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Saturday, February 16, 2019

#Musicproduction: Tips For Fat Bass Sound

Like anything in music production, bass sound preferences a wide range of and varied. No 2 different people, even though operating in the same genre, shall be in complete agreement over what ought to be done and which tools to use. Some might prefer the specific analog synthesizer, others an old-school FM synth. There are also musicians and producers who much prefer certain go-to samples for deep, fat bass sounds, among others still who choose to use their DAW.

Whilst getting a deep sounding bassline is just a few taste, it's also a product of some traditional techniques and approaches that yield consistent results. Certain waveforms work better as opposed to others, though no strict rules exist. And iconic bass sounds from very specific gear, or samples thereof, are oft-used for the reason—they sound great, particularly popular mainstream and underground genres.

Choosing and layering waveforms

Since FM and wavetable synthesis are completely different beasts than either analog synthesis or sampling a bassline and tweaking it, we'll leave them because of this discussion. These are synths that novices might eventually research, fo the time being they can introduce a touch too much complexity.
Of the four main analog waveforms, either square/pulse and sawtooth would be a great starting point when crafting a deep bass sound. A triangle wave would work too, but it's rather a bit too thin for we're aiming to do. Many synths will offer you pulse width modulation to then add activity depth towards square/pulse waveform. Drop the square or saw down an octave or two, low-pass filter it, and play while using resonance to include some other color and depth.
Most synthesizers may also offer several oscillators, which enables players to look around the different combinations we discuss below. Other synthesizers, whether hardware or DAW, will offer you sub oscillators—an oscillator that is definitely one active below the oscillator which it's paired. The most common sub oscillator is really a square wave, but sine surf is also seen. In any event, a sub oscillator will prove to add much depth and roundness with a bass sound.
In the first audio clip below, made by using a Korg Minilogue analog synthesizer, we set Oscillators 1 and 2 both to sawtooth waves without tuning and each to +1 octave. Also, the filter is wide open. At this time, it may sound just like a lead synth not just a bass synth.
To start out adding depth to bass, we set Oscillator 1 with a sawtooth wave and Oscillator 2 with a square wave. This easy move quickly added some depth, albeit a modest amount, to bass sound.

Altering pitch and octaves

As hinted at above, an fantastic way to get a deep bass sound should be to confuse an oscillator's tuning and octaves. An additional approach is to vary a sample's pitch over a DAW or hardware sampler.
With an analog or virtual analog synthesizer, changing pitch is performed by tuning the oscillator. A synth will also have an array of octaves for the oscillators, allowing the player shed it down an octave or two for deeper bass. The objective here should be to play around with your parameters, in partnership with waveforms, to arrive at a satisfying result.
Samplers, on the other hand, allow users to modify a sample's pitch. So, if the bass synthesizer sample is being employed, a person can drop the pitch down to have a deeper sound, after which it listen to it chromatically as said before while in the example above. Again, play around while using pitch plus the chromatic notes until you discover a setting you like.
For the next step in adding depth to bass sound, we pitched Oscillator 2 (square wave) as a result of -40, therefore we set each oscillator as a result of -2 octave.

Filter and shape your sound

After finding the right oscillators and samples, as well as pitching them down and dropping them down an octave, you should filter the sound. For deep bass, ensure want to train on a low-pass filter to take out your higher frequencies with the bass notes, and shape it together with the filter and amplitude envelopes.
While using low-pass filter cutoff, we cut the more expensive frequencies out. Next, tinkered with the filter resonance to start being active . depth and color. Next, we tinkered with the attack, decay, sustain, and turmoil the filter envelope, as well as the do i think the the amp envelope. The key at this point is fast attack times, but do play with decay, sustain, and release as you can see fit.

Adding effects to the mix

One effects approach for deep bass is with an incredibly, very short delay to fatten up a synth sound, which may be possible with delay. But be careful: a lot of delay will muddy the sound and otherwise wreak havoc on the mix.
Most basslines that want depth and fatness may need some drive, saturation, or distortion.

A few final thoughts

All over again, these are just a few approaches to fattening up and deepening the reduced frequencies of one's bass sound. It isn't the only paths to acquire there.
In numerous trap songs, as an illustration, an 808 kick is pitched down and played chromatically, giving the song a booming bassline. And both FM and wavetable synthesis offer musicians and producers their own unique methods of arriving at deep and wide basslines.
Ultimately, the most important is experiment. Approach both your hardware, DAW, and plugins having an experimental mindset. Much like much of sound design, very often getting a deep bass sound is to do with trial and error, especially during the early going. Embrace the process.

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