If you want to add brightness to this bass, you can then distort it or add other effects. You can also add movement with an LFO. What, then, of the trademark dubstep 'wobble'? To create a good wobbly bass line, you need to start by setting up the oscillators on your synth. Combining different waveforms allows you to create an endless array of sounds, so get to know your software and understand how it works.
Native Instruments' Massive is a common tool for producers, but whatever bass software you use, spend time exploring it, saving each sound at various stages. You can return to them later to develop an idea or gain inspiration. I have used a selection of different waveforms, each of which provides a different aspect of the bass sound. Once you are happy with your waveform selections, route them all to the filter.
The application of an LFO to the cutoff will automate this effect, creating the infamous wobble. In Massive, it's easy to apply the LFO, by dragging and dropping it onto the filter cutoff. The LFO waveform I'm using in the example is a sine wave, which offers a smoother movement than saw or square waves.
Once you've done that, you can start fine-tuning the speed of the LFO. Synchronising the LFO speed to the track's tempo will often sound best, but you can get some great sounds by automating the speed of an unsynchronised LFO. Instead of having one single bass line that sounds repetitive, it's also worth experimenting with creating more than one bass sound.
Once you are happy with your bass hook, you can either chop up the MIDI sequence so that it plays alternating sounds, or bounce each bass line down to audio and slice them up that way. I have only covered the basics of how to set up a bass patch, and there are many further avenues to explore. Modulating parameters on your synth, such as the waveform, pitch and filter resonance, can dramatically change the sound, while the addition of a phaser, reverb, stereo widener or delay can alter its sense of space and movement.
The techniques I've mentioned regarding the sound design of your bass lines can also be developed further with the use of layering and resampling. Taking the time to build multiple layers of sound and then playing them back from a sampler is a good way of creating something different.
For the example in the screenshots below Layering sounds using a sampler. Here, I've created three variants on a bass sound using NI's Massive, and rendered each of them as an audio file above right. Next, I've loaded all three into Kontakt right to use as a single instrument. Each of these is set up using different settings: one static, one detuned and one with a subtle LFO.
Once happy with the combination of these sounds, I bounce the eight bars as audio and load up my sampler — in this case, NI's Kontakt. Your choice of lead sound can play a vital role in your music.
If you apply a similar rhythm to the MIDI sequence of your lead, it will work well with the overall swing of the track. Alternatively, adding a contrasting rhythm to your lead will help provide the feeling of a shuffle. Playing one sound off another will also help the narrative element of your track.
As with Massive, most synths will have a wealth of presets to gain ideas from. Choosing complementary sounds when balancing your leads and bass lines is important. You can apply the same techniques for leads as for bass lines, such as detuning, glides and automating filter cutoffs. Pads should have plenty of stereo width and movement, so layering extra sounds and adding reverb and delay prior to bouncing the audio will help.
Many dubstep tracks start with a very subtle beat, incorporating a few simple drum sounds and gradually and steadily building up until the beat drops. After the pause, the main melody, bassline, and beat come in. Choose a snare sample or layer 3 together to get a big and deep sound. Both the amplfier and the speakers can distort the signal. If the speakers are causing excessive distortion, they are about to break. Some people like the sound of the bass drops.
Another reason people might like dubstep is because it has so much energy. It makes you relax and think about things. The sounds that make up dubstep music are some of the most varied available. However, what makes it so fun to listen to and so popular with many music fans is because it combines different music styles together.
Bass gives the music a high tempo and helps break down the rhythm. EDM layers and removes various sonic elements, like different drums or melodies. Changes happen gradually over time.
Often EDM songs are much longer than a typical three-minute song. They generally run longer than 10 minutes, with an ebb and flow of various pieces of the music. Then start humming for 10 to 15 seconds. Perfect pitch is not needed. Dubstep on the other hand is a spin off of EDM that has evolved since its start.
Dubstep is characterized by heavy bass music with low frequencies that are usually a quarter note or less. DJs who invented electronic dance music include Mike Cazale, who is an American-based DJ who has been playing his beats at clubs and other events for over 20 years.
DJs began using computers to make it easier to control the beats they played during a set. It blends elements of trap music, which is an offshoot of Southern hip hop, with elements of EDM like build-ups, drops, and breakdowns. EDM lifts your spirits The genre is specifically produced to make people dance — and nobody is going to groove to beats that make them feel sad. The people who like EDM music generally listen to music for instrumentals.
It is a matter of perspective which part of the song people are interested in. EDM itself is a genre based around melodies, beats, drums, bass and synth. The instrumental part is more important for EDM than vocals. Studies have shown that music releases dopamine the feel-good chemical in the brain. Electronic music invites listeners to interpret tracks. More often than not, EDM does not have heavy angst-ridden lyrics. Dubstep is a genre of EDM. The music generally features syncopated drum and percussion patterns with bass lines that contain prominent sub bass frequencies.
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