growls, but in essence, the process or chain of events I do is this...
1. Initalize Massive. Go to the osc section in the middle and tick the restart osc phase button or whatever it is, to ensure everytime you press a key, the synth Wavetable positions, lfos etc, all restart.
2. This is something I feel people sleep on. Play a few notes into your sequence with your drums and then begin to choose your first waveform. Listen to what wave sounds clean against your drums while sitting in timbre with the mids and upper tones of your drum line.
With this waveform now chosen, you can set the Wavetable position to a nicer sweet spot to sit with the drums. As you move the dial you may hear some interesting tones, take note where these points are!
Now move to the next dial and play with the setting, while experimenting with the spectrum, bend +, bend + / -, bend - and formant sections. Again, you may note interesting tones or movement as the dial is swept. Pay note.
You want to achieve a full but somehow clean sound, one that fills the frequency spectrum, but doesn't overwhelm the drums when played. Bare in mind this could just be the volume level.
3. With these settings, we can now go to the voices section. Choose 3 voices and activate the top slider, I believe it's called Pitch Cutoff or something. As you move this to the right, you will begin to hear the characteristics of the famous 'reece' bass. You could just roll out this sound with a little tube warmth or distortion, but for now, lets save the patch. I normally call this the RAW patch.
4. With the RAW patch selected, I normally take a look at my low end bass first, applying a LP filter, often with an envelope tied to the cutoff to provide that extra layer of depth. I may also apply a few cent of movement to the pitch amount on the OSC 1 pitch section. Now I apply some Tube under FX1, or use the sine shaper to bring the sub out from the very low frequencies into the more low mid region of bass. Here, listen to the bottom end of your kick to get a nice relationship between the two.
5. Open a new Massive and reload the RAW patch. Now, remember those interesting points we noted earlier and begin to start to apply LFO's or envelopes to initial settings to reach these points of interest. You should begin to hear some interesting things that may be enough for your midrange bass alone. However...
6. You can now look at the modulation OSC section. Applying phase modulation to the OSC often brings out a lot of dirt. Pitching this up or down using the pitch section also helps to make things sound brighter or duller in the mix. Again add LFO's, envelopes etc to taste.
Remember you want a full, rich sound that sits well with the drums.
7. Look to the filter section. Bandpass, notch, double notch and comb are effective tools for mid range. Set up two filters, make them move in different ways and cross over using the lfos, envelopes and even perhaps hand recorded movements to find that golden sound. Remember a sweet spot maybe very narrow or wide in the spectrum, you have to dig to find it.
8. Open a new Massive, reload the RAW patch, go for different settings but avoid changing the waveform until you have no other option. Apply different settings from the previous to the various sections. Use the sweet points in different ways.
9. Rinse and repeat until your mid sequence is complete. Use a distortion plug on each instance to tie them all together and give them the same tonal character.
10. Pull your hair out as you realise your mid still isn't as good as Noisia's.
43 minutes ago · Edited · Like · 13
http://www.ad4pt.net/
Beginners
Nick Burne Creating midrange 'bass' sounds using Native Instruments Massive.
I'm fairly sure everyone has their own techniques and methods of creating midrange snarls, warps and growls, but in essence, the process or chain of events I do is this...
1. Initalize Massive. Go to the osc section in the middle and tick the restart osc phase button or whatever it is, to ensure everytime you press a key, the synth Wavetable positions, lfos etc, all restart.
2. This is something I feel people sleep on. Play a few notes into your sequence with your drums and then begin to choose your first waveform. Listen to what wave sounds clean against your drums while sitting in timbre with the mids and upper tones of your drum line.
With this waveform now chosen, you can set the Wavetable position to a nicer sweet spot to sit with the drums. As you move the dial you may hear some interesting tones, take note where these points are!
Now move to the next dial and play with the setting, while experimenting with the spectrum, bend +, bend + / -, bend - and formant sections. Again, you may note interesting tones or movement as the dial is swept. Pay note.
You want to achieve a full but somehow clean sound, one that fills the frequency spectrum, but doesn't overwhelm the drums when played. Bare in mind this could just be the volume level.
3. With these settings, we can now go to the voices section. Choose 3 voices and activate the top slider, I believe it's called Pitch Cutoff or something. As you move this to the right, you will begin to hear the characteristics of the famous 'reece' bass. You could just roll out this sound with a little tube warmth or distortion, but for now, lets save the patch. I normally call this the RAW patch.
4. With the RAW patch selected, I normally take a look at my low end bass first, applying a LP filter, often with an envelope tied to the cutoff to provide that extra layer of depth. I may also apply a few cent of movement to the pitch amount on the OSC 1 pitch section. Now I apply some Tube under FX1, or use the sine shaper to bring the sub out from the very low frequencies into the more low mid region of bass. Here, listen to the bottom end of your kick to get a nice relationship between the two.
5. Open a new Massive and reload the RAW patch. Now, remember those interesting points we noted earlier and begin to start to apply LFO's or envelopes to initial settings to reach these points of interest. You should begin to hear some interesting things that may be enough for your midrange bass alone. However...
6. You can now look at the modulation OSC section. Applying phase modulation to the OSC often brings out a lot of dirt. Pitching this up or down using the pitch section also helps to make things sound brighter or duller in the mix. Again add LFO's, envelopes etc to taste.
Remember you want a full, rich sound that sits well with the drums.
7. Look to the filter section. Bandpass, notch, double notch and comb are effective tools for mid range. Set up two filters, make them move in different ways and cross over using the lfos, envelopes and even perhaps hand recorded movements to find that golden sound. Remember a sweet spot maybe very narrow or wide in the spectrum, you have to dig to find it.
8. Open a new Massive, reload the RAW patch, go for different settings but avoid changing the waveform until you have no other option. Apply different settings from the previous to the various sections. Use the sweet points in different ways.
9. Rinse and repeat until your mid sequence is complete. Use a distortion plug on each instance to tie them all together and give them the same tonal character.
10. Pull your hair out as you realise your mid still isn't as good as Noisia's.
43 minutes ago · Edited · Like · 13
http://www.ad4pt.net/