Hi,
Lately I tried to synthesize a bass drum with a simple sine wave pitched down in Max MSP and I realised that for about three years of music creations and experimentations, all the bass drums I used to synthesize were kind of soft.
Softness can be a quality that you want your bass drum to own, but in a lot of case I didn’t want to and just didn’t realise that until now.
I don’t want to accuse anybody out there because that must be just a misreading from me but I remember reading in this forum that a cool way to obtain a bass drum with Renoise was to sample a sine wave, going into the pitch envelope and lift the pitch at the very beginning of the envelope in order to create some kind of attack, then render it to sample again, re-lift the pitch, etc… until you get a bass drum that suits your wishes.
After reading this thread, every time I wanted for a synthesized bass drum (hopefully not every time I wanted for a bass drum, thanks the sampling way ), I used this method because I found it good and versatile.
The idea of the method actually works, but the way I used it, i.e. at the tempo of my current song, introduced a problem : even if you lift the pitch +12 semitones at the line 0 of your envelope, and let it to current pitch (+0 semitone) at line 1 of your envelope, which is the faster pitch sweep you can achieve with this method, the time taken by the pitch to sweep down is way too long if you want your bass drum to have a decent attack. It’s late and I don’t want to calculate if a maximum tempo and speed in Renoise could provide a good time precision for that achievement, but what provides a very percussive bass drum in Max MSP is a pitch going from more than 10kHz to a pitch suitable to the bass drum in about one millisecond (this is just an example).
Actually a lot of my bass drums use to sound kind of poppy because of that technique (listening to that track is a good example, but it actually doesn’t matter as the sound of my kick here was far to be the only sound on which I had a lack of control and professionalism).
So, once again, I’m not saying that it ruins my past compositions because I just should have realise it and find out a way to make better synthesized kicks. I actually use to believe too hard in sound and music “miracle recipes” because I didn’t know everything about all that stuff before beginning to make electronic music.
What I just want to do is in one hand telling a story that I think is funny and has a morale (–> don’t believe about miracle recipes and just take advices as they come without making them a rule) and in the other hand telling the beginners that the laps of time between two lines in a reasonable BPM/speed in Renoise is not efficient to achieve pitch sweeps that will make it for a powerful kick.
That was long, sorry
but it was funny to write it,
Antape