Question with R&B basslines

Ihloo

Next ...me?
In the 2 tracks that i've made so far, people tell me that my song is missing one of the most important things in R&B: Basslines, but i just can't do it without it be so lame, cause sometimes its so loud, and sometimes it can't be heard, so the question is in which note should I do it, i don't know much about basslines so any help would be really appreciated, some vst wit some good bass sounds would be appreciated too
 
Well I dont know how most of the guys around here operate that no squat about music theory? But you should play your bassline in the key that you are in, and also using the root of the chords within your progressions.

If you want to hire a bass player I am your man :) nothing better than getting a real bassist to laydown your track for you!
 
This is a question of mixing and balance first. Once you have that sorted out then we can talk about notes.

Some audio examples would be useful to give you targeted advice.
 
Thanks for the answers

Still in progress but i want to learn some tips about basslines, any advice will be appreciated

Is some really basic cause what i want to learn is how to play it

 
Hit the root note on the first beat of the bar then expand on that...
 
Some quotes from other threads (where I was originally quoting someone else I have cut those responses as the bb software does not support layered quotes, and it is not really worth quoting what are essentially debating points):
Any low sound will do: take a cool lead synth and play at the right pitch and you will have a rich, warm bass sound that may work.

Bass notes themselves are centered around two ideas:
  1. harmonic: what chord is playing and what notes are in the chord
  2. melodic: how can I make my bass line interesting from a rhythmic and melodic point of view

Harmonic rhythm usually changes slowly in dance music: 1 chord per bar or several bars. This means that you can play the same note under the(se) bar(s). Arpeggiating the chord (playing each note in the chord 1 after the other) can provide some melodic relief from what would otherwise be a monotone bassline.

The melodic flow of your bass line can provide a strong counterpoint to your main melody. Scale runs, skips of larger intervals (4ths and bigger) provide the means of creating this melodic movement. Add a strong rhythmic line and you create a bassline that is compelling and impelling, pushing the song forward.


Bass line theory is a bit more complicated than that, but in a nutshell, there are three techniques that hardly ever fail:

  1. Every time there is a kick there is a bass note.
    • It can be long or short
    • It can be the same note whilst it is still the same chord
    • A note from the same chord can be used instead of the root (naming) note of the chord
  2. Play on the one (the first beat of the bar)
    • Short or long duration
    • Same note as long as the chord stays the same
    • A note from the same chord can be used instead of the root (naming) note of the chord
  3. Play a more rhythmic line that syncs with the kick but has additional notes to the kick line
    • Short or long duration
    • Same note as long as the chord stays the same
    • A note from the same chord can be used instead of the root (naming) note of the chord
    • scale runs or non-chord notes to join up the chords

[MP3]http://www.bandcoach.org/audio/bass-line-examples.mp3[/MP3]

I've been playing bass since 1977 and the above three techniques have made it possible for me to be successful whenever confronting new music in the studio or live. One of my favourite tricks when working with a drummer I don't know that well is to stand where I can see his kick foot and nail what he is playing on the kick. Impresses the heck out of experienced drummers too.

Use the root and fifth of the chord at the current spot in your progression; i.e. in the examples I gave above, the outside notes, Aminor, would be A and E.

Sometimes you might you use the note a scale tone beneath the root - one or two keys below. So, for Aminor, that would be G

See example below i-bVII-iv-III:

hiphop.png

[MP3]http://www.bandcoach.org/fp/audio/hiphop.mp3[/MP3]

---------- Post added 03-13-2011 at 05:57 PM ---------- Previous post was 03-12-2011 at 12:41 PM ----------

Thinking about this overnight, if you want to move from chord to chord with the bass leading the way, you might apply the same rule moving by a note that is a scale tone a way from the target chord.

So moving to the Dmin from the G you use a C in the bass line (a tone below the D) andmoving from the C to the Aminor you use a B (a tone above the A):

hipHop2.png


[MP3]http://www.bandcoach.org/fp/audio/hipHop2.mp3[/MP3]

Add 7ths and 9ths to your chords for more interesting sounds. Add some strings playing pizzicato and arco (plucked and bowed) and you begin to get a lush sound that can't be beat:

hipHop3.png


[MP3]http://www.bandcoach.org/fp/audio/hipHop3.mp3[/MP3]

That's Aminor9 (ACEGB) - G9 (GBDFA) - Dmin9 (DFACE) - CMaj9 (CEGBD)

Tie notes together that are the same to make the movement more smooth in strings if you wish or just voice it (vertically arrange the notes) as sounds best to you.

Hope this helps get you started
 
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