That's logistics, we're here today just looking at bass, just looking around for the detuning
bass and exporting it and then putting it back in again, layering it up and trying to
create something unique by using those methods.
The other first thing is just taking a rease basically, which I've detuned and then added
a filter to and detuning it just kind of gives that that move but rather than just giving
you a flat, straight, side wave or sort of square wave, whatever you choose to use and
then to that just apply a bit of distortion, just give that grittiness and you can then
cue that how you choose.
I try and keep it like as clean as possible with giving it grit at this stage just so
that when you then put it back in again you don't have to compete with too much kind of
nasty midrange and too much harshness.
Then just layering up with the second sound, which again just will give it a bit of character
when you put it back in.
That's just got an NFL volume at the moment, just gives it a little bit of movement and
the filter as well now.
That's just a rease on top of the NFL filter as well.
It's all coming off quite random at the moment, the way it's obviously got the tempo and
stuff, but when you start to then filter that again it will just give you like unique little
kind of intricacies in the sound and just make it kind of jump out and stand out from
everything else a little bit.
This is then a sample that I've actually, this is a sample from before, just doing the
same kind of thing that I'm telling you on the top, so that's already got the phase
and stuff on it already. That's just been a high pass there, just kind of got them in
and again like just a little bit of distortion on it just to make it jump out of the mix.
It's really really subtle bit, things like that again.
It's helping to kind of morph into it.
And yeah, sub underneath it.
No, you can, after the mess around with doing octaves and then play with the velocity on
the top one just to give it, like a slightly fuller sound as well.
And yeah, another read so that's up, getting one that I've exported before.
Just sort of like kind of using your ears really for me and like getting the frequency
right and it cuts through compared to everything else.
That's the main thing for mess around with stuff.
The last sound is just another read so I've made.
Again, it's got like the LFO on the volume.
And then what I do is export that to the Wav.
Get it into WaveLab, just normalise it.
Not too much processing.
Pretty straightforward stuff.
And what I've actually done is I've just got one straight copy of it.
It's just maxed out like that.
And then another one where I've just applied a little bit of phasing on it.
Just using this thing.
Just so we can have another copy basically to mess around with.
And all I did there was just slow the rate right down.
So now you've got your two copies and you can just go back in.
Got them all loaded up here.
Without the filter, it's just...
Yeah, that's what you end up with.
Just start filtering, export the sound.
And from there you can just keep on going.
Just keep on layering up the same sound over and over again.
Messing with the filters.
And again just like trying to sort of get it to talk.
Get to have some kind of distinctive character to it.
You can also do this where you just detune it just by one cent.
And that's just like...
You can also do this by one cent.
You can also do this by one cent.
You can do this by one cent.
You can then sort of...
Yeah, I think it starts there.
So now you're using that main sample.
And you can just keep on going from there.
Just keep on processing the sounds.
As long as you make sure that your bottom end isn't phasing.
If it's phasing then it'll be fine basically.
Yeah, just make sure you roll off the bass on all these ones.
By the higher passing the more you're curing them.
Just mix around from there.
Just experiment.
Do whatever you want really until you get some distinctive sounds.
It's the same sound with that one.
This one's the effects version.
So that's one with the phasing that I applied.
Wave that up using the plug-in.
And that's just the main one.
So you can manually do that without boosting the bottom end.
Come, come, come a bit.
Yeah, you can just mix that a little bit.
Just do it again.
But normally I wouldn't do that in the main one.
I would see the main one playing and maybe distort these.
Yeah, it's just like processing each one until you get something that kind of works here.
It's cool because the more you can move, I find the more you pitch them down a little bit.
The more they sound, if you don't mind.
You just grab the whole selection.
There you go.
Yeah, this is basically just starting off with a square wave and applying an NFO to the volume.
So it just kind of has that movement again.
And then mess around with one envelope on there.
Just because that kind of jungly feel was there.
Again, it's just like getting your filters right, I think, before you export it.
So you're happy with the way it sounds.
And saving your projects too, so if you're not quite satisfied, then you can go back to the song file and tweak it as you please.
Yeah, the second one's basically just a copy of it.
And that one's just, it's kind of doing the same kind of thing as I was doing with the last bass sound, which is just distorting it a bit.
Going back off the bottom end, just voicing the top end of that midrange.
And then you can just automate the distortion on it as well.
So it's like a little reverb on it.
It sounds like a little bit of character again.
Just get this sound again and export that as a reverb.
Get it up and wave it out.
And yeah, just opening up a few different versions.
That's it.
That's why it's picking it in.
So you just want to take the exported sound, make sure you save it as a mono sound.
And now take that, put it back in, layer it up again.
