Creating Basses (Like in low-freq bass cd's, some Cash Money stuff)

great thread guys. I need major help using my recently-purchased JV-2080. I have the following cards in it:
world
orchestral
sfx
pop
EXPr2
Vocal

For the love of me , I can't get any sick bass out of the patches. I'll admit to not knowing the machine and find it quite intimidating when you don't know it.

If anyone could take me through a step by step proces to getting at least one mean bass patch (I need a bass for sample based east coast type hiphop), it needs to be clean, deep and no "plucking" (but I do want the attack to be there, the note needs to be defined) or clipping when I blend the notes together. All the preset pass patches on this thing sound totally unuseable to me and I know there's gotta be a way to get more out of this machine.

Thanks in advance to anyone who can help!!
 
Actually

If you plan on having bass loops, the best way to do it, is hook up with a local musician that is relativley good. This way you can have the bass lines tailored to your specific beat. A personal favorite tool to use while recording bass is the MXR BASS DI+, it has a 1/4" and XLR output for going into a board/mixer. You can contact me at H4LOFOURT33N on aim or knottyboy311@yahoo.com. If you prefer loops hands down, contact me and ill give you some of my input.

Good Luck!
 
Someone mentioned it earlier, but making space for all the instruments is pretty important to get a punchy sound. For the kick drum you can basically, using a high-pass filter, cut out anything below 75-80Hz - you'll keep the body and the punch but get rid of very low frequencies that get in the way for the bass line. Same goes for the snare drum - cut anything below 120-140Hz. That will leave room for the bass to breathe and will give you a punchier, better sounding bass and a snappier sound overall.
 
HI

Good post.

this is what I do.

- remove 80 hz and below from the kick
increase kick EQ at 80-110
- low cut 2000 hz on the Bass
- decrease kick Eq at 350-400 hz
- increase bass EQ at 350 -400 for
better

then dependng on the music you got, you can add distorcion (amplitube, which is the best plugin for creating profesional basses) ) or add tube emulation plugins such as aplitube, antares tube.

You can also use waves bass maximizer to add harmonics in the uper bass part (120-400 hz)
 
mattu said:
Someone mentioned it earlier, but making space for all the instruments is pretty important to get a punchy sound. For the kick drum you can basically, using a high-pass filter, cut out anything below 75-80Hz - you'll keep the body and the punch but get rid of very low frequencies that get in the way for the bass line. Same goes for the snare drum - cut anything below 120-140Hz. That will leave room for the bass to breathe and will give you a punchier, better sounding bass and a snappier sound overall.
Click to expand...

You could also try ducking the bass line underneath your kicks so you feel the full punch and once it decays, the bassline comes in. Ducking is the same method djs and radio uses to talk over songs so that anytime a signal is ducked, it is automatically brought back up when you stop talking. This works for alot of instruments you want to emphasize.
 
Samplecraze said:
TD, I dont use FL but tell me what filter facilities it has and I'll try and help, the theory is the same whatever s/ware or hardware you use.
The weapons you need for bass filtering are low-pass filter, high pass filter(for removing some of the lows), a band pass, notch and 2 or 4 pole. But even without the last 3 all you need are low, high and a 2 pole would be nice.
But get back to me with the FL filters.
Click to expand...

wow, it's been a while since my post, but i'm still wondering...i've begun using some hp/lp filters and grasp them pretty well based on my experience with ar stereo amps. what about notch and posts though? sorry if im slow, but i can't seem to figure them out.
 
A notch filter is used to eliminate a narrow band of frequencies, it can be described as the opposite of a band pass filter.
A 1 pole or 2 pole or 4 pole etc.. is a filter that attenuates at the cutoff and as the frequency is doubled , anything at that frequency is reduced by the amount. Example : a 1 pole is a 6dB, 2 pole is 12dB, 4 pole is 24 dB.
In a 2 pole the frequency is doubled and anything at that frequency(you choose) is reduced by 12dB once attenuated.
If you were to apply Laplance Transform domain graphically( yeah I know it's hard to deal with) then think of a flat rubber tent and a pole being pushed up to create a 'lift', 2 pole menas 2 'lifts' and so on.
Maybe a little tutorial here would be funky:

A band pass filter is where low pass and high pass cutoffs and attenuations take place together. In old analogues, particularly the Korg Solos you had 2 sliders, one effecting the LP and the other effecting the HP filters. They worked in parallel, today synths have that built in. The Oscars had 2 knobs to control the band pass, quite funky really, one knob controlled both the LP and HP, again in parallel mode, the other knob defined the distance between the two....cool.
Cut off simply means at what point the filter attenuates. On old analogues this was called the slope or gradient and is really more accurate as the RC(resistor/capacitor) sloped or graded as opposed to an instant point select. Todays technology allows for instant cut off as they are determined by algorithms as opposed to circuits. That is why the filters off an Arp or Oscar etc... are so much more expressive and warm as they rely completely on the resistors and capacitors to , first warm up, then to work but in a gradual mode( gradual meaning steep curve as opposed to instant select).

The ATC Tone Chameleon is probably one of the best tools out there for filtering as it has cartridges that incorporate filter types and actions from old analogues. In fact, it's fair to say, that the Waldorf 2/4 Pole is one of the best filters out there as it truly works off old technology to effect the filtering as opposed to DSP based filters.
Emu took filtering to a new level with morphing filters(Morpheus) wherby they created a blend of algorithmic filters to create some remarkable filter types.

