[Hexspa]

Thanks, Joe 🙂

[Hexspa]

I definitely suspect some FM. The multiband would only bring it forward or change the balance to a degree. After I go through Massive’s wavetables again, I’m going to try combining some ring modulation with Phase to see what I get. I watched a Rocket Powered Sounds tutorial that I recreated in Massive, and post-processing, recently so I know some things can be emulated that way.

Here’s that tutorial:

And my recreation:
https://vocaroo.com/i/s1XZ2p1cFWSa

Ok, a couple days later maybe it wasn’t that close. Points for trying.

[Hexspa]

Where’s the hint button? I tried every conceivable combination in Massive and couldn’t get it. Something tells me this was made in Serum.

[Hexspa]

Any time, bro. I tried adding distortion inserts too but it just added too much fuzz. Glad I could help.

[Hexspa]

Hey Dannye. I just made my patch version of the Jay Robinson “Hold Out” track Bass House Synth line.

I did it in Native Instruments’ Massive. It’s a monophonic ‘legato triller’ patch with moderate equal glide. I went with a middle intensity square wave into two Scream filters routed in series. The first filter cutoff is set to about 1:30 and 50% resonance which helps thicken up filter 2, that also has 50% resonance but also a touch of cutoff modulation for some bite using Envelope 4.

From there it goes into a Classic Tube in the FX1 slot and finally into the EQ which has much of the high end removed, a small notch at what I estimate to be around 2kHz and the tiniest low shelf taking the sub level down a hair. I realize the Hardclipper is on for Insert 2 but it isn’t doing anything. Lastly, I added 2 semitones of pitch bend using Envelope 1.

One important part of this patch is how it uses the Macro controls. I routed Macro 1 to Filter 2’s cutoff, and a very small amount to the Classic Tube’s drive control. This is mainly for the first note in the phrase I copied that sounds a touch brighter than the other notes. I used Macro 2 to increase the pitch decay time for Envelope 1. You can hear this in the last two notes though I suspect they change this throughout the part more often.

I happened upon this combination by pitching the track up two octaves. This let me hear the pitch bend more clearly as well as what I considered to be a square wave sound. While you can definitely hard clip a sine wave to create this, I prefer to use as little processing as possible. The bass line in the track sounds heavily saturated, almost parallel compressed. While I’m not exactly sure how they did it, I found the Classic Tube as well as the Scream filters to be helpful in this regard.

One thing I’ll add is that the kick samples really add to the punch of the bass line. I noticed that the amplitude envelope’s attack is set a lot slower than I initially suspected. By setting it slower, you get out of the way of the kick and also eliminate clicks and pops.

Oh, and the whole secret to this bass, for me, is shaving off the buzziness in the high end. This is a very round, saturated sound but with no fuzz. The very first note in my recording might have a touch of fuzz because when I did my final check I pushed up Macro 1 a lot. In fact, I think some of that extra brightness comes from the quiet Reggae sample on the downbeat.

I’m open to feedback. Thanks.

Attachments:

1. 808-Hold-Out.nmsv_.zip

[Hexspa]

Here’s my attempt:

Lots of keytracking.

Attachments:

1. 20180922-Patch-Friday-Mario-9.nmsv_.zip

[Hexspa]

Here’s a bass, not mine and I don’t plan to recreate it, from an Aphex show:

It’s got some character!

[Hexspa]

Nice, Joe.

[Hexspa]

Thanks, Joe. I owe it all to you 🙂

[Hexspa]

Good job on that patch, Joe! Soulful.

[Hexspa]

I heard there was a synth-off goin’ down. Howdy, Joe! Howdy, fellow Syntorians! Wanna hear ye some Big Fat Bass?

This is a patch I made while ripping off “Dark Horse” by Katy Perry. Y’see, I don’t like me no copyright strikes so I keep to myself. I’ll look over at what you’re doin’, and I might copy a little, but this is my work, ya’hear? Ain’t no darn samplin’ goin’ on ’round these parts.

I just threw a saw-square blend, pitched it way down yonder and gave it some spice. You wanna know my secret recipe? Filter modulation. Don’t tell your mother I told you. I just put a little bit – not too much – to give the low end some shake. That’ll get ’em hollerin’!

Now you can’t just have meat and pepper, as you’ll know from eatin’ your Uncle’s chili. Ya need somethin’ to fill out them britches. That’s what ol’ Brauner’s tubes will do ya fer. Fatten up your lower mids like nothin else can. Finally, ya just toss that rusty saw an octave up and you’ll be toppin’ charts like denim tops the wagon.

Here’s the tune of mine it comes from: https://youtu.be/7JDOSW_YGoI?t=1m3s No fiddle in this one, Cowboy. I also put together a little demo composition over yonder: https://soundcloud.com/hexspa/synth-patch-bass-this-cross/s-usLxx

Anyway, it’s getting late. Told the boys I’d join ’em down at the Saloon. That Ned, never pays his debts…

EDIT – sorry if I triple posted.

Attachments:

1. 808-This-Cross.nmsv_-1.zip