Originally posted by EddieZilker
It's a rolling bass-line.
Topic 86
yes, also alot of the drive in these examples is coming not from the bass line but from the other elements
MSZ
you're essentially asking how to be awful
TranceElevation
Listen to the low end, it is an off beat bass, on top of which, there is a high passed rolling bassline.
This has been overused in uplifting. Sean Tyas does it a lot.
reply 86
DJ Robby Rox
Think of it this way. The bass is the "spine" of the groove. It can sway a bit but generally it will sit in the middle and just roll in a static type of way. If the bass does too much moving it can make the track sound unstable. So I prefer to keep the bass mono and directly in center and I make sure the bass cuts through the mix. Once that is done the hard part is the 1 or 2 sounds that play behind the bass. Usually percussion or weird industrial sounds or noise or really anything. The slower the sounds move generally the larger they sound. Keep this in mind.
You aim to build a breathing/pulsating type of groove around it. Its that groove that makes the bass sound bigger than it really is like has already been said. Because you have the center or spine (bass), then everything around it adding depth to the bass. This is where all the pumping/swaying/driving/pulsating tends to come from. Although you can do a lot with the lead line too to get movement. Just think in terms of slower moving long sustain sounds being thrown with a delay into a sidechain. Or you can use velocity changes for the contrast/movement. They may burst or swoosh, drift in and out, bounce up and down at slow 1 bar intervals. But once you make your bass try to find noisy transient rich sounds you can put behind the bass. Thats all it really is.
Just remember its about breathing life into the sounds and generally life comes from movement. All those basslines have lots of movement and also complimenting forms of movement. Like fast rolling basslines with slower sidechained sounds undergoing 1 bar/1/2 bar sweeps. Use a filter, use anything. Just throw that on sidechain and make the sounds groove and pulsate. Its not that hard. Whats hard is making it sound articulate and strong. Getting that "sheen". Which honestly I did not hear in anyone of those tracks.
kevin shawn
quote:
Originally posted by MSZ
you're essentially asking how to be awful
:haha:
EddieZilker
quote:
Originally posted by DJ Robby Rox
Think of it this way. The bass is the "spine" of the groove. It can sway a bit but generally it will sit in the middle and just roll in a static type of way. If the bass does too much moving it can make the track sound unstable. So I prefer to keep the bass mono and directly in center and I make sure the bass cuts through the mix. Once that is done the hard part is the 1 or 2 sounds that play behind the bass. Usually percussion or weird industrial sounds or noise or really anything. The slower the sounds move generally the larger they sound. Keep this in mind.
You aim to build a breathing/pulsating type of groove around it. Its that groove that makes the bass sound bigger than it really is like has already been said. Because you have the center or spine (bass), then everything around it adding depth to the bass. This is where all the pumping/swaying/driving/pulsating tends to come from. Although you can do a lot with the lead line too to get movement. Just think in terms of slower moving long sustain sounds being thrown with a delay into a sidechain. Or you can use velocity changes for the contrast/movement. They may burst or swoosh, drift in and out, bounce up and down at slow 1 bar intervals. But once you make your bass try to find noisy transient rich sounds you can put behind the bass. Thats all it really is.
Just remember its about breathing life into the sounds and generally life comes from movement. All those basslines have lots of movement and also complimenting forms of movement. Like fast rolling basslines with slower sidechained sounds undergoing 1 bar/1/2 bar sweeps. Use a filter, use anything. Just throw that on sidechain and make the sounds groove and pulsate. Its not that hard. Whats hard is making it sound articulate and strong. Getting that "sheen". Which honestly I did not hear in anyone of those tracks.
I'm telling you, Robby. This guy is asking this question because he will never, ever be able to comprehend your (or anyone's) answer to it, no matter how eloquent, well-reasoned, or correct. You'll never hear him. He is utterly lost, asking for help with a cliche'. If you want to help someone, go over to Music Producer's Promotion and start listening and contributing, there. <--- That's just a suggestion, BTW.
I don't really care if you continue giving these people responses, but I'm 99.9% certain, it's wasted.
TranceLover007
There is nothing special about any of these base lines, is the surrounding/all additional elements which makes this tracks/sound really driving (snare, Hi-hat, arps, drums, etc....).
Cheers.
TranceLover007
Just to give you some example (may not be the best one but at least illustrate my point) check this track Wind Rider between 1:00 - 1:45 particular 1:30 part.
check on youtube how to make psytrance basslines you'll get closer results but as people said the bassline is like the 20% of the final result you'll need to find appropiate kick,snare,hats,side chained white noise to reproduce this exactly
BritishLizard
quote:
Originally posted by EddieZilker
I'm telling you, Robby. This guy is asking this question because he will never, ever be able to comprehend your (or anyone's) answer to it, no matter how eloquent, well-reasoned, or correct. You'll never hear him. He is utterly lost, asking for help with a cliche'. If you want to help someone, go over to Music Producer's Promotion and start listening and contributing, there. <--- That's just a suggestion, BTW.
I don't really care if you continue giving these people responses, but I'm 99.9% certain, it's wasted.
