How to Compose Music - Get Powerful Bass | Mikael Baggström | Skillshare
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28 Lessons (1h 24m)
    • 1. Welcome & Congratulations

    • 2. Bass - The King of Music

    • 3. Guideline 1 - Lead the Harmonic Storyline

    • 4. Guideline 2 - Create Space for the Bass

    • 5. Guideline 3 - Less is More

    • 6. Guideline 4 - Layering for Power

    • 7. Guideline 5 - Distortion for Density

    • 8. Guideline 6 - Attack for Clarity

    • 9. Guideline 7 - Compression for Control

    • 10. Guidelines of Bass - Summary & Action

    • 11. Bass Sound 1 - Acoustic Bass

    • 12. Bass Sound 2 - Electric Bass

    • 13. Bass Sound 3 - Pad Bass

    • 14. Bass Sound 4 - Sub Bass

    • 15. Bass Sound 5 - Warm Bass

    • 16. Bass Sound 6 - Dirty Bass

    • 17. Bass Sound 7 - Retro Bass

    • 18. Bass Sound 8 - Edgy Bass

    • 19. Bass Sound 9 - Pluck Bass

    • 20. The Sounds of Bass - Summary & Action

    • 21. Bass Style 1 - The Driving Bass

    • 22. Bass Style 2 - The Authority Bass

    • 23. Bass Style 3 - The Noble Bass

    • 24. Bass Style 4 - The Walking Bass

    • 25. Bass Style 5 - The Riffing Bass

    • 26. Bass Style 6 - The Melodic Bass

    • 27. The Styles of Bass - Summary & Action

    • 28. Congratulations - You are Amazing!

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About This Class

Do you want to Master Bass in your Music?

Hello, and welcome to my course that will teach you how to get powerful bass in your music. Congratulations for choosing to advance your skills and knowledge as a music composer and producer. My course will take you on a learning journey. And your end goal and destination for this journey, is to unlock the secrets to bass.

This is not a course on how to play bass. No, this is a course where you will learn the sounds, the playing styles, the sound design and the performance styles of bass in your compositions.

For example a driving electric bass...a noble orchestral bass...or a dirty synth bass.

Here are the benefits you will gain, by taking this journey.

  • Learn the Foundations of Bass

  • Master the Sounds of Bass

  • Level Up your Bass Writing Skills

  • Get Powerful Guidelines on Bass

  • Boost your Professional Experience in Music

Now take Action

Now before we continue, I want to ask you: Do you want to learn how to get a powerful bass sound and performances in your music? Are you prepared to complete this course, and take action on everything you learn? Are you ready to level up as a composer?

Then let’s start your journey, right now! =)

Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer


Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)


I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

You are more than welcome to visit my website to learn more about who I am.

