After the motivating experiences with the new drum-sound I thought about the bass. Careful considerations lead me to the decision to choose a synth-bass. As you already know I will work with a hybrid drum-kit with analogue-style drum-sounds and I think the drum-kit would sound sonically isolated and like a foreign object, when it would be surrounded just by human sounds. It needs a partner and the bass is the logical choice, because of the close relationship of drums and bass. There are also some other arguments for the synth-bass:
- The sequenced drums are extremely precise. A real played bass would water down the precision of the groove.
- The sequenced Synth-bass can be treated with modulation-curves and other interesting technoid methods.
- Depending on the song the sound of the synth-bass can be choosen from an endless amount of variations.
- The events of the programmed bass can easily be shortened or lengthened to achive a tight interaction with the recorded guitars
First I tried to program the bass on another Teenage engineering Operator, the PO-14:
But though the sounds from the PO-14 are great and offer a lot of tweaking options the results are too unpredictable for recording. If you want to create a specific Filter-movement it’s too hard to record this live with the tiny little knobs of the PO-14. After some tries I gave up and looked for a more comfortable software-solution. For the actual song I found a suitable preset in the great U-He Zebra Synthesizer
The preset “Bass Roto Sound NEW” is very precise and has a piano-string quality, which is the desired kind of sound for Metal.
The preset was modified a bit and I applied some interesting curves in Logic for Filter-Cutoff and Resonance.
At last I also applied distortion. Now it sounds like this:
Depending on the tempo of the song I will add more or less distortion, because the distortion takes away the precision a bit.