dannthr

Writing good basslines, much like writing for any other instrument, requires understanding that instrument's role in the ensemble. For the bass, that usually means functioning in almost the same way whether you're talking about writing for a small jazz or rock trio to writing for a huge big-band. Primarily, the bass player has the responsibility of providing the bottom voicing in a functional harmony. However, and this is especially true in smaller ensembles, a well written bass line will give structure and substance to the groove. Often times, this means that the bass line might have to carry the weight of the groove without the assistance of the drums. The bass is often grouped with the drums as part of a rhythmic section of the ensemble and so it is crucial that the beginning bass student and beginning composer engage with the concept of groove in a meaningful way when writing bass lines. The simplest approach to creating a groove is to respect the structure and measurement of the music. This means often having a really clearly defined down-beat while creating some kind of emphasis on the backbeat to give a very clear sense of pulse and tempo. An experienced player will be able to do this in a precise way while maintaining a performance flow and rhythm modulation that is musical and expressive. I submit the following excellent bass work: He builds a really great groove before he goes on to play melody lines, fx, and improvisations. Pay attention to the guy in the back when he drops into a secondary bridge groove--he begins to clap with the beat because he feels it so strongly, he stops himself before being the only person in the small crowd clapping, but the feeling was there and this solo bass drove that entire experience. Wooten is extremely precise, extremely musical, and so clearly derives joy from the experience--and in this video, presents the bass in almost every instrumental capacity you'll see it in. Idiomatic writing is about studying the instrument, studying the players, and studying the styles. Watch videos of players playing--don't just listen, watch. Pay attention to them when something is difficult or challenging, ask why, pay attention to them when they seem to be really having a lot of fun or are whisked away by the performance, and ask why. Writing for a virtual player means writing for a player you imagine in your mind. How do they build their groove? What do they like? What makes them slow down, speed up, or improvise? What is hard for them? What is easy?

I understand. Good luck, glad everything worked out.

Very well. Though contacting me directly would have been appropriate.

Because I'm human and music is a functional result of our biology.

Mirby, can you PM your email address?

What is the style of the album?

How 11th hour?

Try reformatting the card if it gives the option.

Do you have Kontakt? If you do, then assuming you don't have anything but the Kontakt Factory Library, consider these: Small Ensemble: CineSamples Session Drummer Series: Ballad Brushes $49 http://cinesamples.com/products/session-drummer-series/ ManyTone Upright Bass $30 http://www.manytone.com/productinfo_upright.php Westgate Studios Solo Flute $49 http://www.bigfishaudio.com/4DCGI/detail.html?1437 I used these on Monkey Island--check it! More expensive stuff I like: Galaxy Vintage-D Piano $125 http://www.soundsonline.com/Galaxy-Vintage-D OrangeTreeSamples CoreBass Pear $65 http://www.orangetreesamples.com/corebass-pear-upright-bass SampleModeling The Trumpet ~$200 http://www.samplemodeling.com/en/products_trumpet.php Which I used here (along with the CineSamples Session Drummer Series): https://soundcloud.com/danreynolds/too-much-la-noire Stuff I have my eye on and would like to get some time (budget permitting): SampleModeling Sax Brothers (and Sister) http://www.samplemodeling.com/en/products_saxophones.php OrangeTreeSamples Passion Flute http://www.orangetreesamples.com/passion-flute Ilya Efimov Nylon Complete http://www.ilyaefimov.com/products/acoustic-guitars/nylon-complete.html Ilya Efimov TC Complete http://www.ilyaefimov.com/products/electric-guitars/tc-complete.html Scarbee Vintage Keys (published by NI) http://www.native-instruments.com/en/products/komplete/keys/scarbee-vintage-keys/

Your headphone amplifier is adding gain to your signal AFTER it has left your computer, after it has been converted from digital to analog signal--it is the last link of your studio output chain. The frequency adjustment pots on your headphone amplifier are not functioning to process sound within your DAW, they are designed to adjust the listening environment. You should consider them a calibration tool to match the sonic qualities of a reference track to those you're more accustomed to (say a near-field monitor system). Almost every device that adds gain to your output chain is going to color your sound in one way or another, whether that be a headphone amplifier, or the amplifiers built into your active near-field monitors. Again, that is why it is crucial that you utilize reference material to both calibrate the frequency adjustments as well as your awareness of perception in order to be most effective. If you don't understand what I'm telling you, then you should leave the frequency adjustments at their default setting.

I've had repetitive stress injuries to my left wrist that resulted in me being unable to lift more than a few pounds with my left hand perpendicular to the floor for a period of time (as well as numbness). I wouldn't call it tendonitis though, I don't think it was that serious. Once from being a grocery cashier (that was the first time), and then again when driving bus. I didn't have medical insurance, so I've never been to the doctor about it. I got a hard wrist brace for my left wrist which prevents my wrist from bending inappropriately--but I only wear it if it gets so aggravated that I go to sleep with some discomfort or pain. Normally, I might get slight aggravation from extended typing or keyboarding--but playing keyboard or typing weren't the initial causes, I think because in both cases I learned from an instructor and that included posture/form training as well. Obviously, playing an instrument is not supposed to hurt--if it does, cease immediately (don't grind through it). I have accepted that wrist pain and discomfort will be an inevitable part of my future as I grow older since so much of my life is spent using my fingers and wrists (music, game dev, drawing, etc). Nutrition and regular exercise are truly the best way to ensure that your form is strong--something that can be quite challenging if you're like me and work long hours in front of a computer.

