btw, even better than bass-chorus-split is SimTek's linear phase multiband splitter rack for ableton. kills those EQ gaps at the split frequency. def get on it, it's in the Ableton Device stick i believe. use it all the time.

found it, got it...but last post in that thread he seems to be stepping backk from it..

I usually freeze (in live 8) a basic sawbass patch from operator or vanguard, sometimes with a lot of chorus, and throw it into sampler. Then I use a split fq rack I made so I can put individual effects on each band, then put a utility on each to affect stereo spread: Highs - %100 Mids - %50 Lows %0.

+1

That SimTeks guy is a f-in GENIUS!! (just got into M4L programming, more tasty gems inbound)


Honestly, when it comes to any sound you make in music, there are no solid rules EVER. Use every method you can think of to spread your basses. Think of your mid basses as the thighs on a sexy groupie, there are a MILLION ways to spread 'em, and any that get you the desired result are correct.

*disclaimer* I don't recommend you feed your mid bass any date rape drugs, or any groupies either. I know one of you sick bastards would try that shit.

P.S to the disclaimer ~ On second thought, just stay away from feeding actual people date rape drugs, you may get some pretty awesome effects by feeding them to your basslines.


***edIT*** I kinda like the capital T, think I am gonna roll with that iO.

I tend to overthink things. I am pretty sure if iONik has been using it, it works as advertised. From what I can tell, he has a pretty good grasp on this music shit.

All these rules and cautions can be nice but remember that in the right circumstances you should be willing to break the rules. Don't be afraid to spread an entire bass sound including the bass as an audio effect. Slugabed does this beautifully in a few tracks. Don't feel confined by the general guidelines of, "bass and mids center, highs spread" all of the time.

very true. depends on what you are going for. just be aware of the downfalls either way and either accept it and go for it, or try something new

When using this technique, do you guys find yourselves bouncing down a lot of audio? It seems like this would be an incredible strain on CPU to create bass splits and process all of them if you use a lot of different bass synths in your tunes.

I'm having some trouble finding where I can snag this. Link by chance?

glitch-hop-production/ableton-device-presets-t8729-25.html

second page homie

I have a question about this technique... Since it's such a monster at taking up CPU, does it make more sense to just lay out a track where you make all your synth sounds as simple as possible, then once you've laid everything else out, bounce it down to audio and then use this splitting technique to turn the simplistic sounding bassline sounds into big ballsy sounds of destruction?

I don't believe there is one specific "correct" way to do this, but here is what I do.

1st: I make a sound in my favorite VST and write out various bass sequences.
2nd: I use a simple sine wav and make a sub underneath the bass line mids.
3rd: I resample my mids bassline and resample my sine wav sub sound - so now both are audio files
4th: I use ableton, so I load up a channel with an audio FX rack with 3 different chains (High/Mid/LowMid)
5th: I use an EQ and scultp out different freq. ranges depending on where I want the sound to sit. For the "high" I might roll off all frequencies below 3-5k and roll off all freq. above 17k. On this same "high" chain I may use some slight reverb, chorus, saturation - whatever sounds good.

6th: for the mids I may roll off everything below 200-300: it really depends on the sounds and how I want it to sound, there is no golden rule in my book - i'll then roll off everything above 3-5k - this again depends on where I'm rolling out the lowest part of my "high" sound.

7th: I play with my "low-mids" eq so it doesn't clash with my sub or my "mids"

8th: I stack my "sub" audio underneath the entire "mids/highs" section.

9th: I route the sub/mid/high/etc to and master bass bus - this is where I add saturation/compression/eq to make everything sound cohesive again.

After all said and done, the mid/high area sounds wider, the lows/sub sound fuller and it all sounds like one big bassline rather than 3-4 separate parts layered up.