I have dithered enough.
I'll get me coat on the way out.
 
Does anyone know how to create something like the introductory bass in Bustarhymes ft Mariah Carey - Give it to me in reason?

I need something clean / deep and fairly smooth - i have only been able to create a bass that tapers off and/or starts with a loud (not deep) thud.
 
Samplecraze said:
[Hey sample craze,
got your post and i was wondering if you could help me. I have a Mo Phatt sound module.could you help me with working the filters and oscillaters and how to make m,y own funky sounds? I know how to use it for the basics, but would like to learn more. I have the manual but that does not help me at all.PLEASE HELP!!!!!!
Click to expand...
 
ive heard alot of cash money sounds in my emu mophatt-i think you might have good luck with the smooth bass using one, then applying some filters to em.

a perfect example is #1 stunner-emu drums bass and strings all over it.

maybe need to add an expansion card to the mophatt though for the strings.
 
"Sure GI, PM me."

Why go to pm? Let the rest of us check it out. I'm sure I'm not the only other e-mu user that would be interested to hear this.. A different thread maybe...
 
I learned while doing performances that what you are trying to achieve can be accomplished "live" by kicking up the treble. Setting your mid to around 3 above 0 and then applying the bass tone feed to taste. For the extra kick of back sound that you want, use a simple cheep($30-$60), digital delay pedal. Set that sucker to delay but only get it just a little wet in other words you want the delay but your going to need it to bump seemlessly into the end of the note your playing. The effect you'll get will serve to emphasize every note you play.(It can realy shatter the rafters, Blow the roof off if you know what I mean) It can also provide you with some real thumping authentic sounding samples, great for paseting and looping.
 
Try layering ur tones 4 ultimate hum. Take ur bass note, copy it, and drop it an octive, then take that, copy it, and drop it another octive. Stack the 2-3 layers and adjust the volume levels of each. This should create the lower humming overtones ur looking 4.
 
Howdy all. I'm new here. I noticed something that barely got mentioned in this thread, and it's a really good secret to know. the secret is HI-PASS. See all of this clean sub, or even low frequency sounds with lots of harmonic content eat up the energy in a mix with a lot of unusable, non-reproduceable sound. Most sound systems will not accurately reproduce 20Hz. Most have a hard time pushing air below about 45Hz. The trick is to throw a hi-pass filter into your sound, like a 24bd/oct and stick it around 25-30hz. Then what comes through is useable energy. Sure, sidechain compression, and EQ help a lot as well, enabling good coupling of the frequencies from the various instruments in the mix, but if you leave all that low enrgy in there, it'll just trip your compressor, and force you to make it sit lower in the mix.

Another big help is having a monitor system that lets you actually hear what the bass is doing. Sometimes you'll have some deep sub that you can't hear on normal speakers, but for some reason you just can't seem to get your mix to be loud without distorting. Headphones don't work. Home listening systems are not advised. Good, flat monitors, with a sub and your ears will teach you so much about what works and what won't. Good luck.

Ape
 
My question is what are my alternatives for monitoring my "bass creations" when couple many paychecks away from decent studio monitors?
 
Go, the key is understanding how what you have in front of you translates elsewhere. First, a cheap trick you can do to get you started is take a pice of music that has the sound qualities you like in a mix, and just keep playing back and forth with the piece you're mixing until the sound sounds similar. Do a few like four or five diffent mixes with a touch more mid here, a touch more sub there, a touch more compression, or less, then take the track you like and your tracks out and listen to them on a bunch of different systems. Now one thing you HAVE to remember is to TAKE NOTES. Write down the various settings you used and the differences so that you can see what settings worked best out in the real world. See the trick is not just to make it sound good on your monitors because that tells you only that it sounds good on your monitors. The key is to make it sound good elsewhere and then see what that sounds like on your monitors. A lot of folks I know that don't have perfectly tuned rooms will slap either a dual 15-band or a dual 31-band EQ in front of their amp to "dial in" the room. In fact you HAVE to. So.....the cheap trick is to tkae the mix back that worked for the outside world, then EQ the monitors so that the room sounds like you want your tune to sound. Essentially what you are trying to do is compensate for what the monitors and room do to your sound so that when you are mixing a tune it DOES translate to what's goin on out in the real world. Most good places have two or more sets of monitors, one of working, and one for a master mix, and sometimes one or two more like a boom-box and home stereo speakers so that they can listen to the mix in eack setting and get it right. Please don't dream that good monitors alone will solve problems. You have to build a relationship with them and learn to understand what they are telling you for them to be of any use whatsoever.

c13, room size is lees of a factor than the acoustic propetries of the room, and sound absroption characteristics. A bigger room is ok if it's treated correctly, but the bigger it is, the more the treatment will cost. What's really important is that you're not getting lots of reflections, standing waves and cancellation. Nearfield monitoring helps with that, but it still doesn't solve all the problems. There are actually lots of sources of info to answer these questions much more completely than I could. Anyhoos, I hope these tips help. I'm still learning more techniques and tips every day myself.

Oh, one more thing....find out what you can about teh importance of good signal summing. That's another MAJOR key in making this stuff happen correctly.

Ape
 
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