Go to the drop at and you can hear the call and response. The high pitched stabbing synth is the call and the talking bass line is the response. Start with two main bass sounds and create a call and response with these sounds over 1 or 2 bars. Pitch bending and modulation can help inject life into your dubstep basses. The quick rhythmic flares, dipping and diving, and tonal transformation of these basses can be an exciting part of your song.
Quick little sharp pitch bends — Adding the occasional quick pitch bend may not seem worth your time, but believe me, it is! Add sharp little pitch bends throughout your bass line, and hear for yourself the movement it creates. Try creating pitch bends that suck you into the next kick or snare.
Long pitch bends — Long pitch bends work extremely well to add suspense and interest. This provides the tonal and rhythmic interest needed to progress your bass line throughout the song. Volume automation — This is one of the most underrated production techniques. Simply automate the volume of your bass to create rhythmic interest. Combine this with the cutoff automation and you have a killer bass line. Experiment with modulating your detune knobs, reverbs, phasers, and any other parameter.
Resampling in music production means recording a copy of a specific sound to audio, whether the original source was a MIDI instrument or another audio file. Resampling can be an excellent tool for producing Dubstep bass lines. You can create more complex edits, be more creative, and save CPU.
Then cut up the audio and arrange the chops in your drop. Re-Resample : Take your resampled audio, throw on your favorite FX plugins and resample the audio for even more complex variations. When flipping through your bass presets or sound designing, it can be tempting to throw in every single bass sound that you hear and like. Doing this can confuse the listener and obfuscate the identity of your track.
Key and song structure. Chord progressions and melodies are often in minor keys to convey a dark or somber tone, and sounds are laden with reverb to create an illusion of space. Most dubstep songs are instrumental, but some artists choose to incorporate vocals. Song structures often progress from an introduction to a bass drop more on that below to a repeated main section into an outro [source: Jenkins].
Bass drop. After the song builds for several measures during the introduction, the music pauses or fades momentarily. When it kicks back in, added layers of bass give the beat a fuller, more powerful sound. The Intro: The Origins of Dubstep " ". Dubstep Meets the American Mainstream " ". James Blake has made noise both in England and across the pond in the U.
Sources Clark, Martin. The Evolution of Dubstep. July 20, July July 27, Cite This! Try Our Sudoku Puzzles! More Awesome Stuff. Placement requires listening and fine tuning. Although this can feel unnatural to the ears, the combinations of hats and other percussion samples can be built up to create excellent beats.
Slowly layering elements and making sure they work well with others can involve a lot of listening and time, particularly if you're using triplets. Velocity is also incredibly important in making your beats sound more natural. Even though your beats might be heavily quantised, not only will changing the velocity help swing, it can take the edge off highly processed beats.
You can also use classic drum breaks chopped up and layered in with your programmed beats. I mentioned that sine waves are a good starting point for creating a subby dubstep bass. Let's look at bass sounds and bass lines in a bit more detail. Turn the filter resonance up full and slowly move the cutoff anti-clockwise until you can detect a change in the feel of the bass coming from your speakers.
If you want to add brightness to this bass, you can then distort it or add other effects. You can also add movement with an LFO. What, then, of the trademark dubstep 'wobble'? To create a good wobbly bass line, you need to start by setting up the oscillators on your synth.
Combining different waveforms allows you to create an endless array of sounds, so get to know your software and understand how it works. Native Instruments' Massive is a common tool for producers, but whatever bass software you use, spend time exploring it, saving each sound at various stages. You can return to them later to develop an idea or gain inspiration.
I have used a selection of different waveforms, each of which provides a different aspect of the bass sound.
Once you are happy with your waveform selections, route them all to the filter. The application of an LFO to the cutoff will automate this effect, creating the infamous wobble.
In Massive, it's easy to apply the LFO, by dragging and dropping it onto the filter cutoff. The LFO waveform I'm using in the example is a sine wave, which offers a smoother movement than saw or square waves. Once you've done that, you can start fine-tuning the speed of the LFO.
Synchronising the LFO speed to the track's tempo will often sound best, but you can get some great sounds by automating the speed of an unsynchronised LFO. Instead of having one single bass line that sounds repetitive, it's also worth experimenting with creating more than one bass sound.
As mentioned before, the bass can combine with other instruments in order to create interesting and unique main bass sounds. The use of hi hats and snare rolls create great, distinctive bass sounds that add a nice punch. Additionally, adds a great punchy quality to the drum-n-bass sounds as well. It can also be used in conjunction with other instruments to create other more subtle effects.
A qualitative audio interface can be used in order to add these sounds to your computer audio files in order to create some good quality and impressive results. If you want a snare sound, you can loop the bass and then apply the snare rolls.
It is also important because the bass will help create the bassline.
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