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Poll, geopend op woensdag 11 augustus 2010, looptijd van 5603.8 dag.
Drum & Bass produceren
| 6 | 46% | Ik heb hier niks mee...zie liever paar tieten, lijn pep of een lekkere kerel |
| 3 | 23% | Handige info |
| 2 | 15% | Geen handige info |
| 2 | 15% | Handig, wil ik wel vaker zien, scheelt googelen |
| 0 | 0% | Info klopt voor geen meter want>> |
Medeforummers,
De afgelopen weken ben ik druk bezig geweest op mijn werk met informatie te zoeken over het produceren, begrippen, technieken (zoals sidechaining). Ik wilde hiervan wat met jullie delen, misschien dat je er wat aan hebt, misschien heb je er iets aan toe te voegen, en misschien ook niet. Hieronder zet ik info over het maken van een drum & bass track
Het is een hele lap tekst en ook nog eens Engels, maar de moeite waard voor geinteresseerden. Ik heb er in ieder geval veel aan gehad.
DRUM&BASS
(meer info: http://www.hitsquad.com/smm/news/654/ >>>pianootje: Op het keyboard editor-icoontje klikken, rechts bovenaan in je step sequencer.)
Bar: (een bar is een maat) Look at the beat pattern, in the top left corner, You should see a small window/box with this signs - - Click on them and drag your mouse up to as many bars you would like.
1
Set the tempo (speed)of your sequencer to 170 BPM(ish). This is roughly the speed you want for DnB.
2
Assuming you have a 4/4 bar of music, adjust the sensitivity of your sequencer/drum machine (i.e. Reason, Logic Audio) to 16. This means that each "beat" in the bar (i.e. where you count 1-2-3-4) will be broken into 4 pieces. Write a Bass (Kick) drum on the first and eleventh beat within the bar. If you are playing your tune, you will have a "syncopated" drum beat, i.e. the drums will not fall exactly on the "1-2-3-4-" we discussed earlier, but on the 1 and between the 3-4 beat. On its own this doesn't sound too rhythmic, so, we need something else.
3
Add a "snare" or similar sound (high hats can work, check your soundbank for a sound you like- but it must be tonally higher than the bass drum). Add this beat to the fifth and thirteenth beat of the bar. This should give the familiar DnB "Bang---TickBang--Tick---" sound. This is the basic break beat for DnB (at this speed) and Hip Hop at lower speeds.
4
Build on top of the beat. For example, one could add a high hat over the 1-3-5-7 etc(every other 16th beat) of the bar, or you could add a snare around the 7th beat, or a kick around the 14th beat. That's for you to discover- this is one of the areas where the creativity comes in...
5
Add some variety. A song with one simple bar loop is going to get dull mighty fast, so you need to vary the drums a bit. However, this doesn't mean just change them bar after bar- this would lose the tune's structure (a vital ingredient in DnB). In order to add change, but keep structure, you must make your changes repeat over a "phrase". In this case a "phrase" is a sequence of 4, 16, or 32 bars. For basic hardstep a la Roni Size/ general club DnB, change the drums every bar for 4 bars, then repeat again. This should be complex enough to stop the song from sounding boring for now, although you will have to think of changing the drums again, later in the song (again in a 4-8-16-32-64-128 etc etc bar phrase--remember, it's how it sounds that matters, not how mathematical it is. These are guidelines, which, on occasion, are made to be broken, after you have mastered them.). If you want a more complex (as was once called "intelligent DnB") beat, you should aim to use a 16 bar progression, or if you are exceptional, 32 (listen to Paradox - a DJ's nightmare, brilliant music, impossible to mix).
6
For more variety: If your sequencer will let you, try editing the 'velocity' of some of the drum notes so they're not all the same loudness. Also, try to "break" the beat at the end of phrases by doing something different in the last bar of the drums - change the pattern somehow - dropping notes, adding notes, changing the note locations.
Hier een tutorial voor DnB in fl studio: http://www.hitsquad.com/smm/news/654/
Glitch
(glitch link: http://www.laptopnoise.com/freeglitch.htm
http://freemusicsoftware.org/category/free-vst-effects-2/glitch )
Glitchen is eigenlijk samples omzetten in a-muzikale waves. Glitch is vaak geproduceerd op computers met behulp van moderne digitale productie-software om kleine "cuts" samen te lijmen (samples) van de audio van eerder opgenomen werk. Deze cuts worden vervolgens geïntegreerd met de signature van de glitch muziek: beats gemaakt van glitches, klikken, krassen, en andere "verkeerd" geproduceerd of klinkende geluiden. Deze storingen zijn vaak erg kort, en worden doorgaans gebruikt in plaats van de traditionele percussie of instrumentatie. Overslaande CDs, gekraste vinylplaten, Circuit bending, en andere ruis-achtige verstoringen zijn prominent aanwezig in de creatie van ritme en gevoel in glitch, het is aan het gebruik van deze digitale artefacts dat het genre haar naam ontleent. Echter niet alle artiesten van het genre te werken met foutief geproduceerde geluiden. Sommige kunstenaars maken gebruik van digitale synthesizers, zoals de Clavia Nord Modular G2 en Machinedrum en Monomachine.
