Total Members Voted: 28
Quote from: DirkHoffmann on January 06, 2016, 09:18:42 amAlso what kinds of chords that are used in future bass? In the Ekali remix you posted, I'm hearing... Well, it feels to me like it's in the key of D minor. Around the 1:25 mark, I start hearing a progression based on jazzed-up versions of chords like Bb, Gmin and Dmin.Jazzed up means... maybe there are 7ths in there? Definitely suspended 2nds: if you're in Dmin and you play the Gmin chord, but you add in a 2nd (play an A over your Gmin), you get this beautiful rich, ambiguous, melancholy tension... in fact you get a semitone dischord (the A vs the Bb in the Gmin chord). But... if you're heading towards a Dmin chord... well, that Dmin contains an A note. So... there's a dischord in the Gmin sus2, that suggests the Dmin.One of my favourite things ever (which I got from listening to music like the original Bladerunner score by Vangelis) is... imagine you play a D note for the bass. That says to the listener "I'm currently playing a Dmin chord". BUT over the top of it, you play an Amin chord. Well... what are you doing at that moment? Are you playing an Amin chord with an extra D (Amin sus4)? Or, are you playing a whacked-out Dmin chord, with a minor 7th AND an extra E? Either way, it brings this rich, bluesy, jazzy, soulful, melancholy vibe.So yeh. I got carried away there in my 1st post but Ekali seems to be adding 2nds, 7ths and 4ths to chords to make them express doubt, vulnerability, human moral weakness, I'll get my coat.
Also what kinds of chords that are used in future bass?
Awesome to get mentioned on here already! I bet about 95% of my synth sounds are probably made in Sylenth. I like to keep my sounds simple and clean. I'd say future bass is definitely more about songwriting than it is about sound design. Like a few people here already mentioned, adding 2nds, 4ths and 7ths to your chords will help give them a bit more depth and emotion (not just for future bass obviously). I tend to use a lot of dissonant harmonies in my chords as well, I think a lot of people aren't used to using those types of harmonies in their chords. My music teacher in high school once asked me to describe a dissonant harmony and I answered "they always sound ugly" and he said "not if you use them in the right way", and that actually completely changed the way I wrote my chords.Also something I absolutely looooove is using nice clean sounding, slightly detuned saw (most of the time using 2 voices) synth leads for my main melodies or solos. I use an LFO to add vibrato and then I automate the gain to make it sound funkier, I also use a lot of pitch bending and/or portamento as well to give it a bit more depth. To make it sound smoother I always use a nice lowpassed ping pong delay. Highpassing out anything below 120 Hz on the leads always seems to help with that as well.One little trick I always use is slightly bit crushing the leads to give them a little 'crunch'. If I'm using a bit crusher though, I always lowpass anything above 20K, you might not hear those super high frequencies but your dog might. Even if you're not hearing it it might still clean up your mix and bit crushers always add nasty unwanted frequencies.