Friendly regards,
Mike from Sweden
Founder of

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1. Welcome & Congratulations: hello and welcome to my course that will teach you how to get powerful bays in your music. Congratulations for choosing to advance your skills and knowledge As a music composer and producer, my cools will take you only learning journey and your end goal and destination for this journey is to unlock the secrets, to base the foundations of bass Master the sounds of days level up your base writing skills , get powerful guidelines in base and boost your professional experience in music. My name is Mike and I am a composer just like you. I have composed and produced music since 1998 and I will never stop because music is my true passion in life. As I'm sure it is for you to right now, before we continue, I want to ask you, Do you going to learn how to get a powerful based sound air performances in your music? Are you prepared to complete this course and take action on everything you learn? Are you ready to level up as a composer? Then let's start your journey right now. 2. Bass - The King of Music: What is base base is the harmonic route that leads the listener throughout your music story . It is like the main storyline that weaves everything together. Now let's talk about the practical roll off base in music. Why is it so incredibly powerful? Why is based? The very anchor of your music story base is the lowest register in music, which means the lowest frequencies from 20 hertz to around 200 hertz or so. These lower frequencies has four greater sound pressure at the same level compared to higher frequencies. This sound pressure in the bass frequencies is so great that you can literally feel the sound pausing through your body. If you listen to music on a bigger speakers, Base adds the fundamental power in the low end that will grew your harmonic storyline together and at a deeper and fuller overall tone in your music, Treat your base as the king of music. Give your base the authority and power it deserves. Let the base and low percussion rule the low end of your mix and make sure that you use the power off base to add depth, fullness, focus and clarity. In the low end of your music. Congratulations. Now that you have learned the cool fundamentals of base in music, I will share my most powerful guidelines on how we can use base in practice in your music compositions. Let's continue your journey right now. 3. Guideline 1 - Lead the Harmonic Storyline: Now let me give you my best practical guidelines on writing base ports in your music compositions with more power, clarity and focus. Here we go. Guideline one lead the harmonic storyline. Since base has so much authority, it is only natural that it becomes the anchor of your music storyline. Basically, this means that the base leads your story forward by providing the harmonic route in your music. That is why the bass note is almost always the root note off each chord, even if you play the court in an inversion. The main point is that you want to use base as the master guide to lead the listener throughout your music story. Personally, I even consider the Baseline Mawr important than the chords themselves. So when writing a new theme or motif, I often play the melodic idea with my right hand and baseline with my left hand. Then I harmonize with courts afterwards. Now I will demonstrate this by playing this little snippet here, But on Lee, the base as well as the mellow dick ports, I have muted the harmonies and the rhythm and so on, and you can instantly here that the base is pulling you into the harmonic storyline to back up the melody. So take a listen. What are you? I hope you noticed how well the base complemented the main melody. The theme. And as you could hear, I have boosted the base a bit just for these examples, you can clearly hear how it leads the harmonic storyline. Now I also want to demonstrate how you can use this technique in action as you record and sketch new ideas for new themes for your music compositions. Because essentially, I see it like this. The melodic focus played with your right hand and the harmonic anchor played with your left hand. Being the base is what creates the main theme. So let's say you come up with in humility something like this. For example. Uh, now you want a beef that up with the harmonic anchor off music, the base with your left hand so the harmonic anchor and the melody. The melodic focus with your right hand, is what will together form the cool off your main theme in your music, which could be a brief, a motif and so on. And what you play with the harmonic anchor will essentially decide which harmonies and courts will be used as you harmonize your track later. So let's you say you start like this. So there I played the F on the base twice. But instead of doing that, I could go up to this note. For example. Totally different harmonic storyline is created because off the base note. So if I play this, that's Onley two notes, the single note on the melody and the singled out plus the octave on the base. But together they decide the harmonic storyline of the music. So essentially you could harmonize this into totally different meaning than going twice on this Asi can hear. So when you come up with the main theme of your music, I recommend starting with the melodic focus and the harmonic anchor using the base. And finally, you might end up with a new idea for a main theme, using the melodic focus on the harmonic anchor like this again. The guideline you have learned in these lesson is to let your base lead the harmonic storyline, basically guiding your listener throughout your composition, using the base to set the harmonic anchor of your music 4. Guideline 2 - Create Space for the Bass: guideline to create space for the base base should be treated like a king in your music and just like you give room and space for the king. When he gracefully walks down that long red corporate, you should create space for the base in your music compositions by standing aside with your other instruments and sounds, I mean literally letting the base take care off the space in the lowest octaves of your music and