Viel Brumm: 12 Regeln für nen guten (Techno) Bass

Hab da mal mein Hirn ausgequetscht und gesammelt, möchte ich euch nicht vorenthalten... Is etwas kurz und knackig geraten, aber was z.b. ein Bell-Eq ist möchte ich jetzt in dem Kontext nicht nochmal aufrollen.

1. Kick: Always be sure to be the kick tuned to the base tone of the track. (Or 2.)

2. Kick: If your kick tuned to the base tone is too low try tuning it 7 halftones above the base tone.

3. Kick/Bass/SubBass: Use a tiny bell eq of just -0.5 db at the base tone of the track where the most power is. This can make the bass not just in the face but smoother.

4. Kick + Bass: Lo cut at the frequency of the base tone of the track or just below. If your kick is tuned +7 HT (Tip 2.) try locutting at this frequency.

5. SubBass: As the name implies it may stay a bit under the base tone. To be specific exactly one octave below the bass. It could work to play harmonies with the sub bass and to make it > 1 octave below the base tone. But it seems to make not so much sense because at these low frequencies one can hardly identify a harmony. And of course 1 octave below it sounds more homogenous and has more power. So 1 octave below the base tone respectively the played bass tone seems to be the right decision for placing a sub bass. Just to let you follow my conclusions.

6. Kick/Bass/SubBass: Somewhere between 200-400 Hz often is some hum in the bass. To remove that and make the bass more technoid try a narrow deep bell or even a notch at that frequency. Very nice effects you get if it works on diffrent frequencies for bass, subbass and kick. At the kick the gain reducction bell could also be placed deeper i.e. 80-120 hz

7. Kick/SubBass/Bass: Very often a m/s eq on the bass makes sense to remove the side signal below ~500 hz. Following 1. it's sometimes very spacy to leave a bit of the sidesignal there. If you reject 1. and 6. you often get a more dirty bass which very often starts blubbering.

8. Bass/Kick/SubBass: Phase optimization makes the phases of the tone go synchronously and not erase each other. You can even see in the peak meter how it slightly increases if you find the perfect phase offset/phase adjust.

9. Bass: Crispy basses with a short decay (where you may also try a delay effect) sound more transparent if you delay them by 2-4 ms. When you have a booming bass this effect is not so relevant. Nor on the subbass in most cases.

10. Kick/Bass: Adding a compression with long attack and short release is good. The long attack ensures that the Booming part is not affected by the compressor.The short release ensures that the compressor recovers before the next transient. API2500 is nice for that.

11. Following 4. to cut the bass at the base frequency you might insert a saturation after this. This again adds some subharmonics. In any case you should lo cut radically below 20 Hz afterwards.

12. Adding even and odd harmonics with saturation is nice. In bass area i like to use even harmonic distortion. Odd harmonics i like on the percussions.

13. Applying sidechaining on the bass to let it duck away of course is a very classic tip to reach the pumping effect.

14. As you may know it's always better to do it in the mix than in the master. But doing the m/s processing (Tip 7) and the final lo cut (Tip 11) makes sense to do addtionally in the master.

15. Often at the beginning of a kick thee is a high frequency “Klick”. It often sounds smoother when that click is played before the 1/4 note. In order to achievie this you may add a negative delay to the track of just about 2ms. Thats much more easy to handle than pushing the notes.

n1. Coole Ideen.

#1 und #2 haben mir gerade bei 2 Tracks sehr weitergeholfen. Sobald ich beim Bass alles unter A0 cutte klingt es viel ungestörter und smoother. Kleiner Eingriff, große Wirkung Gute Dinge sind eben meistens einfach. Noch zwei Fragen:

- mit Bell meinst du einen EQ-Absenkung mit minimlaer Bandbreite? oder darf die etwas breiter sein?

- wie klingt ein Bass wenn er blubbert? Habe schon einiges davon gelesen aber das Phänomen an sich noch nie bewusst erkannt.

Zitat von Dabey:

#1 und #2 haben mir gerade bei 2 Tracks sehr weitergeholfen. Sobald ich beim Bass alles unter A0 cutte klingt es viel ungestörter und smoother. Kleiner Eingriff, große Wirkung Gute Dinge sind eben meistens einfach. Noch zwei Fragen:

- mit Bell meinst du einen EQ-Absenkung mit minimlaer Bandbreite? oder darf die etwas breiter sein?

- wie klingt ein Bass wenn er blubbert? Habe schon einiges davon gelesen aber das Phänomen an sich noch nie bewusst erkannt.

- Bell ist halt die Form des eqs... also sone mulde eben.... bzgl. 2. u. 4. ja relativ schmalbandig
- blubbern.... ja gute frage wie hört sich das an.... blubbrig halt?. probier einfach mal regelmässig nen lo cut auf dem seitensignal... je nach bass wird das dann etwas flach bis deutlich unblubbriger ;-)

aja... sind noch 2 tips dazugekommen

habs oben eingefügt... 11+12

https://soundcloud.com/charly-beck/l...arning/s-GM9gk

Here's a sample with a 'blubbering' bass.

This effect occurs often if you have too much modulation on your bass that produces stereo in the lo end.

You get rid of this by cutting the low end on the side signal with an m/s eq. Additionally i put a notch at 300 hz and a lo cut at 42 hz.

The m/s prcessing is switched on/off in a loop of 2 bars. you should hear that the stereo effect disappears and the bass sounds more homogenous and in this case also less dynamic.

Wobei ich meine, dass man unter "Blubbern" gemeinhin nicht unbedingt das stereo bild meint sondern diese kurzen "Peaks/Tremolos", die im Beispiel durchgängig drin sind und in den Parts mit deaktiviertem m/s eq nur deutlicher rauskommen. (?!)

Wertvolle Tips, danke

danke digger! knacking und kurz und für keut, die scho bissel was gemacht haben