Hey! I’m new to sound design and I’m trying to recreate the bass of this track and would appreciate some pointers…
I can hear a sort of constant subby growly buzz and the main bass sound which sounds like it’s playing an octave eurodance style bass
I’ve tried many things and sort of fall short of recreating this. I’d love to know not how to recreate this specifically in a DAW or anything but rather the thinking, approach and possibly how it was made originally… a constant sub bass and top end bass separately? All in one bass playing rolling octaved with some strange release times? A bass playing the same note and Lfos on one of the oscillator gains to get that top end come through after the kick ? How much sidechain ?
If I was too take a stab (pun intended) at it, I would use a sample of something like a DX7 piano of some sort as the top and some kind of sub, maybe a sine, or a triangle for a little bit of extra grit. Since the kick in here sounds like a sample, it also sounds like there’s a sub the doubles the kick, possible an 808. The maybe-808 kick doesn’t sound like it’s layered with the sample kick as one instrument, but instead sequenced separately under a different track. I say that because when the kick is out, I can still hear the maybe-808 sub.
Then the [sample kick+sub] and [DX piano+sub bass] pattern is kick on the 1 - 2 - 3 - 4, and the bass in between the kicks, and I envision will give me that undulating, rolling-type of bass.
Yesh my confusion is that theres a sub under the kick and u can clearly hear and feel sub informatjon during the “top bass” part. Even though in a classic octave bass type of beat this would be the “high note” that youre playing…
So your approach cuts things into four pieces (subunderkick, kick, subbass, bass) and stitches them together. I have yet to try it. So far i tried to solve it with one sub under both the kick and the bass…
I think the good part is that the only sound that really sidechaining then is the sub under kick. Previously I had issues where I couldn’t get the sidechain the sub right and it would even bleed into that next note and detract from the impact of the sub @_@
In some attempts where I used a shnthesized bass drum I tuned it along with the bassline. But I like the idea of a sample kick and a sub underneath (that sub would need tuning along with the bassline). Suddenly that doesn’t sound as crazy anymore as “tuning your kickdrum along with the bassline”
Typically there is almost never “one” bass unless someone is using a really sophisticated VST/synth preset or something like that. You really want to layer sounds.
It’s a simple bassline and no you don’t need sidechaining as long as your bass is not hitting at the same time with your kick (assuming you want to sidechain these two). This doesn’t mean you shouldn’t sidechain though. It’s up to you what you want to do with it.
Here is my take with really exaggerated sounds to hear them all. Like they said above, if you want to further develop, you can play with velocity, pitches, of course EQ etc…
I was just attempting the same thing. In my version I used an Argon8 so that I could have a sinewave as one oscillator and a more metallic waveform for the other oscillator. I played a typical octave bassline, with velocity routed to the level of the more metallic bass. I programmed it so that high velocity was only on the off-beats (I hope this all made sense).
The track starts off without a kick and u can hear the full sub and bass uninterrupted. When the kick comes in it feels like neither of the bass layers are changing. But you’re suggesting this wasn’t done with sidechain but rather by shifting attack of the bass to duck in time for the kick ? @DJCHEMIE
I feel like on this track theres something similar but cranked up a lot harder where theres a substained sawtooth “sub” playing with a “melodic” octave bass on top. Im even wondering if on both tracks the melodic part is playing the full melodic octave or ONLY the top note (like for example in the classic “better off alone”
I’ve always wondered what the intro noise was for rippin kittin, I want to say without any knowledge whatsoever that it’s an Octave Kitten / Octave The Cat, not just because of miss kittin
So I’ve been doing this for a month or more and here’s the latest version. For me the trick was to run the percussion through a vocoder and run the top bassline into it so it creates that nice jumpy accent together with the hat.
Oh and I created a sustained subby saw, ducks when kick hits and a top bass layer that only plays the offbeats of a “octave bassline”.
I made sure they are similar in timbre and have similar harmonics (blended in a metallic type of wavetable in osc2 on both and gave both drive) them ran both sounds into a bass amp for more drive) so they sound like one instrument and it creates an illusion of one instrument simply playing an octave bassline. I’m somehow convinced this is how it might have been done…