keeping the distance from those octaves with your other instruments and sounds. So if we take a look here in one of my corporate music tracks, and if I select all off these ports here, I am excluding the drums because I want to show we all pitched instruments. So if I go into the piano roll now and select all and soon mean you can see that the lowest port here is the baseline and you can see the clear space you have in the very octaves the notes here, which means that you will get in more clear, focused and powerful bass sound because you don't have any other instruments creating mud down here in the low end. So take a listen I can show you this technique even more clearly by playing on my media keyboard here. And if you have the base in your left hand sliced, say the affair. If I play a piano with my right hand, that's a huge range space between the notes in the right hand and the left hand. And, of course, you feel up the composition with various ports in various ranges, meaning oak tapes. But if you get too close to the base, like if I go from here to here starting to lose some of its clarity, and if I go even lower to this, it sounds really crappy, really. So stay away from the base. Register with your other instruments so that the base, plus the low percussion, can take care off that low end in your music so you can play much more focused, really low end. This will give your music a focused low end with clarity, and basically your compositions will have four greater impact and power, so make sure to create space for the base 5. Guideline 3 - Less is More: guideline. Three bliss is more. That is the phrase you hear so much. But what does it mean for base? Well, first, I want to share a quote I came up with to summarize Why laissus more for your base sports in your music? Here it is. Wait has more power than quantity. This means that you don't need many notes to get a powerful sound in your base. The opus. It is, in fact, more true less notes, but with more weight will create an overall, more powerful sound. And one reason for this is that the lower frequencies has a much longer way form, and that is why they blend together and become muddy if you had too many notes. For example, when programming percussion ports, you can easily make super fast rhythms on the higher pitched drums like high heads and shakers. But on the deepest percussion instruments, first rhythms will sound messy and bad. So let's take a listen on this fast rhythm on low epic percussion now, and it sounds really cool, and it might work. Stand alone, but you can hear that muddiness and booming is building up in the low end, and this would definitely not work in a mix again. Less is more, especially in the low end. It is simply a matter off physics. Now, let me give you another example by playing the bass with my left hand, using very few and long notes with lots of weight as I play a little theme I came up with here. Uh huh. 6. Guideline 4 - Layering for Power: guideline for layering for power. You can, of course, use a single bass instrument for your music composition. If you want to. However, I am a true fan off layering for more power by adding and shaping each layer to fall a new , cohesive, role based sound, you can add more depth, body and clarity to your base. In fact, my essential guide for layering a bass sound is indeed those three layers layer one depth. Here I recommend a deep sub days. I used this layer to add that extra oomph in the lowest part off the base. In fact, I always add a sub base to every composition I make, regardless of style of music, even if it is verily audible, you can always feel that it is missing if you don't add it, especially on bigger speakers and good head falls. Now for the depth layer, I actually use a plug in that comes with logic. My DW called retro synth, because you don't need a super advanced or fancy synthesizer to make a sub bass tone. It's actually one of the easiest sounds you can make with a synthesizer. You simply need to use one of this softer way forms either a sign way or a triangle wave in this case. And then you need to use filters to get rid off everything above. I have chosen 200 hertz or so here and then simply played super low down in the octaves. And it sounds like this. I hope you listen to a good pair of headphones or big speakers because the sub base will only be audible on those kinds of systems. However, even if you listen to slightly smaller or less quality headphones, you will feel that this sub base the depth layer, is missing if you avoid to add it now, to give you a better sense of what the sub base or depth of your actually contributes to your music, I have brought up the EQ you here, which has a spectrum analyzer. So when I play, you can see the way form here. And if I play in the subways range was saying, if down here you can see that the peak is around here 45 hertz or so. So the subs actually feels up this space here in the lowest part off the frequency spectrum , that is where all acoustic instruments have trouble getting into this domain here, and that's why you use a depth layer for the base layer two body. This is the main based sound, the character and basically what you here as the base tone, for example, on electric bass and orchestral base or a synth based Now to demonstrate the body layer of your bass sound, I will first show you this modo base plug in, which is an electric bass buggin with lots of different electric basis to choose from. So let me play a bit first. Oh, and if you look down here again at the speech Spectrum Analyzer, you can see if I play. But now the range is slightly above this sub base layer, the depth layer you're getting into the 50 to 200 hertz, and this is the domain where the main based sound will be audible and felt. So this is the main character of your base. Now let me also show these with a synth bass and watch here between 50 and 100 Hertz is often where the fundamental tone off the main based sound ISS, but some bass sounds also have lots more information and overtones in the higher frequencies. So take a listen. And as you saw, the main peak were around here between 1500 hertz, but and then it faded a bit, but you had information