Tale of us, bass-pad.

[Rein]

Guys in "every minute alone", the remix of "Sense" on get physical, the bass start under the kick..seems to be no sidechain there..is this possible?
Or there's just a bit of sidechaining?

it's more of the bass being above the kick. kick's around 50hz there, the main bass sound is much higher. also, there seems to be two elements of the bass, one being a sub that's played only once in a bar, between the kicks, the other being a higher one (frequency wise), which is some sort of saw wave with some filter movement.

[shubelo]

been experimenting with Tale of Us type basslines as well. Getting some pretty good results using Sylenth. One sine osc for your sub, unfiltered, then either 2 saw or square waves an octave higher, one panned left, the other panned right, slightly detuned or different phases to get that wide sound. Seems to be more accurate than using Chorus on bass although chorus can sound good as well if running through a rack that keeps the lower end mono while spreading the highs...Env attack with medium decay, medium sustain and a bit longer release. Filter the sound until you hear a slight rubble when u keep the key pressed in. Then filter envelope set to slow attack, medium decay, shorter sustain and a bit of release to get the pluck of the bass sound. Set up your LFO to modulate the filter slowly so that it slightly opens up and closes again when holding notes for a long time, also set to retrigger...Their kicks usually sit in the 66-110Hz region giving you plenty of space below and above...Now play long continuous notes, some staccato, some legato to give the occasional rest of that bass rumble, then throw in some shorter notes some staccato, some legato as well...their use of long notes that continue into each other, or stop before playing a new note contrasted to the short notes gives the bassline a lot of dynamics imo.
you can then go further into the programming, add portamento and hold some notes longer so that some of the notes slide into each other, or pitch bends in clever parts...velocity on volume env or filter to taste and start giving the bassline some dynamics, quieter notes, accents...
the problem I have is when using certain scales, some harmonics of certain waveforms falls outside of the scale and sounds off...trying to wrap my head around this as using a different waveform might not yield the tone I'm after...any tips on how to deal with this?

Hey mate, This was a nice bit of advice. I've been playing around with these settings in Sylenth for a week. Was hoping you might be kind enough to send one of the patches you have, to get a comparison.

Not sure if I'm getting it correctly. Thanks for any help

[NoAffiliation]

the problem I have is when using certain scales, some harmonics of certain waveforms falls outside of the scale and sounds off...trying to wrap my head around this as using a different waveform might not yield the tone I'm after...any tips on how to deal with this?

i know exactly what you're talking about. If you are familiar with shonky's track "korg m1" it has a really distinct lead line with a korg organ sound. i have a korg m3 with that exact same preset and i tried for hours/days sporadically trying to make this very simple riff. i would get the first pitch and second and then none of the keys would work. i finally got it by sampling individual pitches at different tunings on the synth. cant believe such an easy riff was so hard. but maybe sample the pitches you want to audio and they will always work 100%

[N - Jay]

So you resampled your organ patch into your sampler? But you did not resample only note, say D#3 and played through the scale with that note?
Because if you sampled all your notes contained in the bassline, it would sound the same when played directly of the M1, so theres no pitch difference like when you play 1 note across the scale?

[NoAffiliation]

no, i sampled different notes with the synth tuned differently on different notes if that makes sense. like one note the synth was tuned to 440, another note it was tuned down. i could get the right notes individually off the synth but was never able to actually tune the synth so you could play the whole melody on the keys with it sounding right.

i doubt shonky actually had to do all that. i asked my friend who has a masters in music composition about it and he told me it is common that musicians will detune various notes or one note in a chord to give a smoother sound. he then showed me on his sequencer (cubase) that you can apply tuning information to individual midi notes.

[hydrogen]

super cool technique mike! I also wanted to mention that some synths have this kind of functionality built in. They allow you to use micro tuning file with the synth. which allows you to do exactly what you are doing like detuning certain notes... Synths i know support this, uhe diva, Linplug Alpha3 and Madrona Labs Aalto. I wonder if the m3 can support microtuning as well?

Another method is to make each voice can have an individual tune and you can change how it cycles through the different voices. So a single key could possibly be played at slightly different pitches depending on what order the key is playing. Uhe Diva has a really nice interface for this and The arturia CS-80v plugin also has this same type of thing(hidden in one of those fan panels) where you can control the pitch per voice.

I find this to be part of the charm with working with different hardware synths, I find them never to be tuned exactly. And I can never get anything perfectly tuned, where as in the computer it seems to be very consistent unless you go out of your way to detune. The Roland Jup6 is very good at doing this and i can't explain how... its like its in tune but not in tune. it makes the magic

[shubelo]

been experimenting with Tale of Us type basslines as well. Getting some pretty good results using Sylenth. One sine osc for your sub, unfiltered, then either 2 saw or square waves an octave higher, one panned left, the other panned right, slightly detuned or different phases to get that wide sound. Seems to be more accurate than using Chorus on bass although chorus can sound good as well if running through a rack that keeps the lower end mono while spreading the highs...Env attack with medium decay, medium sustain and a bit longer release. Filter the sound until you hear a slight rubble when u keep the key pressed in. Then filter envelope set to slow attack, medium decay, shorter sustain and a bit of release to get the pluck of the bass sound. Set up your LFO to modulate the filter slowly so that it slightly opens up and closes again when holding notes for a long time, also set to retrigger...Their kicks usually sit in the 66-110Hz region giving you plenty of space below and above...Now play long continuous notes, some staccato, some legato to give the occasional rest of that bass rumble, then throw in some shorter notes some staccato, some legato as well...their use of long notes that continue into each other, or stop before playing a new note contrasted to the short notes gives the bassline a lot of dynamics imo.
you can then go further into the programming, add portamento and hold some notes longer so that some of the notes slide into each other, or pitch bends in clever parts...velocity on volume env or filter to taste and start giving the bassline some dynamics, quieter notes, accents...
the problem I have is when using certain scales, some harmonics of certain waveforms falls outside of the scale and sounds off...trying to wrap my head around this as using a different waveform might not yield the tone I'm after...any tips on how to deal with this?

Hey Mate, Sorry to bother you to much but I was hoping you could share the patch you made in Sylenth? I've been working on some different things, they end up sounding good but don't exactly sound like a 'tale of us' bass.

Cheers

[loictambay]

http://www66.zippyshare.com/v/42057305/file.html

did it on my comp speakers since my headphones are currently out of order. the stereo spread could probably use some tweaking since I really can't tell on my comp...
play C#1 and A1 for half a bar each, should sound pretty close...