The amount of the info on the subject is tremendous but the problem is how to filter the actually useful info and leave the bollocks out. So this thread should be more about the basic concepts rather than sharing settings and Youtube which is also welcome though. Some people say that every synth is fine as long as it has a saw oscillator and a 4 pole LP filter.
This is not my experience, I think some synths do it much better than the others. What keys are commonly used? Seems to work better for one note patterns like in progressive than for jumping full-on bass.
I commonly use sine wave admixed to the saw one octave lower. The relative volume may depend on the key and the bass pattern, I think one note proggy patterns will sound fine with much louder sub than full-on basses jumping over one of two octaves, these usually require way less sub if any.
This goes without saying that they are very important but I think they may be mostly set by ear. Highly depends on the bass pattern. As for the eq settings, it was independently confirmed by two guys with very good ears that the harmonic frequencies can mask the fundamental bass tone making the bass muddy e. I use one osc and processing. According to materias interview on youtube i try to keep it simple.
I never use more than one synth for bass. I think making hamburgers of synths is more an EDM thing, not very common in psy. Heh, reading all that I feel like my own approach goes against the rules. But maybe that's because I actually don't like those surgically sculpted, very controlled and precise basslines in Imba's or Ticon's albums to refer to more recent releases.
I like there to be some grit, some unpredictability, some chaos even in my basslines. Therefore - once I'm ready to show my new stuff, that is - you'll see that I apply effects and modulations to my basslines, because I like them to be "alive".
Whereas nowadays it is being often relegated to function as a pulsating backbone of the track, sort of like a second kick drum. The discussion I see on various forums on e. Sure, I see it can be important - especially in the world of broad EDM - but it will not make or break your music. If there ever was a tune or even genre - e. My point is, I obviously try to take all above things into consideration, but I try to get my bassline out of the sight as soon as possible.
It's like jungle music years ago all having to use the same amen break loop - it's admittedly awesome I almost cried from nostalgia when I recently heard it in Galantis' "No Money"but surely we can come up with something more creative? Our music got really commoditised standardised over the last couple of years, which led to huge homogenisation of how it sounds: just listen to old compilations from TIP, Transient, Blue Room or Flying Rhino and compare the variety of sounds, textures, styles and emotions in there to almost any current compilation.
No contest there!
How to make a trance bass sound
Sorry for not being helpful and - God forbid - I'm not suggesting that I'm in any way better than this. Guilty as charged. But I still can recognise this as a problem. I like dub music very much because of the mysterious, hazy aura it creates, but I feel like the conventional basslines really limit it and hold it in place. I feel bad even calling it "rhythm section" because it genuinely doesn't do it justice - there's more musicality in there than in many other full tracks Sorry for the rant above.
Actually the thoughts that triggered it was this Ableton Live tutorial from Mr Bill - who does great, experimental music - on how to "make psytrance":.During these challenging times, we guarantee we will work tirelessly to support you.
We will continue to give you accurate and timely information throughout the crisis, and we will deliver on our mission — to help everyone in the world learn how to do anything — no matter what. Thank you to our community and to all of our readers who are working to aid others in this time of crisis, and to all of those who are making personal sacrifices for the good of their communities.
We will get through this together. Updated: December 22, References. Trance is perhaps the most emotional genre in electronic music. It can make you want to burst out cheering or start crying for no reason. It has the power to instill pure bliss into the listener. There are so many different subgenres of trance that continue to make it unique to this day. If you are interested in creating your own trance music, whether for fun or to get your name out there, here are some steps to help you get started.
Article Edit. Learn why people trust wikiHow.Here's the sound:.
Step 2: We add a hefty dose of compression and a big EQ boost using a low shelf. We remove its lower frequencies under about Hz with an EQ plug-in, as you can see above. This allows the low-end, rumbly bass to do its work while our twangy bass layer sits happily above. Step 4: We add a similar layer to our midrange bass, but this time choose a slightly warmer Sylenth1 sound: BS Pulsation.
Keep your layers distinct from each other - each should contribute something a bit different to the mix. Step 5: Now we group these two layers together, and add some sidechaining. Using a compressor to sidechain the bass will have the effect of ducking the level of the bass every time the kick occurs. We then put a compressor on our bass channel and send the output of the ghost kick channel to the sidechain input of the compressor.
You might find it slightly counter-intuitive to add those frequencies, but it really will make a difference during the sparser parts of the track. Try playing with the filter envelope as well. Step 8: Finally, we add a little ping-pong delay to the bass sound to get it moving around a bit. Get MusicRadar straight to your inbox: Sign up for the free weekly newsletter. MusicRadar The No. Liked this?In electronic dance music song, drop is a part that comes immediately after breakdown and build up build up is a section where you build the tension towards the drop.
Drop is where you reintroduce the full bass line with drums and also — depending on the genre — a melody perhaps.
PsyTrance Bass X1
If your track is played in a club, drop is where people start dancing and jumping like crazy. It is a part of your track that you should really try to make stand out.
So in a nutshell: use EQ high pass filter to CUT the lows in the build up and the contrast between your build and drop will most likely make a greater impact.
Try doing this, if not for the whole build up section, but at least for those few last bars of it. And you may also have some hits and stabs in your build that require low frequencies to make an impact. But as in whole, try to make the difference between the build up and drop obvious to the listener in low frequency wise. Now I can easily control the EQ and levels of both sections using just two Mixer tracks. Try rolling off frequencies of Hz and below using high pass filter.
Try to make it sound natural and not too thin in relation to the rest of your mix. Also, when you roll off those low frequencies, this will most likely give a bit more headroom to the build up part so you can increase its volume level if you feel its necessary. Maybe if he didnt keep talking like he cant spell and has no sence. If he wants to know about DAT tapes he needs a different website. Definitely, Zach!