basically all the way up to 500 or 700 years or so, so that depends on the actual bass sound you use for the body layer. Layer three hilarity, the higher harmonics and the distinct attack off the base, which makes your base more present. This layer can be great to get your base more audible on very small speakers. For example, you can use a very distinct, plucky sound as an extra layer for clarity or a layer that is an octave higher than the main base or both. Here's a power tip. When using layers, I often use transposing in octaves to make the bass sound as big, powerful and audible as possible. So if I used the three layers I just mentioned, I will transpose them over three octaves. Now for the clarity layer I am using a seem to be the short, distinct attack in the sound in this case, a 303 clone. You know that classic driving synthesizer with lots of residents in the sound like this, but I'm not using it in that style for this layer. Instead, I remove this internal sequencer, and I said it to host mode. And then I dial down the residents a lot. Also did this story because basically I only want this plucky type of south on this land. And instead of playing by here, down in the base that's reduced even more instead of playing is here. If you listen to this based on, if you can hear, it's an octave above and then I simply dial it in because at the maximum level it will sound very strange. I can remove it, and if I add it again and then I can set it to Syria and just mix it in until I have the clarity of on like So without, with just a little hint off, that extra short, distinct attack will give your base lots more clarity, especially on smaller speakers. And finally, if I add an E Q to the overall group track the master based tracks, so to speak, you can see get the sub base range. I get the main based range, and I get a bit more clarity in the mids here from that extra layer for clarity that will give you a basic and feel here and really notice in the mix. Now let's continue your journey in bays right now. 7. Guideline 5 - Distortion for Density: guideline. Five Distortion for Density. I love using harmonic distortion and saturation effects for my base. You don't have to go overboard by creating a super dirty, distorted sound unless you wanted. Of course, saturation can be used to simply add density by bringing out more weight from the harmonic overtones. For example, you can use a bass AMP, which is basically similar to a guitar AMP but with a more mellow and bass rich sound. There are also countless of distortion and saturation plug ins you can use on your base, which I am a fan off personally. Here's a power tip. Whenever you use distortion, I recommend no airing it to the depth layer, meaning the suburb base, because the purity off the sub base is what makes it so tight, focused and controlled. And as soon as you add any type of effects in the sub bass frequencies, you basically miss up this clarity. Some plug ins have filters built in to let you avoid adding distortion in the lowest days. Otherwise, you can simply just have the effects on the individual layers and not the star base layer. So let me demonstrate how I usually work with distortion and saturation plug ins and my layers in my based sound. So first I have the depth layer, which is the sub base and on the sub base layer. I basically Onley use EQ, you and filters and sometimes compression. I never add any distortion or any type of creative effects to it because I want that pure tone. Then the body layer, which is the main basis sound here is where I had the distortion plug in or a bass AMP. In some cases, in this case, I have used a pedal board that comes within logic and the tube burner pedal. So without it, it sounds like this on day with it. So lots off drive in that sounds that radically changes the sound and also makes it more dense. And the total leader the clarity later. Well, in most cases, I did not use distortion, but I might add a slight saturation, as I actually did inside the plug in in this case. But it's not drastically different because I still want to retain the clarity in the attack a part of the sound, because that's why it is there off roll. So by working in this way and choosing which layer to add distortion and saturation or any creative effective, you can shape the sound to steal, have clarity and focus in the deepest low wind and also a clear, sharp attack in the sound. But lots more meat, so to say, a dentist er sound with the harmonics and richness off the body of the sound. So all in all, it can sound like this. Obviously, this was a really heavily distorted type of day sound, so you can dial back the distortion if you want to and shape it however you like. But that's working with distortion to add density to your overall based sound. Now let's continue in the next lecture. 8. Guideline 6 - Attack for Clarity: guidelines. Six. Attack for Clarity You can bring out more clarity by boosting the attack port off the base , and you can do this by using an effect called a transient shaper that basically controls the amount of attack and sustain in the sound. By boosting the attack port, you will bring out more off that short and distinct beginning off each bass note. Or as you already learned, you can also add a clarity layer to the base and make that layer a very distinct, plucky type of sound. So let me first demonstrate how to use a transient shaper to add more attack in the sound, which will add clarity. So here I have. The electric bass, which sounds like this on Guy have added an insert effect here, which is called Francine Shaper. It's by native instruments, but basically old transient shapers works the same way. You have an attack? No, been a sustained job. Dialing the attack up or higher means more and sharper attack in the sound and dialing this sustain down like this will turn down the sustaining part of the sound. So I have maxed it out just to make it clear in this demonstration. So without a transient shaper again, listen to the short, plucky attacking sound when I bring this to Max eyes almost a little clicky sound even, probably because I gone overboard. But I just wanted to demonstrate how great this