Top Bass Tutorials
Top Bass Tutorials

Top 19+ Bass Tutorials 2022

We have created for you a rating of the Best 19 Bass Tutorials as the most viewed and by excellent reviews of musicians

Tutorials list navigation:

  1. How To Design Bass For Different Genres in Serum
  2. DJ Mustard Bass NI Massive
  3. Monster Basslines in FM8
  4. 808 & Sub Bass Tips and Tricks
  5. Live – The Only 3 Basses you’ll ever need! Sound Design Sessions with Brent March
  6. Mixing in Logic Pro X : Bass & Drums
  7. OVO/Hip Hop Bass
  8. Bass in FL Studio
  9. Get Control On Your 808’s In FL Studio
  10. 3 Tips For Perfect Sub Basses
  11. Deep House Organ Bass In Serum
  12. Mixing 808’s & Subs For Small Speakers
  13. Dark Rnb Hip Hop Bass
  14. Sub Bass Separation
  15. Mixing with Waves Renaissance Bass – Bass Enhancement Plugin
  16. NI Maschine – Composing a Beat, Part 3 – Bass and Mixing
  17. Bandpassed Reverb In Bass Design
  18. Tips for Mixing Sub Bass
  19. Mixing Synth Bass with 808 Kick Drums

1. How To Design Bass For Different Genres in Serum


2. DJ Mustard Bass NI Massive

In this tutorial Echo Sound Works shows you how to make a DJ Mustard style bass in Massive.

DJ Mustard fuses Deep House with old school West Coast bass lines and created a style all his own. Learn how to incorporate these types of sounds in your music!


3. Monster Basslines in FM8

Watch Icicle design a monster bassline from scratch using NI’s FM8.


4. 808 & Sub Bass Tips and Tricks

In this tutorial Echo Sound Works shows you how to make a 808 style kick sound as well as a sub bass that will work with multiple genres of EDM.

Making a good 808 style kick in Massive is so simple that it can actually be hard. The idea is to use a Sine wavetable and tune it really low and filter out any unwanted high frequencies. But if you did just that, your 808/sub kick sound would be very dull.

You have to find ways to dirty up the sound and make it more interesting outside of the oscillators.

Cheers

Echo Sound Works


5. Live – The Only 3 Basses you’ll ever need! Sound Design Sessions with Brent March


6. Mixing in Logic Pro X : Bass & Drums

In this video Point Blank instructor Paul Crossman looks at how a mix comes together in Logic, starting with the drums and bass.

Mixing in Logic Pro X will ensure the drums and bass are correct in a dance track. It is a very essential part of making sure that the mix is right. If you do not get the drums and bass correct, the rest of the track will not work well.

Start mixing in Logic Pro X by looping all the drum elements. In this mix everything is being rendered to audio, which is a preferred way of working. It separates out the production and the writing stage from the mixed stage. You can color code into different sections to make it a lot easier to see what is going on and you can see, for example, the main drum parts are all being colored green and also take advantage of Logic Pro X track stacks to create a track-stack for a drum bass, which you can then use for extra processing

Bring out the basic drum track as it stands for mixing in Logic Pro X. If you choose to start the mix here, take a look at the individual elements, starting with the kick drum. Try to keep the overall level around minus 8db and aim for a master level of approximately minus 6 at the end. This will allow headroom for any potential mastering in the later stages, but it also means there will be no clipping on the master output. Be sure to look at the EQ when mixing in Logic Pro X. Drastic EQ cuts or boosts, at this particular stage, might not sound right and it is better to go back and look at the original sounds. You can move a fair amount of the low frequency using a low cut. If you have a kick drum and a bass all carrying lots of sub information it can get messy when you are in low-frequency ranges.

Use a resonant boost at around 60 Hz, just to give it a bit more of the thump. Also, give a boost up at the high regions. Now, the kick drum is not just about the low-frequency information; you want to make sure that the kick cuts through in the mix and a boost in the upper frequency regions can really help. Once the EQ is complete, add some compression with the tempo. Logic Pro X updated on the previous version and it gives a lot of access to a better compressor than before.

Follow back with Logic Pro X envelope plugin as this is a secret weapon. Add a little bit of attack to catch those initial transients and provide release off the gain. Be sure to view the isolation. If the clap is panned over and you could see a big volume difference between each of the claps, which can be better viewed as a waveform. You can see the transient peaks between these different claps, which can be problematic in terms of getting a consistent level out of the clap. Using a chain of effects can help with the clap sound.

