A sine wave contains no harmonics, so there’s nothing to filter. Doing this means that you can automate filter changes as your track progresses. That said, even if you’re drawn to musical styles that regularly feature sine-wave basslines, it can be better to use a core sound that’s richer in frequency content and then use a low-pass filter to remove unwanted harmonics. When you’re adjusting your amp envelope, bear in mind that most bass sounds have fast attack times (Image credit: Future) 4. Sometimes, though, less is definitely more, and you might find that you’re better off pulling out some basic synthesis techniques and going to work on simple oscillator waveforms. Most synthesizers these days come pre-loaded with a slew of high-quality bass presets, many of which sound big enough to cause a minor earthquake. Other effects – panning or chorus, for example – are usually more suitable, and you can get good results from layering up bass sounds, too. Our advice is to tread carefully in this area, as doing that can often do more harm than good. If you think your bassline needs a little more ambience or depth, it can be tempting to throw a reverb over it. You might need to apply a bit of processing, but this can create a nice, buzzy bass tone. If you’re struggling to get the kind of bass sound that you’re looking for, why not think out of the box and try something completely different? It’s not unheard of for producers to use pitched-down woodwind instruments to create basslines – try a bass clarinet, for example. If you’re looking to add depth, panning effects like Cableguys’ PanShaper 3 can do more than reverb (Image credit: Future) 1.
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