effect can be. So that is how we can work with a transient designer. Plug in to bring out more attack in the sound, either on an individual layer or even Onley. Complete master based sound if you wish, and it could also dial down the sustain. I usually don't for the base. I just want to bring up more attack. And the other way, as you have already learned, is to use an extra layer just to provide that extra clarity. So you simply add a layer and add a scene sound or any type of sound with lots more puck more attack in the sound and use that and dial in the amount off attack and shortness to add clarity to the overrule basis. Sound all right, let's continue your journey in the next slickster 9. Guideline 7 - Compression for Control: guideline seven compression for control. I always teach the importance of keeping the dynamics in your music to make it breathe, feel more alive and add emotion and movement. However, there are exceptions to this, and base is, in my opinion, the instrument that you should have the least dynamics in, mainly because s you already learned it is the very harmonic anchor and guide for your music story. Dynamic range compression or compression for short is the best way to keep the dynamics off your base tight and controlled because you generally don't want too much level variation in your base performances, and you most often want to keep the base as powerful as you can. This is what compression. Thus it reduces the variation in dynamics, meaning the perceived loudness off the sound. I recommend that you use a loudness meter in your DW to check the average loudness level of your base. So simply add a loudness meter using the standard loves scale on the master based group track, and then you play the bass and watch the meters and especially the average loves value. So essentially what you do is that you play your base performance and then you record the audio with the loudness meter using a start button, which basically tells the loudness meter to start listening to the audio. And then you click paws off the words. And then he will get an integrated number here, which tells you the average loudness level off the whole performance. So let's just start and I will play something. Now. Let's use it first without the compressor, so you can see so around minus 16.4, and the higher this value. As you can see, it's negative. The higher it goes, the less dynamic range you have, which means a higher average loudness level. If I turn on the compressor, let's check out the compressor here, um, super compressed, but adds a couple off D B in gain reduction. Let's go back to the loudness meter here, and I will reset and start again. And as you can see, I now get a higher value minus 12.1 as the integrated average loudness level off that performance and on top of the compressor, you can also use a maxim icer to really push those levels. Finally, you can also use saturation or distortion to increase the density of your base, which will also bring up the average loudness level 10. Guidelines of Bass - Summary & Action: congratulations. You have now learned all my fundamental guidelines for base in music, composition and production. And remember, guidelines can be broken as long as you are aware of them. Know what you do now? Let's make a quick summary off these based guidelines. One. Lead the harmonic storyline to create space for the base. Three less is more for layering for power. Five Distortion for density six. Attack for clarity and seven compression for control. Now take action and practice all these guidelines on various types off base sounds in your DW because learning by doing is something I am a huge believer off. So go ahead and practice each guideline and also experiment with breaking or bending them. Have fun with your base and I will see you in the next video. 11. Bass Sound 1 - Acoustic Bass: No, let's talk about these sounds off base. I will show and demonstrate. The most common types were based sounds, I personally using my music compositions for all shong, gers and kinds of music. Of course, you have almost endless possibilities to shape the main tone off your bass sound, but these are the main kinds off base sounds that I come back to again and again. They sound one acoustic bass. Let's start with the grandfather of All Base, the acoustic string based instrument that has many different names, mainly depending on which shong, hours of music and playing styles it is being used for in an orchestra. It is often called double bass, contra bass or simply base. It is most often played with a bow, which creates a wonderfully rich and noble sound When playing strings with a bow, you have more control over the expression playing styles and performance techniques than any other type of instrument. Except for the human voice, you can do smooth transitions like Lego toe or longer gliding transitions like Porta Mental and Greece Ondo. You can bones quickly on the bow with a staccato or even the shorter speak Otto, you can do the broader, and you can shape the character off the sound with Bo pressure, speed and placement on the strings. In Jess and band music, it is often called an upright bass, acoustic bass or even a jazz bass. It is played with your fingers and has a very mellow, intimate and soft tone. Slide transitions are often used to spice up the group, so I will demonstrate both types of acoustic bass is now both a double bass and an upright bass. So the double bass, actually, usually the main difference is that you play double basis in an orchestra with several bases in unison, whereas an upright basis almost always played solo as the main baseline off a band like a jazz band, for example. But with a double bass, I have this plug in, which is in fact a solo double bass, and it sounds like this on, and I can actually see here which performance technique is being used to. If I release the media keyboard as I play, you get to sustain by moulding legal toe if I hold it, making a softer press going in a slower position called the Port Aumento and I can also control with my mood will set up the amount of the broader and the dynamics like this, uh, in here now, I also want to show you the big difference