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Read the whole manual Learn to set up UNISON Learn FM synthesis Learn multipatch timbres Learn SYNC modulation Learn PWM Learn the morph thing

- Use different octave layers - Use external distortion, fuzz work wonders for harsh timbres - Use external fx (chorus, phaser, delay, reverb, etc) Nord is a swiss knife. I usually layer it so i achieve fatter sounds, but the nord is no bass synth, is meant to be clear and sharp, it can render good basses but its power is on the mids, the modulations, the fm and unison, this is a lead guy it doesn't sound as a virus either.

DOMESTIC BASSLINE TIPS

"First, try to catch a bass that gets well into their ears in their original for m, without any EQ or plug-ins in it. Sometimes you do not need to use the plugin s. Do the best for bass seem natural. If you need to use equalizers, use good EQs such as the "Urs EQs," Hydratone "," UAD Pultec "and" Voxengo Gliss Eq. Do not use the Waves of the scrotum:) Sorry Waves (xD) Try using the Voxengo EQs for minors and for a repair of a specific frequency, a nd equalizers such as "UAD Politec" and "URS" in order to gain in the frequency you want. It is good to give a gain at 100Hz and 60Hz in the process. A good compressor is always good, and makes the bass become more stable in all g rades. It is very important to use a compressor quality, such as "UAD 1176" or " URS Compressors" Try a compression when the "ratio" is between 2:04 and Release between 10 and 20 % attack and between about 60 and 90ms, then you will have a small punch in bass. Obviously this can change every kind of bass, but this is a good setting to star t Quadrafuzz is also very good times, for any type of multiband equalizer. Just lo ad the first preset and change the points of crossover. You can have a good "pha se" for the bass with this, and also makes it more stable. Waves R-Bass makes the sound very "phat" times, when you use it between 32hz and 60hz. Just a little gain and you have a very natural sound. I put the fader bet ween -24 and -20.

The synths that I use for bass are usually EMS, ES1, Cronox 2 (not 3) and Trilog y. PROTOCULTURE BASSLINE TIPS BASSLINE MAIN: When it is on the main bassline, it has to be very solid. This is the thrust for ce holding everything together in a track and need to be 100%. I usually use plu gins for it simply because the envelopes are generally more effective, and I prefer to use t ools to finish writing the music instead of sampling. Funny enough, I usually fi nd that the VSTs simpler, and sometimes horrible, can be great for that with a little work. My favorites are Linplug Cronox 2 (not 3, not much like it), Spectrasonics Trilo gy - Check out the SAW waves (Prophet Wave is nice) and UHE Filterscape I usually use a single oscillator with a Saw wave (you can add one or Sub Sine P ulse if you need more sub bass, but I found that with high BPMs this usually bri ngs problems when mixing) with the LP filter at 0 and envelope practically in the stem, with short decay. Easy & simple. The hardest part now is to make things fit. That's where my favourite plug-in of all, Quadrafuzz. I do not know what I would do without him. Put it in your bass without even touching any controls and you will already feel things getting fatter and with more pressure. Actually I do not make any drastic change in him, but it depends on what you're working. My partner Tamir (Atomic Pulse) uses insane levels in each band EQ, and then lowers the gain of the master to reduce the di stortion, and it works for him, though usually with other plug-ins (it uses very Big Tick Rainbow) The next thing is a decent compressor. I like to use the Sonalksis Comps for it. They are not the most transparent compressors, but they have a great footprint for things like electronic basslines. I normally use radio between 3:1 and 5:1, with Hard Knee o n, and let the threshold according to how much I want to compress the bass. It h as a nice feature called "crush", which you can play well if you're looking for a heavier sound. Also, play with the attack helps you reduce the "click" sound of the attack a bi t. NOW EQ: Many people do not spend good time with it, and is the most important effect in your arsenal. You really need to listen carefully, not only in soil, but you nee d to hear in context with the rest of the music. I usually turn to adjust the EQ several times while composing a song to fix things if I added new sounds or made shifts in tone. It is difficult to give examples as it changes from track to track, and sound to sound, but I'll give you a good starting point I use a lot. In Cubase, I get the equalizer with Him, and usually leave a Hi Pass II since it enables the Q.

I usually cut around 30 or 40 hertz, allowing a gentle rise at around 50 to 60 H z. Lo Mid EQ, or EQ 2, I put at around 80 Hz with a bit of Q, but not long enoug h to bring out the bass with a little punch. Then I cut a little between 400 - 500Hz with EQ 3, again wi th a little bandwidth, but not much to gain not drain the sound. This usually ma kes a good mid range bass pro, what's next. Finally, I change the High Shelving for parametric, and p ut a small peak anywhere from 3khz to 6kHz, just to set the treble a bit, but be careful in that area, much gain can cause problems. MID BASS: Here is where you can really get creative with your bassline. Basslines are usua lly mono as punch if you lose to stereo. It is here that the mid bass comes to m e, since I can spread the field between mid bass stereo without losing the strength of my serious bass . Chorus There are plugins that let you adjust the chorus just to most acute of their bass, but I never found a plugin that did it decently. I'd rather have a different sound at all. For that you can use whatever you want, but I usually get these sounds of Atmosp here and NI Massive, or my Virus and Blofeld. I follow almost the same steps as before, adding quadrafuzz and compressor, but the EQ is a little different. I usually cut the Lo between 80 and 140hz, dependi ng on the sound, and I shot him the Mids at around 500. Play around with it until you can fit it (the midba ss) comfortably with the bass, but with enough separation so I can distinguish t he two parties. The next step helps in the separation. I usually leave these sounds like stereo, and there is a lot of ways to do this. One is to use a ping pong delay. O Cubas e works fine, as well as my other favorite, Bionic Delay (I think it is, or used to be, a free plug-in is a copy of the delay of Logic - a sought in kvraudio and you should find it). Just do not use too much feedback or you'll end up messing up everything, just enough to keep improving the stereo . Another way is to use a chorus or similar effect. I do not like Chorus native Cubase, but I generally use the plugin's Mono To Stereo cubase. It is designed to work with mono material, but it seems to me that does the work with a good stereo equipment. Waves Doubler wo rks fantastically well, but the Waves stuff is very expensive, so another way to get a good stereo is to duplica te the channel you are working, and then play a full on right (pan) and entirely another to the left and then set the delay in the Inspector Window (the one left in Cubase) to roughly 10-20 ms, and voila, spacious sound stereos instantly! Latest tips ... beware of tonal variations in track. Their configuration often d epends on the tone with which you're working, especially the EQ. So if you make changes in tone from the track, be careful. You can have a strong bass and pressure or a weak bass and thin, wh en changing an A to F, for example. The best way to straighten it out is to samp le their tracks at the end when you do the mixing, and dividing its channels into loops of a single tone. This w ay you can separate the EQ when the bass is a tone, and create another EQ for an other pitch, etc etc, keeping the energy of your bass with any changes. Another useful tip, which I do with percu ssion as well, is to route its bass to a channel group. That way, when you chang

e levels or adding filters and other things, you just need to work with a channel.