Granualizer
Een granulizer is een synthese methode die functioneert onder een microscopische geluidsschaal. Het is meestal gebaseerd op het sampelen, maar is vaak met een analoge methode gecreeerd. De samples worden gesplitst in zeer kleine delen die een tijdsvlak van 1 tot 50 milliseconde bevatten. Deze stukje heten grains. De grains kunnen gelayered worden op andere snelheden, phase, volume en pitch.
Bass
The Frequency Range
If you want your bass to bang in a system with nice subwoofers AND in crappy home shelf systems, it is pointless to use a bass patch whose energy lies only below 40 Hz, because most home systems will not play sounds that low in frequency. You need to make sure bass has a lot going on in the 70-90 Hz frequency range. So just how do you do this? How do you get a sound that is both felt and heard on a number of different speaker systems?
Layering Other Waveforms
The sine and triangle wave produces that low thumping bass tone we electronic composers love (e.g. sub bass, 808 boom, DnB drone). These waveforms have few or no harmonics, so they are felt more than they are heard. If using a synth (or even a sampler), try layering these waveforms with a waveform rich in harmonics, such as a square or saw wave. After layering, use the synth's or sampler's low pass filter cutoff to trim away some of the higher harmonics from this new bass patch.
Distorting for Harmonics
Start with your favorite bass sound, one that happens to be low in harmonics (like the sub bass and synth bass discussed above), and add some distortion/overdrive. Use anything with a tube (e.g. tube preamps, tube compressors) or a dedicated distortion unit (e.g. guitar distortion pedals, computer plug-ins, etc). This will add harmonics to the bass sound so that it will be heard in a higher register for those people with less ideal speaker systems, but still felt for those of us using speakers with more bass response.
Octaves
If programming with a synth or sampler, use two oscillators (or create a multi-layered sampler patch). Set one the oscillators/layers to be an octave below the other. Lower the volume on the higher octave layer so that it is just heard. This will ensure that your thumping bass patch can be heard in both the lower and mid frequency range.
Percussive Attack
Another approach is to layer your bass patch with a percussive sound, such as a bass drum. Lengthen the attack of the percussive sound to make it less drum like. To do this, raise the attack time on the amp envelop of your sampler or synth (this is usually the “A” of the ADSR on most synth’s and samplers). If you cannot do this with your sampler, use any wave editing software you may have (or your sampler’s sample editor) to slightly fade in the percussive sound, then save it as a new sound. Layer this new percussive sound with your bass patch. This will make the bass patch punchier, and thus help it to cut through the mix, even on a system with low bass response.
Real Bass
Yet another layering approach is to layer your deep synth bass patch with a real bass. This can either be an actual recorded bass guitar, or a patch in your sample library that sounds like a real bass. Since real basses are usually higher in frequency and more punchy than synth basses, your the deep bass will be heard and felt more on systems with good bass response, but the real bass layered over the top will be heard more for those with less fortunate systems.
Enhancements
Another tip is to use a bass enhancement plug-in (such as Waves MaxxBass), which essentially adds psychoacoustically calculated harmonics to the sound in order to trick the human ear into believing that the missing lower bass frequencies are actually there. This occurs because the human’s auditory system has the ability to recreate missing fundamental frequencies from remaining harmonics present in the bass tone. Bass enhancement systems will allow you to bring this out in your bass sound.
Compression is Key
Ever made a bassline that switched between lower and higher notes throughout the song? The low notes are fine in relation to the volume, but the higher notes stick out like a sore thumb? Or the higher notes are fine, but the lower notes are too low to be heard? To correct that problem, try a little compression. Do not over do it though, or you will kill all the dynamics and emotion in the bass part. With basses, start with a threshold of between -5db to -15db, and a ratio of between 3:1 to 8:1. If you are using a synth-like bass, a quick attack would be advised. If you are using a more plucked or slappy type bass, use a longer attack to allow for the initial “pluck” to pass through uncompressed, but the rest of the note to be compressed.
Wobbelen (bass)
Wobble Bass
'Wobble Bass' as it is known is simply a bassline that has an LFO assigned to a Low Pass Filter as an insert effect. LFO stands for 'Low Frequency Oscillator' and is used to change a sound by a defined speed (measured in either Hz or synced to the Tempo in relation to the bars/notes through quantization.)
The way the LFO changes the sound is up to you, you can make the LFO adjust the Volume, the amount of Saturation, Filter Cutoff etc.
Basically any parameter you link it to. Essentially you are just using the LFO to send a changing value to a parameter.
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How to get a simple wobble bass.
1) Choose a simple sound on your synth. (Anything apart from a Sine wave )
2) Select your LFO and set it to the speed you want (1/8 would be a good starting point)
3) Now assign the LFO to the Filter Cutoff. Which should for this example be a Low Pass Filter* as the sound we're going for is a deep bass.