A gain plug can be used to mono up the sound, followed by the gate. Gates are useful (but can be overlooked) when working in a digital environment. Gates were used in the analog days for removing noise, but it is also helpful when working with clap sounds. Bring in the VCA compressor at a high ratio of mix and make use of auto gain. This returns the gain to 0db but the idea is to not use a heavy limiter but rather grab the sound. A great feature of the new compressors is the ability to trim both input and output gain. The actual gain structure of a sound is important, especially getting the sound into each of the plugins, will help with achieving a solid sound quality.

For mid side decoding, use two EQ channels; one mid channel for the stereo and another channel for the side. You can use the two EQs to compress the mid and the side separately.

One of the strengths of mixing in Logic Pro X is the way the bass system works. You can add a simple stereo delay onto the top of the bass to give it a little more movement with a stereo width. Be sure to make use of the low and high cuts to minimize frequency range repeats. The new compressor options help balance the two sounds against each other as well as provide reverb. By using the volume envelope, you can bring attack to your bass sounds and provide clear sounds.


7. OVO/Hip Hop Bass

In this tutorial, Echo Sound Works shows you how to create a OVO/Hip Hop bass in Sylenth.

There are a few important characteristics of this bass sound that help make it sound unique. Without these, it’s just a saw bass.

1.) Glide/Portamento – the amount should be determined by how you ultimately end up playing the bass in context of a song.

2.) Negative MOD ENV1 Cut Off Value – This helps create a unique attack and decay to the bass sound.

3.) Adding the FX – Again, this bass is only two oscillators using a basic saw waveform. You gotta pretty it up somehow.


8. Bass in FL Studio

SeamlessR walks us through how to make a solid bass growl in FL Studio.

We will discuss macro usage for bass in FL Studio. Also, stopping the macro at any individual point makes it sound like a pretty nice Reese bass.

There are seven different things going on with the XY controller in the envelope controller. The X knob is set to continuous output, which means it does not midi output and is a linkable stand-alone controller. Enable continuous output, make your various macros, and activate the X controller that is being controlled by the knob on the surface. The sub-controller is a sub-output. If you try to make the sub-controller a sub-Reese to match the Reese bass, the Reese movement will be too fast and the sound de-tuned.
Using Sytrus for Bass in FL Studio
The Sytrus is actually two different kinds of FM happening at once. The X and the Y moves and the movement is based the macros of the X and Y controllers.

X-control controls the primary FM and is a cross between a sine wave and a triangle wave. A full triangle wave can be too sharp, so introducing a sine wave will smooth the sound. From the previous video “How to Bass 6”, we learned how FM works; the movement of a sine wave is similar to a regular sound wave but the movement of a triangle wave does not move through all the frequencies between two pitches (like a sine wave), making a triangle wave sound sharper. Mixing a sine wave and triangle wave will move smoothly through all frequencies between the two individual poles.

The modulator for bass in FL Studio is one octave higher than the fundamental output and therefore makes the square wave tone. The fundamental output is the cause for the Reesing because of the different pitch; it is all about de-tuning meaning how fast the phasing and how hard the de-tuning. The fundamental output is not harmonically rich and the modulator keeps it at the right pitch. The secondary FM is set to default and introduces stereo into the sound. Also, the modulator makes sure the macro never goes passed 50% and beefs up the sine wave.

The equalizer for bass in FL Studio pushes up the higher harmonics when it goes down (and vice versa) with a macro. The sound produced can be hollow and you do not want the sound to be empty. The band-pass folder shows the bandwidth (low equals more bandwidth, high equals less bandwidth), which is a subtle but important change. The bandwidth transitions between a “crunchy” sound and a sharp sound. The compression pushes the sub that is already re-enforced by an external sub and produces a triangle wave, primarily keeping the bass at a lower time variable (faster speeds). The master is a limiter that provides saturation.
Macros for Bass in FL Studio
When working with the macros, focus on single parameters then move around based on what you want to achieve. The frequency position and amplitude are the two points (X and Y) that provide EQ movement; the frequency is positive and the amplitude is negative. Moving the points during modulation will create a range of sound; experiment with the sound until your desired end-result is achieved.