How about if you are using several effects for different parts of your build up? Meaning, you cant route them all to one mixer track. I just want to make a mixtape. Be heard and hear my voice over killer beats!
I was not able to spend 10 hours like a lot of producers do on their DAW everyday. However if you did and you made VERY good use of the time, it should take you no more than 6 months.
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So how to make it stand out then? But exactly what EQ frequencies you should cut? The end. Cool and useful tutorial. Very cool! Thanks man!What makes a high quality track? Is layering important? How should you approach your low-end? But I know you get sick of me writing all the time, so the EDMProd team got in touch with a bunch of professional trance artists and asked if they could share a tip or two.
Firstly I would say it is important to produce music your own way and I mean to go with your own feelings not trying to sound like someone else. For some reason many young new producers aim for achieving fame and completely forget what trance or any music is all about. Best you can do is to stick with your own sound, work on it and focus on every single detail.
These days there are o many options how you can get the basics in matter of weeks even days. Once you understand the basics of composition, arrangement and some basic chords you are on a great way to make your own first hit! In our experience the quality of a production mostly comes down to the balance of the mixdown. The sound selection itself is very important even before you start processing the sound.
Simple, but objective EQ and volume adjustments go a long way of balancing sounds into your track the rule was definitely an eye-opening one. Avoid overprocessing and stacking loads of plugins on top of each other for no reason resulting in noisy overcompressed messes.
In the end all your good decisions and your bad decisions add up and it shows in the final result. The next step from using actual good sounds and making good balance decisions is layering. Starting from your kick drum to your percussion, sweeps, pads, leads, and of course your basslines.
Our basslines are always layered and to put it simply it goes like this:. Follow Cold Rush on Facebook. Listen and re-create. The most obvious difference between professional tracks and amateur tracks is the lacking understanding of tension and release.
A track needs to evolve constantly, build up, break down. The use of effects to build anticipation for change, mix up synth lines, bass lines and drums for short fill-in like sections before looping back into the regular beat.
The best way to approach this is to listen to tracks you really like. Try to focus on specific details at a time. How are FX used, what happens to the drums, are they constant or broken up here and there?
It also minimizes the risk for repetition. Next step is to re-create it. Try to re-create the song as closely as you can. Every individual part.
Just try and see how far you get. The low end of the frequency spectrum is incredibly sensitive and gets crowded really fast. But keep in mind, just about any synth, any loop and any sample contains bass. It can be a little and it can be a lot.You want your basslines to thump in the club, in the car, through the home system, and even on crappy radios, right?
Do you have a problem making your basslines thump in different audio systems? Do they sound nice on one set of speakers, but weak on the next? Are you having a hard time getting the power you want from your basslines without making the mix too muddy or distorted? Bass is almost definitely the hardest part of music production to master. It requires some knowledge of sound selection, frequencies, waveform behaviour, masking, sidchaining, distortion, dynamic range and more.
And if you go too far on the low end, you can easily destroy the rest of your track in the process. You need to make sure that the bass has a lot going on in the Hz frequency range. So just how do you do this? How to make a good bassline that is both felt and heard on a number of different speaker systems?
These waveforms have few or no harmonics, so they are felt more than they are heard.
If using a synth or even a samplertry layering these waveforms with a waveform rich in harmonics, such as a square or saw wave. Use anything with a tube tube preamps, tube compressors or a dedicated distortion unit guitar distortion pedals, plugins, etc. This will add harmonics to the bass sound so that it will be heard in a higher register for those people with less ideal speaker systems, but still felt for those of us using speakers with more bass response.
If programming with a synth or sampler, use two oscillators or create a multi-layered sampler patch. Set one of the oscillators or sample layers to be an octave below the other. Lower the volume on the higher octave layer so that it is just heard. This will ensure that your thumping bass patch can be heard in both the lower and mid frequency ranges. Another approach is to layer your bass patch with a percussive sound, such as a bass drum. Lengthen the attack of the percussive sound to make it less drum like.
Layer this new percussive sound with your bass patch.You could argue that basslines are second only to the beat itself in defining the character of dance music. This is by no means a definitive list of bass types, and in reality the bassline in any given track may straddle two or more of those discussed here, but our eight categories encompass the vast majority of dance basslines.
In essence, this is all about the archetypes of dance basslines. Bass notes are placed between each kick drum to deliver a simple driving rhythm that provides a pulsing backdrop to pads, arpeggiated synths and simple melodic motifs.
In this style, bass notes are usually of medium length with a recognisable sharp attack and moderately filtered decay. A good place to start is with a sawtooth waveform. The pulsing nature of the low-end elements, the fact that bass and kick do not clash, and the somewhat straight, unswung nature of other parts make this bass very well suited to additional delay processing. This helps create additional rhythmic interest.How to make an Uplifting Trance Rolling Bass [FL Studio Tutorial]
Start with a delay time locked to your project tempo — for example, a dotted 8th-note delay. Additional interest can also be created by programming extra bass notes around the central bass pulse. But further inspection reveals that it is pulsing continuously at double the rate of the kick drum. Side-chain compression on the bass triggered by the kick drum pushes down the level of those bass notes that arrive at the same time as a kick.
This gives the impression of a simple old-school trance bassline. Overall, this simple approach to bass programming works well as a counterweight to the dominant kick. It may be simple, but can often be extremely effective. Attack Magazine is funded by advertising revenue. To help support our original content, please consider whitelisting Attack in your ad blocker software. Find out how. Necessary cookies are absolutely essential for the website to function properly.
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