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Techno-Bassline: Creat subs like Landry & Letyago

Techno-Bassline: Creat subs like Landry & Letyago

Published 1:26 pm on Monday 6th January 2025 by Beat Magazine

Heavy bass roller

1) The first combination consists of a bone-dry, hard kick with a rolling bassline. The typical basic pattern for this is quick to build: Draw 16th notes in a MIDI clip and shorten them all by a notch so that they don‘t directly border each other. We also delete the notes on the kick‘s playing times to avoid overlapping.

2) To ensure that the sequence doesn‘t sound rigid, only the note in the off position gets full velocity, while the others are lowered. This gives you a lot of groove under control! In our example, we use velocities 50, 127 and 75. 50, 75 and 127 also sound cool. You could also use both alternately, which makes the rhythm more relaxed.

3) That‘s the pattern for now, now it‘s time to get into the synth: We select the Hive 2. Right-click in the display with the patch name and select init. Switch on OSC1 and SUB1 in FILTER1 and reduce OSC1 volume to 60 (so that the SUB1 can keep up in terms of volume). We selected the Wavetable Sync Saws Mirrored as the waveform, a sawtooth would also work.



4) Very important: the PHASE must be set to reset, otherwise the bassline will waft out of the speakers too dynamically, which will cause it to lose punch. Things have to be static here so that the sound is reliably crisp. For the filter, we select lowpass 12 - which also sounds crisper than its 4-pole counterpart - and turn the cutoff to 9 o‘clock.

5) We use Mod Env to control the short opening of the filter. We recommend starting with Mod Env at 9 o‘clock and turning all controls down at MOD 1, only Decay remains at around 30%. You should vary these two parameters until you like the sound. Automating Mod Env in the break or to build up is a good way to create tension!

6) Here are three optional tips: We use the synth engine DIRTY, but maybe another one will suit your track better? If you want more crackling in the sound, switch OSC2 with White Noise to FILTER1 and let OSC2 modulate volume from MOD1. Even more punch? Then switch on the DISTORT FX and let MOD1 modulate the amount.



High energy sub

1) For this bassline we will use Beatzille or alternatively Bazille, because in addition to the fat basic sound, the synth delivers a highly energetic sound, especially with its Fractalize function, which for some reason always makes us think of raves and lasers. We can also take a shortcut by adopting the patterns from the previous workshop.

2) And here too we set ENVELOPE 2 in the same way as MOD1 did before on the Hive: all controls down, just turn up the decay a little. That is the most important basic setting. But let‘s start from the beginning: connect the OSC 1 output to the FILTER, its LP12 to OUT 1, set the cutoff to 11 o‘clock, one of the MOD controls to full blast and connect this control to ENVELOPE 2.

3) We also connect ENVELOPE 2 to the Mod input of Fractalize and select Max instead of Off. This makes the sound much crisper. Experiment with the Phase Distortion (PD) to fine-tune it. For example, if you want the bass to sound more powerful, select 2Pulse instead of Saw as the waveform. You could also let ENVELOPE 2 modulate PD.



Soft and snotty in the off

1) The third bass in the group will be a soft, variable sound that you can make much more complex and dirtier with just one move. This time we‘ll use the Diva with the init preset (right-click on the patch name) and mix the three oscillators and noise at 0%, 55%, 100% and 25%. We‘ll set their RANGE to 8‘, 2‘ and 4‘

2) We choose sawtooth, triangle and reverse sawtooth as waveforms. Switch to the CASCADE module for the filter and lower the CUTOFF to about 55. To do this, we again use ENV 2 with a short DECAY to open it. We also turn up the VEL on both envelopes so that the velocity influences the volume and filter

3) So far everything sounds unspectacular. However, if you turn FM(OSC1) on the filter to the left, a pleasant dirtiness comes into the sound. It gets really heavy and powerful if you turn up FM 1>2/3 on the first oscillator. Here we thought the sound was great with the control at 10 o‘clock, but the final setting depends on your context.

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