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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
- Start date
Just posted this. Some friends were asking about my photographic printing process, so I figured it's an excuse to make a music video and force myself to start working on synth stuff again.
Finally got my sy200. In a loop of the Zoia. Tried a couple filters and had to go with the Moog. Not really using it as a standalone drive, just an expression controlled filter.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
No guitar on the album, all bass.
WHOA! Sounded like a guitar riff. Now I like it even more
WHOA! Sounded like a guitar riff. Now I like it even more
Very much like the double duty thing. I will be joining you, in a different subgenre, as soon as we finish tracking my wife's vocals.
The middle section of Ragnarok takes an unexpected turn. Nice use of "applied technologies" too.
WHOA! Sounded like a guitar riff. Now I like it even more
Thank you all for the kind words, really makes my day.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
Thank you all for the kind words, really makes my day.
We’ll see what we can do to change that
Oooh, more progress today. Really nice spalt pattern, here.
This is probably a stupid question but I'm still pretty ignorant so here goes...
What effect(s) do I need to create really long, drawn out swells? I have a volume pedal for creating swells, but what I want is for those swells to hang around for a looong time. Ideally while one swell is still going I could make another to layer them. Is it simply a matter of using a ton of reverb? Is delay the answer? Compression? Something else? The more info you can provide the better.
What effect(s) do I need to create really long, drawn out swells? I have a volume pedal for creating swells, but what I want is for those swells to hang around for a looong time. Ideally while one swell is still going I could make another to layer them. Is it simply a matter of using a ton of reverb? Is delay the answer? Compression? Something else? The more info you can provide the better.
Not stupid at all. Of course, long reverbs make a difference (provided you don't get too muddy), but for me, the key to a long swell is the delay pedal with a long feedback. When you swell in, you don't get the repeated attack as you would if you picked the note with a pick or fingers, and so it's nice and smooth. It's one of the first tricks I ever learned, and it's just a normal part of my technique, now.
It's worth mentioning if you have a reverb with a HPF in it for the wet signal (a few, such as the Meris Mercury 7 have it), it can make a world of difference (on bass), because you're not putting the bass frequencies through the verb signal, which would sound muddy as all hell.
I think reverb is going to be your best weapon. As noted above, one with the ability to pass filter the wet signal is helpful. Something with an infinite or near infinite sustain is a good option.
For swelling in, you could set the mix to be 100% wet and a long pre-delay setting. A volume pedal might be a better option. Adding distortion before the reverb will give you some sustain.
what these guys said.
it's worth noting that strings decay over time—sometimes quickly, so it can be a bit of a losing battle against physics.
overdrive distortion or *clean* boost. *slower* left hand vibrato to keep the notes going. compressors and i don't get along, but they're worth a shot.
on single notes, ebow can be useful. manring somehow does two ebows at once, but he's also using really small strings on his hyperbass.
playing higher in the range or using a back pickup can ease the low-end buildup for chords and so forth—unless you're looking for low-end buildup.
it's worth noting that strings decay over time—sometimes quickly, so it can be a bit of a losing battle against physics.
overdrive distortion or *clean* boost. *slower* left hand vibrato to keep the notes going. compressors and i don't get along, but they're worth a shot.
on single notes, ebow can be useful. manring somehow does two ebows at once, but he's also using really small strings on his hyperbass.
playing higher in the range or using a back pickup can ease the low-end buildup for chords and so forth—unless you're looking for low-end buildup.
I think delay is more useful in a band context; reverb is more fun and better for solo stuff. For delays, I have found that often slightly more "digital" sounding ones are clearer in the bass frequencies. Most are being sold as "vintage" everything but sometimes more clarity can be helpful if you're playing with other people.
I use an expression pedal for delay feedback swells in a band setting. Another fun trick is to turn off the input to the delay or reverb but keep the feedback up on what you just played, so you can play over it. I do this a lot.
I use an expression pedal for delay feedback swells in a band setting. Another fun trick is to turn off the input to the delay or reverb but keep the feedback up on what you just played, so you can play over it. I do this a lot.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
Started looking at something in the M8 called ‘tables.’ It’s like a sub sequencer that sequencers your main sequencer. Hurts my brain a lot, but got some fun stuff out of it. The tune is a bit pedestrian, but…
Reverse delay into a reverb is a good combo for swelling sounds.
