NRS/SCORB-that feckin bass

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anyone know what these guys use for the bass....no matter how low they take it...i can still HEAR it...smooth as....

if anyone know or can find out let us know.....and when's the next LPS release?
 
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makdaddy

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..i know Scorb as a solo artist uses all sorts of soft synth's for his b-lines, they always get re-sampled then processed by means of re-shaping eqing etc.

...for the green eggs and ham track we used a sample recorded from the Arturia Modular synth, re-shaped, eq'd then spread up an octave of an ESX24
 

nik

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when i spoke to scorb he said he uses junglist, mainly - though really the secret is in the processing and of course that is all dependant on where you pitch the bassline.
with junglist i do achieve some good results with lower pitch. as you say low and smooth as.. :Smile3:
 

nik

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and me i use Junglist/Pentagon/VB1 followed by RBass>EQ>Comp and maybe another comp. Must check out the Hydra.
 
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makdaddy

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i usually have it setup like this...

mono kick and bass being treated seperately with eq then comp then they both go off to the same bus where they are treated together with light comp and limiting - usually a waves L2 to mould them both together a bit.
 
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cant get enough of LPS basslines...duuurrrtttyyy

for psy im experimenting with Monologue, Bassline, Tritium...they all have good and bad things going for em...bassline would be great if it had a stable OSC..tritium could do woth berrer ADSR....for dub its all aboput Minimonsta and trilogy's minimoog sine wave !!!!
 

psyfi

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I've been useing the Pentagon in my last track and the one I'm working on now. The envalope starts very dafinatively on the subs rather than kind of throbing in however it likes which is what I find with alot of other synths. I recomend you play around on that one for a bit cameron.
 
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psyfi said:
I've been useing the Pentagon in my last track and the one I'm working on now. The envalope starts very dafinatively on the subs rather than kind of throbing in however it likes which is what I find with alot of other synths. I recomend you play around on that one for a bit cameron.

i use pentagon alot but dont think ever for basslines...will give it a go..its got lovley LFO's.
also had some interesting resluts with FM7 and Absynth 3...those envelopes are gnarly...
 

JPsychodelicacy

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cameron-nagualsound said:
i use pentagon alot but dont think ever for basslines...will give it a go..its got lovley LFO's.

It shares the very useful feature also in the K/V/X-Station that you can specify the start phase of the oscillator - Handy when you want a nice clicky attack. :Smile3:

Error Corrective have used it a lot, and I think Colin OOOD swore by it at one point,

J,
 

nik

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Yes the Pentagon has a very thick sound. Ive got quite bored of it though so been experimenting with different VSTs.
Still cant get anything decent out of the V Station!
this whole thing with resampling the bass seems to be what a lot of artists are doing at the moment. Theres greater flxibility here for accurately shaping the envelope and the trigger is tight, right on the button.
 

Sturdy Pete

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i've actually been getting quite a good result from subtractor on reason. about 70% sawwave, 30% sine an octave down.
bit of messing with the rest of the controls to fine tune the sound to my taste. then about 4 EQ things and 3 compressors before being mixed with the kick and going through another 3 or 4 compressors and a few more EQs.. by this point it's sounding smooth and rolling...
 
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nik said:
Yes the Pentagon has a very thick sound. Ive got quite bored of it though so been experimenting with different VSTs.
Still cant get anything decent out of the V Station!
this whole thing with resampling the bass seems to be what a lot of artists are doing at the moment. Theres greater flxibility here for accurately shaping the envelope and the trigger is tight, right on the button.

im really interested in this..could you elaborate?

When I
make breaks i tend to do loads of resampling of basslines, but not using a sampler ,just processing hard. Do ya just sample one pitch and then load it into a sampler? If your bass is melodic should you sample every individual note or stretch the root in the sampler?
I assume the reason peple are doing this is the envelopes right? would sampling say trilogy and then loading it into kontakt really make it better?
 

jackrabbit

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makdaddy said:
I use the Hydra mostly :Smile3:


Tried a demo of hydra a while ago, loved the design and routing options but was put off by the sound. Don't know why but there seemed to be something missing.
What are you doing to liven it up?
 

nomis

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cameron-nagualsound said:
Do ya just sample one pitch and then load it into a sampler? If your bass is melodic should you sample every individual note or stretch the root in the sampler?

The method i know is sampling each note, either the ones in your bassline riff or just sample every individual note.

The advantage is that your bass sound starts the same every time a note is hit instead of being slightly different because of analog emulation in softsynths where the osc's run all the time causing them to start in different phases everytime.
 

BeatNik

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I personally use the junglist alot for basslines, it has tight envelopes and a nice sound (with alot of modification of course).

Resampling is useful, but not always necessary. I like resampling when i make a single-tone fullon bassline because it gives you huge control over the timing of the hits and it gives you unmatched control over the decay.
For rolling more melodic groovy basslines I tend to stick with .midi, (as long as my processing is clean the bass sounds tight at whichever tone I choose to place a note on) this also allows for glide, and for ever varying basslines...
A trick is though (if you're using cubase/nuendo, but i'm sure it works for other sequencers) to use the track delay, to time the overall placement of the midi triggers, it can make a bassline sound much more tight and speedy if you move the track delay just a few minus figures...
:Smile3:
 

(jack)

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Bang pretty much any nice bass tone into Kontakt 2.

Three copies. Each routed to a different output.

One High passed, one low passed, one notched around the mid.

You can distort the higher two, and leave the warm low, mangle each range anyway you like and then bosh a compresser over the lot.

Then compress with your kick and if possible duck the lower ends of the bass with the kick, too.
 
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