in sound when you play orchestral acoustic bass like this as an insolvable, meaning many bases in unison at the same time, which in fact is much more common for orchestral music than playing solo like this instrument waas. So for playing in an ensemble, you get this sound, which of course, is in much deeper and reach your sound from all those basis, and depending on which plug in or sample libraries use. You get various kinds of articulations you can switch between in the performance like tremolo stuck out, though, which means bouncing on the booth Mark Alta, which means a shopper attacking the sound pizzicato, which basically is plucking the strings. And so all right, so that is the sound off the orchestral string bass. Next up is the upright bass, jazz bass or acoustic bass used in band music, and I actually only have the one that comes with the Contact Factory library, which is not the best one. But you can obviously hear the tone off this kind of base, at least as you can hear it has that very intimate and almost romantic tone in the bass sound, which can work great in jazz, of course, and also asked background in a feel music context. All right, so that was acoustic basis. No, let's continue in the next video. 12. Bass Sound 2 - Electric Bass: these sound to electric bass, the electric it or changed the cool and hold off the entire music world on a follow up to the electric guitar is, of course, the electric basically tour. The electric bass is played either with your fingers or with a pick, and has a huge range of possible playing styles and performance to case such as bending notes sliding into notes, adding the proto using various degrees off palm muting. And so one. Now here I have loaded an electric bass plug in into my idea W and let me start by playing a couple of notes first and you instantly here the distinctive sound, often electric bass, which is the string noise and the Busey's character off the sound. I will also show you a couple of different techniques you can use with an electric base, at least if your plugging supports it. So let's start with palm muting, you know, when you rest your poem here on the strings, it actually mutes the sound off the off the string. So if I play something, uh, and then I add some pool muting, and I have actually mapped my mode real on my media keyboard. And the higher I go, the more I ah, press my palm on on the strings here, Listen now at 100% you get that really plucky in short type of bass sound, which is great for adding more drive without mute. Another technique you can use is again if your particular based begin supports, it is doing a bend on the string, and this is actually bending physically the string upwards or downwards on the neck, which creates a higher pitch for the note and then going back down to the standard pitch again. And for this talking, I have mapped it to after touch on my medic keyboard, which is, if you press a note, then you continue person to present order. If you listen carefully, I can play to be tired to make it more audible. If I press first and then I press the harder and and then back again, you hear that it vents higher in pitch and then back again. So that is another great way to add expression to your base performance. If he used an electric bass plug in that supports this technique, another performance techniques you can use on electric bass is sliding on the neck, either up or down. So if I play the ordinary way, let's say from a Teoh you saw here. But is this no tear on this string on this here? If I'm going to slide, of course I need to be on the same string. So I have mapped a key switch down here. If I hold down this D down here while I play those same notes now I'll play the d. Asi heard it slided up the neck to the d. I can go back again. And if I play holder, it will make the transition the slide even faster. If I press the next keys, a softer, it will do a very slow glide. But you confuse all those ways to spice up your electric bass performance. All right, so that was my demonstration off the sound character and some of the common performance techniques on electric bass. And again, of course, it depends on which electric bass plugging you use and also what type or features your midi keyboard has for mapping thes different performance options. Of course, if you meet a keyboard lacks those features, you can program them in into your sequencer. All in all, the electric bass is amazing at spicing up and adding groove and character to your baseline . All right, let's continue with next bass sound right now. 13. Bass Sound 3 - Pad Bass: basis sound. Three pad base. Now let's dive into the world off synthesized bass sounds on the 1st 1 which is one of my personal favorites, is what I call a pad base. This is a type of synth sound that is similar in character to a boat orchestral string bass . But since it is a since you can shape the character and tone much more from deep, smooth and warm to glossy hello and airy. Oh, or perhaps evolving, magical and shiny. The foundation off any pad sound is a smooth, long attack with a long sustained in the sound. So let me demonstrate this using the ominous fear plug in, which happened to be my personal favorite for pads and all kinds of atmospheric sounds. But you can use whatever synthesizer you prefer. The main concept off creating a pad is basically super easy. Adjust the EMP envelope setting by increasing the attack and the release of the sound. So I have loaded up a simple way form here. So now I'm using almost here as a synthesizer. Of course, the absolute easiest way is to go into the present browser and look for patterns here, and then load up a present, but I want to show you the basic concept behind how a pad sound work. So if you have a sound like this, you simply increase the attack, which means that instead of starting very instantly like a short protect, it kind of feeds into this sound well, starting to sound much more like a pad. But you also need the longer release, so it kinds of kind of fades out as well. Fates out like that, perhaps, would be too long on. That's it. You basically created a pad. Of course, you can use filters and all kinds of effects on this. Adding a reverb will make it feel even Mawr. Ah, Spacey, like most of these sounds, should be, and we have created our own pad sound so you can experiment with this on any type of the synthesizer just increased attack and release off the EMP envelope. That's the first point now. I also want to clarify that even though I call this a pad base, it's technically simply a pad sound that you play in the lower register. I have even pressed the octave button to played really low, but if you play it in the common rage. Drench. It sounds like this. The classic pat sound you hear in so many kinds of music. And if you go away low down here, it will become a sound like this. That is what I call a pad base. All right, let's continue your journey in the next video. 