Low end farty bass

Tchu · 2024-03-06T14:11:49.847Z

shigginpit:

makes it hard for me to hold it in

Let it out, you’ll feel much better.

shigginpit · 2024-03-06T14:14:08.245Z

A good sub is silent but deadly.

Francis · 2024-03-06T14:15:16.481Z

It’s the only reason I’m here.

Tchu · 2024-03-06T14:15:47.803Z

I thought you were going for the submachine gun.

shigginpit · 2024-03-06T14:17:33.980Z

I don’t have the proper ammunition, I’m still low passing.

sloki · 2024-03-06T14:32:16.599Z

Thanks all. Looks like a sin wave is the way to go (or the triangle on the A4). Will report back!

@shigginpit this is a fart friendly zone, please feel free to let it rip as long as you teach me how to filter it.

@Jeanne I’m out of the country atm so can’t update any examples from the A4 until next week, but will do so once I am back. In regards to what kind of sounds I like, I hear it quite often in mid-tempo/EBM stuff but off the top of my head, the main line in this that comes in around 0:18 is a good example: https://www.youtube.com/watch?v=6lOQXeMU9Qk
I’m sure there is a bit more going on there (your thoughts are very welcome on what that is btw because I love that sound) but I just want to be able to play things that low and have it still sound that dirty but clear if that makes sense? Like you all said though, sin/triangle wave, barely audible octave up and some drive + filtering may accomplish that.

Jeanne · 2024-03-06T14:43:20.494Z

sloki:

dirty but clear if that makes sense?

For this sound … if only one track … Saw with PWM on OSC 1 (to have some kind of supersaw) and Triangle for low-end on OSC 2 would be my first idea … and use the Filter envelope to create this “plucked” character.

If two tracks layered, then one Track with what was said above, and the other Track with both OSCs tuned to the same octave, but slightly detuned (again, to have some kind of supersaw - and they could both get PWM to taste), filter envelope for Filter 1 (plucky) and Filter 2 set to highpass - extremlely highpassed

Edit: Listening again I believe the sub bass is coming from the kick, or invented as an element of the kick.

d4ydream · 2024-03-06T14:44:36.099Z

nickl:

high pass filter with high resonance to boost exactly the sub frequency you want.

This is great for kicks to give them more oomph (or with an inverted envelope to dip down into the sub region on each hit but not boost that region all the time).

For sub bass, it’s not about a really boosted fundamental. And, unless you’re using keyboard tracking, you would just be boosting a single frequency and not each note that you’re playing.

Great sub bass is about harmonic content added through drive and not waveshape i.e. overdriven sine vs. harmonically rich saw.

sloki · 2024-03-06T15:02:03.608Z

Legend, thank you! I’m going to try this on Ableton now since I actually have access to that at the moment. Should also translate pretty well to another sound I tried to figure out awhile back: https://youtu.be/g-3D9LQu8BQ

Though there is quite a bit of noise on that too I believe to give it that extra slap. Each of the first 2 notes of the riff are a very good example of what I’m wanting to do regarding the low end.

Jeanne · 2024-03-06T15:20:16.157Z

Went a different route using FM here …

after the pause two quick examples representing what I wrote before

here’s another one, no FM this time, with a static pulse width change to the two saws

However, both don’t sound anywhere as good as the example

both approaches combined …

… “best” version below

sloki · 2024-03-06T15:50:58.302Z

This is all on the A4???

Jeanne · 2024-03-06T16:00:09.530Z

one more … yes, A4 … but none nailed it But there’s a lot to experiment with and find a sound you like.

PWM with a small range and high speed (like this last example) is the way to go to make the sound “clean” instead of “nasty”.

However, the original sound reminds me a lot of Karplus Strong (very metallic (and spikey) attack, peculiar resonances, and each note sounds individually plucked).
And the second example is a one-shot sample

Oxenholme · 2024-03-06T17:32:56.529Z

I got some pretty subby albeit slightly uncontrollable wubs out of the A4 using the feedback oscillator.

Current sounds coming from your gear (Part 2) Our Music

A4MKII Feedback, AM, FM, Metalsync tryout.

sloki · 2024-03-06T20:34:06.793Z

Cannot wait to get back to my analog 4 now, thank you for all this!

Karplus strong is something I’ve often been curious about but never took the time to explore. Is that something doable on the analog 4? My minimal knowledge of it is that it requires a very short delay and envelope, but something tells me there’s a lot more to it…

And regarding the second example - did you mean the song I sent? That’s a one shot?

Edit: also, next time I read anyone say the analog 4 sounds “weak” or “soft” they need to be linked to this thread.

sloki · 2024-03-06T20:35:42.821Z

That is so cool. Honestly this instrument and the things people do with it never ceases to amaze me.

Jeanne · 2024-03-06T20:45:19.670Z

sloki:

Karplus strong is something I’ve often been curious about but never took the time to explore. Is that something doable on the analog 4?

No And crazy workarounds with the delay will only lead to grief and no joy (besides that the Delay of the A4 isn’t tuneable, it snaps to 1/128ths). Microfreak has Karplus Strong, and it might be interesting to layer an A4 sound with a Microfreak sound to get some extra metal sheet flair.

But you can try to mimic it (such as I’ve tried above). FM can sound close to that

...

Not EBM, but you might enjoy this: https://www.youtube.com/watch?v=AGTwZVj3Cs4&list=PL-MKoQp4lob0By7nck_9FOKY0s6kBcGcd&index=2

sloki · 2024-03-06T21:06:06.562Z

Bloody hell that is brutal! Love it.

And thanks for the heads up on the delay situation, I would have probably spend days trying to figure it out with no joy there’s a few fun ways to FM so I’ll start from there.

nickl · 2024-03-07T08:07:06.595Z

Jeanne:

I believe the sub bass is coming from the kick, or invented as an element of the kick.

That’s what I thought too. There’s a place where the bass instrument changes timbre, but the sub is still hitting along with the kick.

sloki · 2024-03-07T08:18:08.974Z

Would you mind expanding on that please? Not sure I’m fully understanding.

nickl · 2024-03-07T08:28:09.262Z

When speaking about ‘bass’, it’s useful to differentiate between ‘bass instrument’ (the harsh plucky sound that you hear coming in at 0:18), and ‘bass frequency’ (that’s what hits you from the subwoofer). In this particular song, that lowest hitting frequency is coming from the kick instrument. The A-part of the song is quite dense so it’s harder to figure out what is hitting you - kick and bass are working closely together. In the B-part of the song, the bass line has the same notes, but different timbre than in the beginning. Kick is still there and provides the subwoofer hit.