9. Get Control On Your 808’s In FL Studio

In this video we explore several tips to control and get creative with your 808s in FL Studio.


10. 3 Tips For Perfect Sub Basses

In this video we’ll explore 3 tips to better sub basses.


11. Deep House Organ Bass In Serum

In this tutorial, Echo Sound Works shows you how to create a Deep House organ bas with Serum.

They key to getting a good Deep House bass is to choose your wavetables wisely. If they are too aggressive sounding, it will turn out to sound more like an electro bass. I also like to allow the sub oscillator to go through the synth DIRECT OUT meaning it avoids being passed through the filter and the FX.

A lot of the magic happens in the Filter by modulating the cut off with an envelope. This will help allow the sound to breathe, without adding to much of the higher frequencies through. I used a multi stage filter (low pass and peak) to give the sound some added harmonic content.

Check out the video to hear the bass in action!

Cheers

Echo Sound Works


12. Mixing 808’s & Subs For Small Speakers

In this video, Echo Sound Works walks through a few tips and tricks that will help make your 808’s and Subs more present on small speakers. If your low end of your mix tends to vanish when you listen on your phone or laptop, check this video out!


13. Dark Rnb Hip Hop Bass

In this tutorial Echo Sound Works shows you how to make an dark, gritty bass that would be perfect for Future Bass, OVO/Hip Hop and RNB.


14. Sub Bass Separation

Sub bass separation is a common core, basic idea about music production that is important.

Sub bass is the fundamental tone of the bass or the lowest single harmonic.

When the sub bass is not consistent or solid (wobbling all over the place), you want to look at what the sound wave looks like by itself. We want the sub bass to look like a regular solid sound wave. Sub bass separation is important to the mixing and mastering process; you want to squeeze every last inch of effect into the sound waves. Start by focusing on the main sound and remove the low end by high-passing the sound wave. You can do this by ear or by 150 Hz. Then, layer in a separate sound wave with the original sound wave. Using the Master EQ, you can see that being with the sub (together at the low end), despite all the crazy movement with the highs and mids, the low end remains static.

You can use the sub as a sound wave or use other kinds of waveforms to develop the sub bass. For example, you can distort a sound from the first harmonics in the solo or play an octave in the sub. Saturation is effective at adding the harmonic profile of the sound wave. The entirety of the low end contains the most powerful, loudest, and destructive elements of a mix. When you high pass everything, as described, you only have to focus on two things in the low end mix; the bass of the kick drum and the separate sub bass that was just created. This makes the process so much easier.

Some artists layer a single sine wave in their resampling, meaning sub bass separation is performed per sound. Similarly, you can high pass everything at 150 Hz and create a separate plug-in of a sine wave or take the sub from the source. You will have an unaffected original sub from the actual original plug-in. This is a big difference from the several manual subs versus using the source directly. You are mixing at the sound level and this is especially beneficial because it is a Reese sound that still has phase cancellation doing the pitching. Many plug-ins has this option, like Serum. Serum has a sub oscillator with direct output and this bypasses everything for you to engage your high pass. Serum allows you to change values to achieve the sound you want with different options, such as a sound wave, saturated sound wave, triangle whisk, square wave, and impulse.

Sub bass separation requires processing the sub with clean, unaffected sub frequencies to create unity. This is the solid bass; a clean and unrelated waveform. Processing this way is recommended for mixing and mastering.


15. Mixing with Waves Renaissance Bass – Bass Enhancement Plugin

Learn how to use the Renaissance Bass by Waves to improve the perceived levels of the low end of your mixes. Great for when you’re out of a “sub” key and the bass is losing energy on a note or two.


16. NI Maschine – Composing a Beat, Part 3 – Bass and Mixing

In this part of the series, learn how to create bass patterns that fit with the different sections of your project. Afterwards, I do some quick mixing, covering topics such as sidechain compression, panning, and gain adjustment.


17. Bandpassed Reverb In Bass Design

Learn this very nice trick about using a bandpass filter on your reverb in bass design.


18. Tips for Mixing Sub Bass

Sub bass can be one of the hardest things to get right in electronic music.

Our Head of School JC Concato looks at the theories behind mixing low frequencies and getting the clearest and most powerful bass possible. Make sure you watch and listen in HD1080!


19. Mixing Synth Bass with 808 Kick Drums

How to use mid-side EQ and stereo imaging to get synth bass out of the way of an 808 in the mix.


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