4) You now have a basic wobble bass, from here the possibilities for tweaking this sound are endless.
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A quick breakdown of what's actually going on. Essentially you are taking a sound (that can be an audio files, generated by a synth, etc) and then passing it through a Low Pass Filter.
Now what exactly does a Low Pass Filter do you ask?
* A Low Pass Filter allows Low Frequency signals to pass through it, but reduces the amplitude (volume) of all the Frequencies above the cutoff point. In general most plug-ins have various Low Pass Filter settings, where the more poles it has the more Dbs it will cut and will yield a harder knee to it. Example: 1 Pole Filter with a -6dB/Oct reduction Vs a 2 Pole Filter reducing -12Db/Oct.
However, you don't necessarily need a LFO controlling your Low Pass Filter Cutoff frequency value, you could just draw in the Automation yourself, but a LFO will yield a loop of consistent values and prevents the possibility of human error. All the LFO is doing is sending a value to your frequency cutoff to keep it consistently changing.
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Tips & Advice
1.) Sub bass wobble would normally be a Sine wave at around the 40-50 Hz range which would repeat the same chords as the mid-range bass wobble. The only difference being that with a sub bass wobble there is no point in assigning the LFO to a Low Pass Filter because the sound is too low for the low pass filter to have any effect, so the LFO is assigned to the amplitude (volume) instead. Another reason for not applying a Low Pass Filter to the Sub bass is because it would typically be a Sine wave which possesses no Harmonics to be adjusted by the Filter.
2.) The sound of an LFO can also be adjusted by the wave type you choose. The default setting for an LFO generator is a Sine wave, although on most synths you can chose from Triangle, Sawtooth, Square wave, Random, Noise. To get a nice sounding bass, it is a good idea to use as many oscillators as possible on different octaves.
3.) Try messing around with the attack and release of your sound as this can have an impact on the sound of the bass. Long attacks tend to create a more ambient sound, and is a technique traditionally used with ambient pads.
4.) Something that I find useful is to bounce the bassline to a .wav file, so that it can be chopped up and put in-sync with other elements of the song; because the majority of the time you will find the first wave of sound in the wobble bassline will will be half the length of the other waves due to attack rates. So the best thing to do is to chop that freak sound off the beginning of the file in your DAW (Logic Pro, Reason, Cubase etc) and start off with the second wave which should be fully formed. This way it will not be too early of late when keeping in sync with other elements such as a second bassline.
5.) Another method you can use is creating a clone layer of your original sound and setting up a new LFO setup for that to beat alternatively in the space left by the original LFO. Or go that crazy Drum & Bass Reese route and split the frequencies to Low, Mid and High, then set different LFO rates for each band then recombine into one sound.
6.) For more variation automate your LFO speed and intensity.
7.) Where you place insert effects in relation to the filter (pre or post) will yield different sounding results.
8.)
Other methods to achieve a wobble like sound:
Tremolo, (This effects volume rather than frequency)
FM Synthesis,
Modulation of PWM,
Oscillator Pitch assigned (in a liberal amount) to LFO.
Filter Envelope assigned to LFO (using a re-triggered envelope).
(submitted by Faun2500)
9.) Assign a second LFO to modulate the speed of the first LFO.
LFO Shapes
Sine wave: The smooth value change possible.
Triangle: Similar to a Sine wave but slightly more ramped & synthetic sounding.
Random: A mixed bag.
Sawtooth: Will have a very fast attack with a slower release which will sound very rugged.
Square wave: Will be a simple open close style. Very harsh and will generally cause a very harsh sound. (Often used in DJ Hazard style bass-lines). Detune two square waves for a nice dark sounding bass.
Nog wat handige links:
Aan te raden freeware plugins:
blue glitch (glitch effecten. Weinig controle, vette geluiden)
reception (lichte glitch effecten)
ggrain (granulize effecten)
Niet-freeware:
Native instruments Kontakt (goede samplegenerator als ik t goed zeg)
Absynth 4 (synth, levert dikke geluiden van allerlei pluimage)
Samples:
http://www.mhat.com/phatdrumloops/
www.breakcore-addicts.org/home.html
Ik hoop dat jullie er wat aan hebben, en correcties/toevoegingen hoor ik nogmaals graag, want deze staan ook in mijn 'produce word file '
![[img width=400 height=318 cacheid=00115a68002ec96478ba22e41a02b10b4b]http://3.bp.blogspot.com/_zlVsCCBIEfo/SbU_Xr7JqII/AAAAAAAAAB8/u0U8--FKCVA/s400/EQ3.gif[/img]](/images/cache/00115a68002ec96478ba22e41a02b10b4b "Bron: http://3.bp.blogspot.com/_zlVsCCBIEfo/SbU_Xr7JqII/AAAAAAAAAB8/u0U8--FKCVA/s400/EQ3.gif")