Bass house project - update 4: New Bass Lines + Breakdowns

Hey guys! Finally back with another update on my bass house project! This one is a little later than expected for two main reasons, the first being that there was HEAPS of improvements maid over the last week and the other being that I'm really lazy... But let's get right into it shall we?

The new bass line...

I'll be honest, after the first session of this project I was experiencing some serious 'morning after' effects. This meaning that yes, just like a good night out , I thought everything was awesome when I made it in the moment. However, I came to realise that after trying to bear with it for about 3 weeks that it just wasn't right and didn't suit the track. Therefore, I forged a new one, this being way more funky and really fitting in well with what I had originally set out to create. The screenshot of the session view can be found below!

Session View: Screenshot taken 27/6/18

As you can see from the screenshot above, a lot happened in my last session. The initial goal for this session in particular was to simply create the breakdown that lead out of the drop. However, it wound up leading to so much more. As I mentioned earlier, I wrote a new bass line for the track, the main difference between this one and the previous one is that it is a lot more rapid and slightly off the grid. This gives it a bit more of a human feel and it really creates a groove that the previous one lacked. Shortly after this, I completed the breakdown for the drop and decided that it was about time I finalised the sound of the main bass synth so that I don't get distracted and waste time by screwing around with it anymore.

Main bass - Final processing

As I mentioned in my previous update blog for this project, the final processing for the main bass was going to be completed in the next studio session for this track. Well ladies and gentlemen, its finally done and I'll be going through in full detail how this particular chain works. Warning in advance: I couldn't actually fit the entire chain in one screenshot so it'll be split into two parts starting from the first screenshot below.

Main Bass - Final processing part 1: Screenshot taken 27/6/18

Main Bass - Final processing part 2: Screenshot taken 27/6/18

How it works

Firstly, we begin with the instrument - N.I Massive where the synth is created...

Main Bass Synth Patch within N.I Massive - Screenshot taken 16/6/18

The synth itself

This synth was created using 2 oscillators holding two seperate saw waves - one being tuned down 12 semitones (1 octave) and the other being tuned down 24 semitones (2 octaves). The second saw wave's intensity was backed off to around halfway to prevent it from sound too sharp and muddy. The reason for this was mainly due to the fact that a lot of distortion was going to occur in the later stages of the synth's creation and it could potentially clash with my processing. From this point, the two waves were then routed out into the same low pass 4 filter with the cutoff frequency being set to approximately half way. An envelope was then attached and heavily bent over the cutoff frequency to cause a more percussive sound due to its rather sharp attack and low sustain. No resonance was required for this synth as I wanted it sound as low as possible with minimal high end where necessary. The final step before this synth's initial completion was a C Tube distorter which was added in the 'FX 1' area of Massive.

EQ

Moving on from the initial synth patch we have an EQ Eight plugin. The main purpose for this was to essentially eliminate anything within the 100 - 150Hz region to prevent clashing with the Sub bass of the track. However, this EQ was also used to majorly low pass anything above the 1kHz region to give the synth a deeper feel. From this the signal was then routed through a multiband dynamics processor.

Multiband Dynamics

Although the EQ Eight did an excellent job in eliminating most unwanted high frequencies and sustaining balance in the mix, it still wasn't enough to be rid of the annoying high frequencies that taunted this instrument. This is where the multiband dynamics processor comes in as it essentially eliminates all unwanted high frequencies as well as giving slight boosts to the low and mid regions. However, in order to ensure that this didn't overpower the synth, the amount for this processor is sat at a mear 30% with its output being reduced by approximately 9.52dB. After this, the signal was then finally routed out to the compressor, where all of the magic happens!

Compression

Initially, the next step in the chain was actually to route out to an Overdrive distortion plugin but I came to realise rather quickly that it distortion sounds like shit when compressed... Therefore the two were switched around. The compressor in this case is mainly there for slight side chain but also to give the synth a bit more body and loudness to express itself. The sidechain however is not as much of a necessity as the synth is rather percussive already as I mentioned earlier. This allows for it to balance with the kick rather easily already so the compressor basically just sets in stone. From this point onwards the synth moves into its final stage...

DISTORTION

As I mentioned above the signal from the compressor eventually routes out into an Overdrive distortion plugin which gives the synth its deep and harsh sound. However, I had to watch the drive on this one as there was already a C tube distortion added to the synth within Massive originally. Therefore, I set the drive at a small 39% with the dry/wet and dynamics sitting around half way at 50%. Now, although this gave a really nice tone to the synth, I just felt like it needed just that slightest bit more. So.... I added yet another distortion plugin! To finish the chain I added a Cabinet distortion to give it a little bit more of an analogue feel as it is set to condenser, slightly off-axis with a 4x10 Bass Speaker. Again, had to watch the dry/wet on this one as there was already 2 other distortion plug-ins running. Therefore, I set it to a very small 18.3%.

Potential additions...

The only thing that comes to mind at this point in time would be another automated auto filter plugin to used in the build-up sections so it doesn't spoil the surprise of the bass line impact as much. Other than that I'm not entirely sure just yet! However, if something crazy does come to mind I'll be sure to let you guys know in future updates!

To finish

As you've seen, this was a pretty major studio session for me, I wound up getting heaps done as well as drawing a lot of inspiration from creating new things and furthering my abilities. To say I'm keen to show you guys this track is an understatement and I'm really excited to see where it goes in the end. Until next time!

Levels :)