The HEAVIEST bassline EVER

woops

woops

is not like other people
william_kent said:


Senking - Black Ice

I once worked "somewhere" and a lot of the people on the "help desk" were a bit younger than me, and they were into UK garage and dubstep, etc., but they lost their shit when I played this "sound art" in the office... heavy as fuck bass.. combines sub bass with an oppressive momentum, like trying to slowly and laboriously chip your way through a glacier and getting nowhere
Click to expand...

I've listened to his whole album and i like it fine but can remark that he seems to be doing good production rather than good music -

immaculate bass and clicks but nothing going on to make them into tracks, like a whole album of interludes and DJ tools

super bland piano lines and arpeggios that sound like an expository montage in the social network or something
 
william_kent

william_kent

Well-known member
woops said:
I've listened to his whole album and i like it fine but can remark that he seems to be doing good production rather than good music -

immaculate bass and clicks but nothing going on to make them into tracks, like a whole album of interludes and DJ tools

super bland piano lines and arpeggios that sound like an expository montage in the social network or something
Click to expand...

cheers, you've saved me some time - I've got the 12" of the Black Ice track, but I've never felt the need to investigate further and now I don't have to bother...
 
william_kent

william_kent

Well-known member
"heavy" isn't something that is usually associated with UK Lover's Rock, but this is my contender for "HEAVIEST UK Lovers' Rock bass line EVER":



Pauline of Brown Sugar - Me And My Dread / Dambala - Revelation Side

undercover xylophone action ( edit: or is it "glockenspiel", who can tell? )

skip to approx 7:32 for the dub

slowly revealing my secret weapons now i no longer play records in public, jk

1668645158190.png

graphic design! Peter Saville, eat yr heart out...
 
Last edited:
maxi

maxi

Well-known member
coki deserves more respect I think. he was a unique and original producer and his music had tons of character & enigmatic humour in it. a lot of it is in the details. the detached way he samples vocals, the swing and echo on the hihats, random one-off sounds, playful moments of silence, subtle variation throughout each track, & of course the deranged basslines.

his basslines are 3D and sort of like alien vocals. they're like living organisms with personalities. like halfway through 'lost city' where it pretends to go all coy whiny & feeble before coming back boisterous and tough again like a psych-out joke. they have personalities. and it's usually this kind of menacing but spirited mischievous impish playful personality. like the purple smiling devil emoji. with different amounts of weight on each of those aspects in different tracks.



 
IdleRich

IdleRich

IdleRich
william_kent said:


Senking - Black Ice

I once worked "somewhere" and a lot of the people on the "help desk" were a bit younger than me, and they were into UK garage and dubstep, etc., but they lost their shit when I played this "sound art" in the office... heavy as fuck bass.. combines sub bass with an oppressive momentum, like trying to slowly and laboriously chip your way through a glacier and getting nowhere
Click to expand...


This one sort of reminds me of this tune I have. Took me a while to work out what I was thinking of and then I found the record. It's a label called Betalactam Ring and the band are Stimulus and the track is Spear. I couldn't find it on youtube so I recorded it crudely on to youtube (with added cat). I don't think it sounds like the Black Ice one but somehow it makes me think of it, I dunno, tell me what you think...




Also, I thought it would be fun to see what it sounded like if I pitched it way down and it actually sounded really nice. These textures that are warm and fuzzy, kinda like that band Sleep in a way. I recorded it but my phone was too primitive to do it justice sadly

 
B

Bang Diddley

Well-known member
Ability II - Pressure Dub (Probably posted this in another thread too)

At about 5mins 10, when the vocal faded out and the dub siren comes in, it's snare, tops and bass weight. Made to be played on a sound and man does it deliver.

 
IdleRich

IdleRich

IdleRich
Probably a stupid question but if you are a producer what do you do to increase bass weight? What dial do you twiddle? What direction or dimension do you move in?
 
IdleRich

IdleRich

IdleRich
I mean I'm not a producer so probably won't understand the answer, but the thing is, I just can't figure out which direction you would push in if that makes sense.
 
maxi

maxi

Well-known member
EQ is basically controlling the volume but for particular frequencies. so you would turn up the volume of the lowest frequencies (bass). and also add compression which means the volume of other sounds that clash with it would be momentarily turned down while the bass notes play. the lower the notes the lower the frequency and the more bass weight. the lowest frequencies aren't perceptible to human ears but can be felt in the body. and lower than that makes you shit your pants or something
 
william_kent

william_kent

Well-known member
I don't think I've ever mentioned how one of my hobbies is getting shitfaced and slapping on a pile of xterminator 7 inches on, one after another.. when it comes to labels xterminator is the one that I have the most of, at least 300 singles

but, Fatis Burrell is one of the uncrowned kings of reggae



XTEMINATOR - promised land riddim

digital do-over of the Aswad ( they used to be good, people forget that ) classic riddim

Aswad were the first reggae band to use digital delay as witnessed on their seminal dub album, A New Chapter of Dub



Aswad -Dub Fire ( promised land riddim )
 
You must log in or register to reply here.
Top