Hello
, j'ai trouvé ça ,si ça peut en aider certain, attention il y a du texte
( in english ) et si quelqu'un veux le traduire pour les autres
Ce n'est pas que pour ableton ,c'est generaliste
Bonne lecture
Pour la basse:The three basic patterns are:
1.
"The Oom-Pah" - The original Teutonic knee bender. Possibly originating at the Munich beer festival - spookily enough features on many "progressive" German Trance records
At it's most basic, it consists of a quarter note bass note on every offbeat of the bar. That is to say if a bar is subdivided into 8th notes, then the bass note would come on every other beat; e.g on 2, 4, 6 and 8 while the kick would sound on 1, 3, 5 and 7. Add your own variation by e.g. patching filter to velocity and tweaking velocity....varying the note length etc... moving to another note (shock, horror! at the end of a 2 or 4 bar pattern - which also applies to the following lines too...
2.
"The Gallop." Consists of bass notes on these 16th note subdivisions in a bar: 3+4, 7+8, 11+12 and 15+16 Yee-harrr!
3.
The "Doof-a-Danga' Consists of bass notes on all 16th note subdivisions in a bar except on the beat - that is to say except where the kik lands; so omit notes on (16th. note subdivisions 1, 5, 9 and 13) Popular in much of the so called "full on" style Trance and Israeli Trance in particular...
These are your basic patterns. You can play then straight, but perhaps better to bring your own compositional skill into play by mixing them all up to create an individual line, varing some notes for accents. Another idea is patch the velocity to the filter in the synth. and adjust the note velocities (by small amounts) to create some accents, It's up to you.
Remember; whatever sounds good, is good.
Another important tip is that you should keep your sequencer note length quantization on a 64th note resolution or less. Varying the note lengths by small amounts can quite drastically alter the overall effect when it comes to Trance basslines, making the difference between a nice, tight funky groove or a drunken punk rock band at their first gig.
Now, for the bass sound.
Select a subtractive synth (Hardware or VST)
A good place to start (and end actually) is setting the oscillator at a single saw wave. If you decide to use two oscillators, a square wave mixed with a saw wave one octave above, at around 70/30 ratio low/high will sound great.
Also, when using more than one oscillator, I prefer to hit the sync. button (or similar function - Phase Init. on the Access Virus) to lock them both together to stop any phase variation at note on, which will play havoc with the levels of individual notes in the bassline. Trust me, you don't want this.
Filter the result with a 24db low pass filter, (but 12db or even a 6db can sound cool too)
Filter Envelope: Fast to medium decay. Filter envelope sustain: zero.
Filter envelope depth: Set approx between 5 - 30% ( depends on the synth...)
Top tip: keep the resonance value low for trance basslines with this type of envelope shape and depth. From 0 - 25% res.
Amp envelope: For now keep the attack and release as fast as possible without clicks - again depends on the synth - for now, keep sustain at maximum. Adjust the release in the range 0 - 20% until it sounds nice and sits with the kik.
Set up the kick, loop the track and tweak the above parameters until you are satisfied that it all locks together nicely.
Another top tip is: Choose a kick that fits with the key, or a key that fits with the kick. It doesn't have to be the same note neccesarily, just something that sounds consonant. Then tune the kick up or down a little in the sampler until the low frequencies gel best.
Pour le Kick:Method OneOne of your oscillators will create the bass thud, while the other oscillator will provide the click (of the virtual beater). Oscillator 1 should be set to a sine wave.
The fundamental frequency of the oscillator should be set to about 60Hz. (I would recommend a spectrum analyzer for this, such as Voxengo SPAN.) This frequency will change as you tune it to a bassline in your song, but it usually lives between 58 and 100Hz. For oscillator 2, you will need to detune it one to three octaves above the oscillator 1 frequency. Each synth does this in a unique way, so you may need to search for the knob/button. Then you can play with different
waveforms and octaves to achieve the click.Of course, this won’t sound like a kick drum unless you play with the envelopes.Trance kicks are fast, so set the A, S, and R to 0, and then play with the D until you get a “kicky” sound. The total duration of the kick should be no longer than a half a second, unless you are planning to do something special. This way, the kick finishes properly before the bassline note starts in a song. If you measure it, the kick only needs to be about a quarter of a second long, but it is good to have a little extra room to play with. (If you make a sample of your kick, then you can do the final shaping in a sampler to make it match the bassline.) It may seem trivial, but subtle changes in bass response at this stage will have large effects on the overall tone of the kick, bass, and indeed, the whole track. After you get a good basic kick form, you can play with the S (sustain) to give more body to the kick without compression. In order to perfect the click, you may need to set the filter envelope shorter than the amplitude envelope, and play with the cutoff and resonance of the filter to get the desired effect. For the most bass, low resonance
settings work well, as higher settings tend to attenuate the bass frequencies, thus creating a “dead” kick sound.
