In this video I show you how to do Grime Basslines… Or rather I show you the basics in how to create 2 different styles of what could broadly be described as Grime basslines. These are often commonly used in UK Garage and Jungle or Drum & Bass which are of course significant influences on Grime as a genre.
Anyway check out this video!!!……
“hey it’s Lord laughs for this video I’m going to answer one of the questions Ioften get asked which about doing drawing base lights this video is going to be a tutorial showing two basic styles at broad base lines you can all create on a synth so check it out soI’ve started off a cheeky riff here which you can see just a MIDI riff just to get things going so you can hear that here so it’s nothing perfect it doesn’t need to be it’s just so I can demonstrate what like the two bass linesI’m talking about or two styles of basslines I’m talking about so to add to that I am going to add another software instrument and I’m gonna use Skype down here so it’s going right so we’re going to use the logics FM synthesizer as the first one so this first synth is like a basic grime slash garage type bass line you hear in a lot of lot of like old-school UK garage in a lot of certainly a lot of grime as it to but it it’s predicated on this here which is what you would call a FM synthesizer ora frequency modulator synthesizer so this is the frequency modulator synth the FM synth it’s the basic one that’s used actually in Logic Pro X there’s at the moment it’s got this sound going here which you can hear which actually isn’t a bad sound in itself and that’s actually just the first sound that comes off when you when you set this synthesizer up it doesn’t actually matter though because if you use in a different synth as long as it’s a frequency modulator synth you should be able to recreate this sound pretty easy as long as you understand what the parameters like are the one thing is I’m not going to make this a really really in-depth tutorial about FM synthesis because it is a vast topic in and of itself but I’ll just give you some basics you have two oscillators here and here and these are when I say oscillators these are essentially the things on synthesizers that create the sound synthesizer oscillators on synthesizers often have different stylesof oscillators so you can get square waves sine waves all waves and these kind of things but generally on frequency modulate as they are generally both sine waves although more in depth since to give you different varieties this one here again they’re both they’re both sine waves which sine waves are common in a lot of synth bass baselines and they actually worked really well forgetting different harmonics when you’re using a FM synthesis so you’ll see you got both these here you have this oscillator here and it’s known called the modulator and you have this oscillator here which is the carrier basically what this synthesizer does is the sound from this oscillator is essentially driven into the the sound of this oscillator which is the carrier and it creates an interesting sound and you can change the the frequency of each oscillator by changing these numbers here and that gives you a variety different sounds so that’s changing the sound of the carrier and it’s changing the sound of the of the modulator so one of the big things if you want to create a grime style bassline is to create a ratio of 2 to 1 or depending on the synth that will that will mean that you generally turn the modulator 12semitones up from whatever the carrier is so you can see this here this is on this is 1 this is 0often you put it two to one but it actually is is a bit more of a oh not bad sounds but I for this synth particular it seems to work better having it dropped down an octave each dropping and both down an octave each but if you generally want this modulator sorry this oscillator here turned up 12semitones to this one which is the carrier which is a ratio of 2 to 1 in this case it’s 1 to 0 and that gives you that donk kind of bassline you can hear here let’s bring this down and that’s really common in a lot of deep house but we’re not doing deep house as much as Ido enjoy the genre we’re doing grime and sort of ‘garagey’ style bass lines so if you actually don’t need to do too much once you’ve got that donk style bass line which is generally what you’ll get when you you’re in the lower octaves in a FM synthesis with a ratio of 2 to 1 or you actually got to do is turn the attack up what you’ve got here is you’ve got an envelope here which changes the attack the the density the sustain and the release of the modulator which is this oscillator here and you’ve got the same for the for the for the carrier here so let’s see how different it is when I turn up the attack or sword is essentially make a sort of slower slower attack with the with the sound we got playing here so I’ll just play it so that’s a gauge of that one that’s a basic FM sorry F FM synth that’s a basic FM synth for crime so for this one we gonna do a filtered square wave that’s not what’s going on here and I know this synth if you aren’t used to dealing with synthesizers this looks really crazy and complicated there’s actually not too much you need to concentrate on really for this like the FM synthesis or synthesizer I showed you there’s this one has oscillators as well and as they all do there’s actually three on this one but we only need to worry about this oscillator here you’ll need to worry about this envelope here that’s the thing I turned up early on the earlier synth 2 turned up the attack to get that sort of wah by sounds if that makes sense and this time we’re going to be using a filter as well now at the moment I’ve just set this up so it’s just got a real basic sine wave sound but you can hear like so if we play the riff on there butI want to make this a square wave now square waves are really common particularly in grime they’re everywhere you often hear a lot of stuff based on different square waves this is a sinewave but if we turn it down if I turn this here turn the oscillator here to square wave sounds of this sounds appalling at the moment it’s got way too many highs in and that’s the difference between like a sine and a square is squares tend to contain a lot more high frequencies in there and they’ve got more of a sort of computer game quality to them so it’s a couple of things I can do I’m gonna I can turn the attack up here on this one again see it sounds like so is that I can also play around with the glide which which sort of changes the tone of the of of the sensor as try that now if I add a filter to that andI’m gonna want because it’s got way too many highs in at the moment specially for it to be a baseline it’s too much going on with it so we need to take out some of those high frequencies so it’s just got more of the base low frequencies and that’s where this section comes in here we’ve got a filter there’s a few passes here there’s what they call a peak filter high-pass filter this is a low-pass filter here which is what I want to use and this is the cutoff for it so let’s turn that on and let’s hear what it sounds like still too high and I think part of the problem we got there is if we actually is actually this these MIDI notes here they’re actually a bit too high and I need to drop them down an octave I could do it manually on this synth but for the sake of an argument I’m just going to drop the MIDI notes down so here we go to turn this up here we’ve got these note shere I’m gonna drop them down 12semitones so that’s an octave he says there we go let’s try that now[Music]it sounds more like it I’ve just turned the release up here just give it more of that vibe so yeah that’s that’s not too bad I’m quite happy with that again these are far from perfect and a lot of this just comes down to a lot of experimentation on your part but the basic things to remember with this second synth onSharia is you use a square wave for the oscillator you turn up the attack so you get a slower attack on the actual on the envelope turn up the release a little bit as well you have quite a high sustain as you can see and a sort of medium kind of density turn the filter on and put a low-pass filter on with a bit of resolution and turn the cutoff to taste and if you then add a glide to it just so that the frequencies bounce a little bit more when it changes between notes you’ll hear it sort of go up a little bit as it changes notes and a riff so that is actually it there’s not too much more to it than that again I’d wanted to just keep this simple and just give you guys like areal quick little tutorial one two really basic grind style since the you can you can create or grime style basslines rather that you can create I hope you enjoyed this so I hope you found this video helpful guys there’ll be more of these to come that so if you want to stay in the loop of what I’m doing then subscribe to me on youtube if you like this video then make sure you give it alike make sure you subscribe to my youtube channel by clicking on the subscribe button here and make sure you click on the bell icon as well just so that you guys get notified every time I release a video and you don’t ever miss a beat also if you like want to checkout our music then make 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