Quote from: WRLD on January 06, 2016, 03:47:46 pmAwesome to get mentioned on here already! I bet about 95% of my synth sounds are probably made in Sylenth. I like to keep my sounds simple and clean. I'd say future bass is definitely more about songwriting than it is about sound design. Like a few people here already mentioned, adding 2nds, 4ths and 7ths to your chords will help give them a bit more depth and emotion (not just for future bass obviously). I tend to use a lot of dissonant harmonies in my chords as well, I think a lot of people aren't used to using those types of harmonies in their chords. My music teacher in high school once asked me to describe a dissonant harmony and I answered "they always sound ugly" and he said "not if you use them in the right way", and that actually completely changed the way I wrote my chords.Also something I absolutely looooove is using nice clean sounding, slightly detuned saw (most of the time using 2 voices) synth leads for my main melodies or solos. I use an LFO to add vibrato and then I automate the gain to make it sound funkier, I also use a lot of pitch bending and/or portamento as well to give it a bit more depth. To make it sound smoother I always use a nice lowpassed ping pong delay. Highpassing out anything below 120 Hz on the leads always seems to help with that as well.One little trick I always use is slightly bit crushing the leads to give them a little 'crunch'. If I'm using a bit crusher though, I always lowpass anything above 20K, you might not hear those super high frequencies but your dog might. Even if you're not hearing it it might still clean up your mix and bit crushers always add nasty unwanted frequencies.Are there any particular bit crushing plugins you would recommend? Been using bit crushing a lot more lately and I can't seem to find a decent plugin. :/
Quote from: Lycii on January 08, 2016, 07:44:48 pmQuote from: WRLD on January 06, 2016, 03:47:46 pmAwesome to get mentioned on here already! I bet about 95% of my synth sounds are probably made in Sylenth. I like to keep my sounds simple and clean. I'd say future bass is definitely more about songwriting than it is about sound design. Like a few people here already mentioned, adding 2nds, 4ths and 7ths to your chords will help give them a bit more depth and emotion (not just for future bass obviously). I tend to use a lot of dissonant harmonies in my chords as well, I think a lot of people aren't used to using those types of harmonies in their chords. My music teacher in high school once asked me to describe a dissonant harmony and I answered "they always sound ugly" and he said "not if you use them in the right way", and that actually completely changed the way I wrote my chords.Also something I absolutely looooove is using nice clean sounding, slightly detuned saw (most of the time using 2 voices) synth leads for my main melodies or solos. I use an LFO to add vibrato and then I automate the gain to make it sound funkier, I also use a lot of pitch bending and/or portamento as well to give it a bit more depth. To make it sound smoother I always use a nice lowpassed ping pong delay. Highpassing out anything below 120 Hz on the leads always seems to help with that as well.One little trick I always use is slightly bit crushing the leads to give them a little 'crunch'. If I'm using a bit crusher though, I always lowpass anything above 20K, you might not hear those super high frequencies but your dog might. Even if you're not hearing it it might still clean up your mix and bit crushers always add nasty unwanted frequencies.Are there any particular bit crushing plugins you would recommend? Been using bit crushing a lot more lately and I can't seem to find a decent plugin. :/On stream I've seen him use the standard ableton redux effect, not sure if he's changed it up recently though!
Quote from: Shew on January 08, 2016, 08:36:03 pmQuote from: Lycii on January 08, 2016, 07:44:48 pmQuote from: WRLD on January 06, 2016, 03:47:46 pmAwesome to get mentioned on here already! I bet about 95% of my synth sounds are probably made in Sylenth. I like to keep my sounds simple and clean. I'd say future bass is definitely more about songwriting than it is about sound design. Like a few people here already mentioned, adding 2nds, 4ths and 7ths to your chords will help give them a bit more depth and emotion (not just for future bass obviously). I tend to use a lot of dissonant harmonies in my chords as well, I think a lot of people aren't used to using those types of harmonies in their chords. My music teacher in high school once asked me to describe a dissonant harmony and I answered "they always sound ugly" and he said "not if you use them in the right way", and that actually completely changed the way I wrote my chords.Also something I absolutely looooove is using nice clean sounding, slightly detuned saw (most of the time using 2 voices) synth leads for my main melodies or solos. I use an LFO to add vibrato and then I automate the gain to make it sound funkier, I also use a lot of pitch bending and/or portamento as well to give it a bit more depth. To make it sound smoother I always use a nice lowpassed ping pong delay. Highpassing out anything below 120 Hz on the leads always seems to help with that as well.One little trick I always use is slightly bit crushing the leads to give them a little 'crunch'. If I'm using a bit crusher though, I always lowpass anything above 20K, you might not hear those super high frequencies but your dog might. Even if you're not hearing it it might still clean up your mix and bit crushers always add nasty unwanted frequencies.Are there any particular bit crushing plugins you would recommend? Been using bit crushing a lot more lately and I can't seem to find a decent plugin. :/On stream I've seen him use the standard ableton redux effect, not sure if he's changed it up recently though!yeah really most bitcrushers do the same thing so theres no point in not just going with redux unless you want some port and starboard attachment bullshit
i'm working on this dark remix of belispeak by purity ring and i've found that i really have no idea how to make like 'dark' future bass sounds that don't sound dumb and muddy. any tips?
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