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what the pattern.
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| henryv |
I've been trying to figure what kind of pattern is being used in uplifting trance to make the plucks/leads fit well with rolling basslines.
check out this tom colontonio track
1:20 is where u can see the plucks/leads being used.
thank you for any tips :)
example |
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| EddieZilker |
8-bar, major chord circle on a half-and-a-quarter, call-and-respond groove with four on the floor.
Uh, actually, I don't know if it's called anything, let alone, that. I'm honestly not sure there is such a practice as to name a pattern. I don't use it.
Either I have woefully misunderstood your request or I am so out of the loop, so far as EDM theory terminology, that I can't possibly have given you a decent answer. |
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| mysticalninja |
| sounds like its going 16th notes with filter automation |
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| msz |
| try a notch or band pass filter just higher than your bass frequency cut off on your lead. try a sawtooth, 16th notes i guess like the guy stated, add sidechain compression from the kick or 4/4 signal. maybe this will work, maybe not.:) |
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| 9Vibes |
Its a rolling line , can be any line i guess (Its really eaten up by the delay part) Sidechained to the bassdrum.. Theres actually lots of basses playing , i can hear the mid bass (the sawtoot) and the sub bass
(probaly a sawtooth/sine at a very low octave)
Or it can be this
Where X is the bassdrum O is the bassline
X---X---X---X---
-ooo-ooo-ooo-ooo
Btw , i think i heard something from Veageance samples ;)
Nice song too. |
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| Nemesis44 |
I haven’t listened to the clip, but as a general rule it’s not so much the pattern that you write but more the choice of sounds that you incorporate, what you are hearing is a selection of well crafted and thought out compositional elements that each play a part.
Each element has been well written. Something that a lot of new producers tend to do is focus too much on one particular element thinking that it will be the defining part of their track, when most people don’t even notice it and it’s worth remembering that sometimes less is more.
So much becomes clearer when you develop the ability to choose or make patches that work well together.
With regard to bass in trance, it will often not be simply a combination of just a main bass and an accompanying pluck style bass, as often is the case when people first start out.
Quality Bass lines are often made up of 3 to 4 patches playing the same riff or similar. It’s a question of choosing a patch that has sub bass as its main quality, then something that pads out the mid frequencies and then later something that will still retain a bass like quality but will perhaps add a little bite to the composition.
When doing this you have to analyse the character of each bass component and then roll off the frequencies that you are not using with your EQ. Using this method you will find that your sounds becomes a lot fuller when you get it right.
I keep my sub bass in mono with no effects and I also duck it (Sidechain) with the kick to ensure that both components are clear.
As I work myself up the bass frequency range, the effects options open up and the need for ducking diminishes but I will often still use it to ensure that the kick can cut through the mix even if the dosage decreases the higher up I get.
Panning isn’t really a good idea with bass sounds as it tends to throw the mix off balance and on the sub to low frequencies reverb is a really bad idea as it will really muddy up the mix.
Applying these principles except in higher frequencies can also do interesting things for leads and can often take two standard patches and create something a little different. Good producers can take some very ordinary patches and make them sounds special by doing this, very often a lead isn’t just a lead but a number of patches that work well together.
Enough waffle from me… you get the idea.
Cheers
Nem |
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