Get­ting a beefy bass sound in Able­ton Live

Joe lay­ers kicks and classic Roland drum sam­ples for Coun­ter­cul­ture’s omi­nous, chug­ging low end

Future Music - - THE TRACK | THIRD SON -

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The foun­da­tion of Joe’s kick is a sam­ple from a DSM sam­ple pack, played back via Live’s Sim­pler in­stru­ment in a four-four pat­tern. Lay­er­ing is key to Joe’s kick sound: “I would have just dropped a bunch of dif­fer­ent kicks in here and played them against each other.”

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The first ad­di­tional kick layer is a mid-range sound, and the sec­ond a more ‘wooden’ tim­bre. “I try not to process things too much, I just use some func­tional cut­ting. Of course with that low end you re­ally want the low to shine through, and with the top end you want to make sure all of the low is cut so there are no bad in­ter­ac­tions there.”

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As well as EQ, Joe uses Live’s Lim­iter to boost the level of some of the kick el­e­ments, and all the parts are routed through to a bus with Dada Life’s Sausage Fat­tener on it. “It’s amaz­ing, it’s so sim­ple but it re­ally tight­ens things up and can get you a lot more vol­ume out of them.”

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The kick group is lay­ered with an­other group that pro­vides a wet, re­verbed ver­sion of the kick, and a Roland TR-707 click. “I use that in pretty much ev­ery track, it’s im­por­tant for the sound to punch through other el­e­ments.”

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Coun­ter­cul­ture’s bass sound is a Roland TR-808 low tom sam­ple, again played back via Sim­pler. “It’s cre­at­ing a bit of groove and a bit of rhythm with the kick. When you play them to­gether, it’s al­most adding a lit­tle bit of swing.” The tom is cut with EQ, sidechain com­pressed from the kick with a 10ms Looka­head set­ting, warmed with Sat­u­ra­tor.

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…then kick and bass are com­pressed with Live’s Glue Com­pres­sor, and their lows are boosted with Slate Dig­i­tal Vir­tual Mix Rack AirEQ Earth. Then they’re com­pressed again with Waves API-2500.

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