14. Bass Sound 4 - Sub Bass: they sound. Four. Sabah Base Next up is probably the single most important style off Cinespace this sub days . It is a very pure way form in the lowest octave that provides the fundamental tone to your final bass sound. I always use a sub base layer for my base in any style of music I compose, even if you can barely hear it. It adds that sense off fullness, focus and clarity in the low end, which no other instrument can. You can basically use any type of synthesizers to create a suburb base. Basically, you want to choose a way form that is very pure and soft and doesn't have any harmonic overtones. So this tone ask. Sore Square is, of course, were too short to be sub base. You want to use either a sine wave or a triangle. A sine wave is the absolute purist tone you can get in sound, so if you use that, it's simply a done deal. This is now a sub based if you play down in the lowest register, and sometimes you need to adjust the attack off the AMP envelope to get Really, if you have some kind of clicking the sound in the beginning. That's it that's now a starbase. One final thing you can do to really get rid of everything above the subs frequencies is to use the cattle filter and study. Don't let's say it was a 100 hertz so that nothing above, um, 100 Hertz will pulse a tiny difference. But it might be worth it, especially if you use a triangle, which does have some overtones. A second here. And since a sub base is pretty much the easiest sound you can create on a synthesizer, I recommend not using a CPU heavy plug in like atmosphere, but instead a much more simple Pugin. For example, it seemed that comes with your D. W that has a low CPU usage. I use the retro synth here in logic, and I've said it to a triangle. Also used the cut off filter on 200 hertz in this case Addis light envelope, setting off only 1.4 milliseconds. And now it sounds like this again a pure way form. Adjust the attack off the envelope and used the cut of filter to get rid of everything. Without it, it sounds like this with it. It's now a sub base that I can use as a layer for my master bass sound. All right, so that was the sub base. Now let's continue with next bass sound. 15. Bass Sound 5 - Warm Bass: there's a sound. Five warm bass. Now, another type of very sound I often use is what I call the warm synth bass. Basically, it is a very deep and fat sound, which also has lots of body. I prefer to use a vintage and low style scene for these types of sounds, such as a classic meaning more, for example. So to demonstrate this, I am using Trillion, which is one of my favorite based plug ins, and I'm using it inside off ominous fear. The preset I'm using is called Dark and Round Voyager. And if you check out the info, access is based on the mini Moke Voyager, which is a super amazing since for those warm, deep based sounds. It sounds like this, which is a great starting point for that body. Layer off your master bass sound, and if you want to add a bit more of the overtones, of course, you can increase the cattle filter settings, or you want to add some density with the heat, which basically is saturation or distortion. Uh huh. I also have another vintage analog style synthesizer called Monarch, which I believe is based on the minimal motile D and I have found a preset called Simple Deep, so let's try out this sound really deep and really warm. This is what I call the warm based sound, and it can be great as the main layer of your base. And in fact, most of these types of analog style deep bases have so much low frequency information that you probably don't even need to add a separate sub base layer to this. So, basically, to sum this up, the room based sound is basically a sub base type of sound, with more body depth and fatness in the sound as well. That's it for this type of based the warm bass. Now let's continue in the next video. 16. Bass Sound 6 - Dirty Bass: based sound. Six. Dirty Base. Let's get dirty now because another favorite type of basil mine, which can really add character to your low end, is what I call the dirty base. Basically, it's a heavily distorted bass sound, which don't have to be a synth, but I often prefer it. The point is not to simply saturate the sound like a bass AMP adults on an electric bass guitar, but actually drive it hard to make it a completely new sound. Heavier, dirtier and with lots off, more complex overtones and character. Now, to create a dirty based sound is actually really easy. You simply start with a bass sound you like, and then you add a distortion plug in and all a bass amplifier to it. And when choosing the first sound that you're going to air distortion, too, and you don't have to look for the perfect sound because you are going to change the characters so much with the distortion. So I recommend that you listen carefully to listen to this. The fundamental tone off the base. Is it warm, holo, growly and so on, and also especially important, the attack port off the sound in this case, it has that clicky distinct shore protect on that will form the sound very much when you add the distortion. So next you simply add a distortion plug in, either. If you have the option inside your synth plug in all, you simply add an insert effect if you're simply in, doesn't have a distortion unit. So I have a pedal board here in logic, with lots of different distortion stomp boxes. So if I simply add, let's say this one and then