Can you just post a sample of the bass direct with no processing or other instruments? And please make sure that your signal chain looks like this: Bass => DI Box => Mic Input on Duet => Logic

What is your interface?

Well, you probably cranked the signal because you're probably going from the DI into a line-level input.

The purpose of a DI-Box is to take Instrument level and translate that to Mic-level signal--there are usually a lot of higher harmonics that translate, depending on your box, that you wouldn't normally hear when run through a guitar/bass amp--so it might sound a bit thin or harsh, you will have to pair it with an amp-sim. Here's a good read: http://www.ovnilab.com/articles/linelevel.shtml I'm not sure what you mean by "crazy" but there is so much fucking processing on your track that it's difficult to isolate the bass and understand what you mean by "crazy."

First of all, dude, you just linked me to a sound that does not have 2 minutes and 50 seconds of music--but I'm guessing you mean 1:50ish. So, okay, now give us a reference example of what you want your brass to sound like.

It's not about being loud or quiet--it's about blowing your load too early. You have to make love to your listener, and that means some serious foreplay. Enjoy it, tease us, give us something fun, then pull back, dance, tango, etc. The climax should feel rewarding and substantial. When you can start to look at the overall shape of your composition, then you will know where to go next.

You give us the chorus/hook, now it's time for the verse. Pull back on the energy--the drums come in at the right spot, but they've too much energy. Here's my musical response--listen to this track, analyze it (not the words, the words are shit, they're lies)--it's got a clear 16 bar harmony that it plays for 9 minutes, everything that carries this track is progressive production and the slow layering of elements.

Sounds like you don't understand voice leading or part-writing or rhythm. Of course, if you posted an example, I would be able to help you more specifically rather than just assume a broad spectrum of what you can't do and try to address a bunch of assumptions. So post an example.

Also keep in mind that just because its the same brand, it does not necessarily follow that it will sound the same or similar. Audio companies often change the model numbers because they no longer manufacture the same way. One or several components or designs are likely different. It's best, if possible, to go and test them out yourself.

I would never touch Garritan instruments or products and GPO is not even on my radar comparing to EWQL anything.

Variety is like spice. If all you ever cook is one type of cuisine, then it will always feel repetitive. If all you ever eat is one type of cuisine over and over again, all you'll know is the same thing over and over again, and your cooking will become formulaic and rote. This is something to avoid if you're trying to create something fresh or interesting. It's not about trying tricks, that's more formula, it's not about eating one other type of cuisine, that's just another formula. Let me put it more concisely: Your personal listening experience is what informs your spectrum of ideas. Your personal listening experience is narrow and limited if you're only chasing after the same shit over and over again--whether it's just copying and pasting the same drum pattern over and over again, or if you're using the same key over and over, or if you're using the same instrumentation over and over--it doesn't matter what the problem is, the problem is you, your mind, and most importantly, your engagement in variety and commitment to improving yourself. You need experience and that means studying shit you never studied before. The most valuable studying you can do is listening and analysis. You have spent so much time building the scaffolding of a comfortable little box. This box is a safety, it's what you know, it's your comfort zone, and it provides you a foundation for how you approach music. Who knows how you came to design this box, you did it yourself, maybe you just built it over time and realized "hey, this works, let's keep doing this." It doesn't matter how you came to build your box, you're stuck in it. You need to expand your experience and what you think is possible, appropriate, or even what works. I will let you in on a secret: there is no end to this experience, it is as vast and as expansive as human knowledge (as limited and growing also) and you will never in your lifetime experience the entire breadth of what music has to offer, your life is too short. But music has a RICH and DEEP recorded history and empowered by the Internet, you can explore this diamond mine of possibility. You just have to be willing to step outside of your box. At first, it will be scary, you haven't been outside of your box since you built the one you're in now--so think back to what that was like, before you knew even as much as you do now. That's what it will be like. It will require a person with an open mind, a willingness to learn, and a spirit of adventure. Including roughing it through stuff you maybe didn't like before--well, here's the real trick to learning music: Everything can be liked, you just have to study it to find out what the good parts are. After you've gathered enough "good parts" you can return to your box and build additions or even build new boxes. For me, about 10 years ago, I left my little electronica hut behind and started building a modern orchestra house. Now I look back on that little electronica hut, and the shit I thought was impressive back then, what took me years then to develop and build, now I can build blind-folded in a day. For me, I am always looking to the new horizon--my education NEVER ends and I hope it never does. I'll be learning as long as I live because to me that's what living is. This is not a problem that will be fixed by tricks or method, this is a problem that will be fixed by a change of attitude and mental state. Listen to everything.

Stop listening to the same shit over and over again. I find myself in creative ruts when I only listen to my iTunes library over and over--even if there is great music on there. You need to keep expanding and listening. Listen to stuff that is not in the genre you typically do. Listen to everything.

Not every mic placement is Left/Right. Maybe you should stop placing your mics like that. For example, mic a snare top and bottom--two tracks on the snare, but they're not for left and right, they're for tone control and should be panned together as one.