Quote:
Originally Posted by timtico
yes, it was a "sound" indeed I got by following your settings. Looking forward to see your settings. I learn heaps by reverse engineering patches.
Been working on this track today, and it's incredible how much difference very small things can make  . Althought this is probably common knowledge for most producers, for me it was kinda refreshing:
- A little dash of reverb (e.g. small hall, short decay time, very dry) can do wonders to lift up your bassline.
- parallel filters in Ableton: duplicating a bassline on two different channels, One bandpass at a low setting and on the other channel a bandpass at higher frequency... can be great. Crisp basslines without being muddy.
(Does anybody know how to put the autofilter in Ableton in parallel?.. will have to take a look into this, should probably be routing audiochannels or something...) |
I must say I never use reverb on the bassline, I tend to keep it dry and spice it with some saturation or even tube compression. That has everything to do with mixing other stuff in. Keeping the bassline as dry (and mono) as possible makes it much easier to mix.
Putting reverb on basslines may sound 'better' but remember, the bassline is only the backbone. A good bassline is supposed to sit well and ' aid' other instruments. Apart from that you are more likely to have phase-problems and muddyness in lows later on.
I don't use Ableton, so I fear I cannot help you.
On leadsounds try bouncing it to audio, reversing it and then putting the forementioned reverb over it and reversing it back. It's a trick common in breakbeatgenre's, but works well in psy as well.