Method TwoI’ve taken a break for coffee; please enjoy your favorite beverage. You may need it for this next trick. Some synthesizers have a self-oscillating filter. This means that if you turn up the resonance on the filter all the way, it will make a sound all by itself, even if the oscillators are turned off. You can then shape this sound using the cutoff and filter envelopes, in a similar way to Method One.
For either method, you may further shape the sound using whatever lfo’s and modulation envelopes have on your synth. The lfo works best when you can sync it to “key,” which means the lfo will reset each time you play a note. This will give you a consistent kick sound. If you have mod envelopes, set one to pitch and then play with the decay. With this you can achieve the “deeeeeiw” sound of the goa kick, as the sound is pitched down very quickly into the bass range.
When you are satisfied with a result, make a preset. Because of the subtle changes mentioned before, you may lose a sound you like just by moving a knob a little bit. Even with midi, you may have a hard time getting back to the sound you liked. So make presets. At this point, you can put the kick directly into the song using the synthesizer, but most producers will make a sample of the kick to save processing power or to free up the synth for other things, like the bassline! Here’s how you do it.
The Kick Mixdown
Open your sequencer program, if you haven’t already, and create a one- or twobar pattern/event. Put a note on every downbeat so you have four beats to the measure. Play with the note and note length until you get the sound you want. Again, a spectrum analyzer will give your ears a second opinion, and catch frequencies that your speakers/monitors may not produce properly, if at all. You may also add some effects at this point. Nothing fancy, maybe just an equalizer to tone the frequencies. You can add compression at this stage, or you can wait until you create the sample. Sometimes it is nice to have the visual cue of the waveform to tell you how compressed it is. The first few milliseconds, that is, the click, can be compressed until you flatten the waveform. The remainder of the waveform, which constitutes the bass frequencies, should remain rounded. If the peaks of the waveform are flattened, you probably compressed too much. But of course, your ears are the ultimate judges! After you got it all vetted out, it is time to do the bounce. Create a 24-bit 44.1kHz Mono sound file if you have the computer resources to run at 24-bit, otherwise use 16-bit. If you do use 16-bit, make the sample as loud as possible without
clipping. If using 24-bit, you can leave yourself some headroom. Now we are ready to open with your favorite sound editor. When opened in the editor, you will notice that you have four or more kick drums in a series. Make sure they are distinct, that is, they do not bleed into one another. Otherwise, go back and shorten the decay on the synth or remove every other note and re-bounce it. Listen to all the kicks. Sometimes, the first one gets cut off a little. Otherwise, you may notice a modulation in the tone of the kicks due to the analog or virtual analog circuitry of the synth. Find the one or ones you like best and copy and paste them into a new file. This way you have one solid kick in the file. At this point, you can equalize again if necessary and compress
and/or normalize the file to make it as loud as possible without clipping. Remember not to flatten out the bass portion of the waveform. Now you are set. You can save this file and import it into your song. I recommend using a sampler, but some programs let you place wave forms directly onto audio tracks, so you can try this if you like. It is harder to do kick fills, but you get a really convenient visual feedback of the waveform. If you put it in a sampler, make sure all of the
modulations are turned off, as this will color the kick sound in unpredictable ways. The kick is a very predictable part of the song, and rightly so, as it serves to ground the other sounds, which tend to be rather wild. In other words, it gives the listener/dancer something to follow if they get lost in all of the sounds. When you get the kick and bass in the track, you will need to tune everything, but I will cover that in the article entitled How-to: Make a Trance Bassline.
Finally, there are a few extra tips for the experienced. Try combining two kick drums together. Equalize the bass out of the first one and the highs out of the second one. Then mix them together and try to make it sound good. Sometimes it is trial and error, but sometimes the rewards are worth the effort. Another trick is to try an EQ cut at 315Hz or so by about three to six decibels.Then play with the Q until you eliminate or minimize the “boxy” sound in the kick.
This frequency range, centered around 315Hz, is hard for the human ear to interpret. Removing some of these frequencies can decrease the muddiness of kick while leaving frequencies that your ears think are Yummy! If you enjoyed this article, please be content to remember that there are more good people than bad people in the world. Otherwise, we would be extinct by now!