listen first without then if I turned the zone with this rock distortion. Lots of mawr aged and dirty character in the sound already. And, um, I like trying out various kinds of distortion you have. Ah, this one here, for example. Look as in your face but more saturated and low growling distortion there. So you have lots of options to choose from, with difference kinds, off distortion and also how much Dr. Of course, which means more distorted sound as well as most distortion units, have some kind off each human field eruptions to shape the presence off the distortion in various frequency ranges. And so now let's go back to the specific plug in, and I have added a smoke and Pierre. So without, of course, I can increase the drive, which means Mawr distortion Morgaine in the Distortion unit less. And I have different models here, the British and so one. And then you can go super crazy with the metal type distortion, which is insanely distorted, and I really love that kind of sound. All right, so that was the dirty bass sound have found with the distortion, saturation and based amplification. And then let's continue in the next video. 17. Bass Sound 7 - Retro Bass: basis Sound. Seven Vetra Base Now the next type of synth bass is what I call, even though this is a huge range. I am basically referring to the classic based, Since you can hear in seventies and eighties music. What I believe they often share is a very Cynthy and pronounced sound, making them great for cooks and adding a unique character to your music composition. With your base, you can often find these retro style based sounds if you use a vintage analog style synthesizer like, for example, this one called Monarch, which is modeled after the classic mini Moelgg. So take a listen to this sound. I just browsed through the category of bass sounds, and I found this. Another tip I have for you to find these retro bass sounds is to simply go into the Leeds category and play an oak table to lower. So that's how I found this sound, one characteristic I have found in many of these retro type based sounds, ism or defined resident seem to character. So if I just play with a low cut off and minimal residence, it's not really that retro sound. But if I increase the cut off and especially the residence filter off. The synthesizer is huge when it comes to create those retro sounds. So ah, you can, in most synthesizer was used. What type of filter you want. Let's say I want to go with this one the juicy low post filter and then you just play around with a cut of a filter. And each type off filter has its own sound character. Ah, out on and also playing with the release envelope off the EMP. So in most modern style basis, we want that super tight control. Ah, super Super Fest release. But in those days, the retro sounds they were not afraid to add some release to the bass sound. If I press Aquino on you here when I really are, fades out rather than cuddled badly. Ah ah, uh, which is a completely different character in the base sold. So that was the retro based sound. Now let's continue your journey in the next video 18. Bass Sound 8 - Edgy Bass: they sound eight a G base. Now let's talk about what I call the edgy base. This is what I call the type of bass sounds that you often hear in Elektronik music, for example, the kind of base that are not merely a base but actually has lots of meats and even high frequencies. They are sharper age, year and often with lots off LFO, modulation, filter sweeps and movement in the sound, basically the edgy bases more in your face than all other types off base sounds. So for the edgy based sound, I recommend that you use either a wave table, an additive or an FM synth to get that edgy, digital aggressively character in the tone. Now let me demonstrate the A G bass sound. I'm just gonna hold one note and listen to the aggressive modulation that is going on. That is one of the main characteristics off the edgy based sound, the modulation automation and the aggressive changes in the sound. Now there are many ways to get this aggressive modulation and movement in your sound. One common way is to program your mod wheel on your media keyboard to control. For example, the fielder, perhaps a bit crusher and so on. So it can sound like this thes, of course. Give him or expressive control in the performance. Now one of the most common ways to add movement and modulation baked into the synth pres it is to use LF those which are low frequency oscillators Basically, it's cycling movements that goes up and down that controls a specific and no bore slider that you assign it to you. So listen without first. Now, if I a muted you can even see going up, down, up down here and listen to the sound without you can also control the off how much it goes up and down so it can decree. Oh, I just have slight modulation. And also, of course, the speed we share controls at this stage here, the rate is one boy. Of course, you can also use specialists in thesis effects like FM modulation without bring modulation or waves, shapers like big crushers and lots of other types off effects to add a aggressive movement in the sound. All right, so that was the edgy based sound. Now let's continue in the next video 19. Bass Sound 9 - Pluck Bass: these sound nine plucked, bass based sounds that having more pronounced attack and shorter sustain I call pluck based . They often have a very distinct accent in the sound and can work great for either driving bases like a classic three or three, or for providing some extra clarity and focus as a layer on top of the Warner and deeper main based sound. So you can either find a plucky seen preset and simply played in the lower octave here. So I chose this classic black JP. Since I just play down here and otherwise you can simply go into the ST Engine itself. And the main thing you're going to check out is the envelope section, the AMP Envelope, which is the volume off the sound and the filter envelope, which opens up the cut off filter. So you want to start with a low fielder setting like this. Open it up with the filter, but not open it up like this all the way. Used a minimum attack and a short decay in a short sustain, and you will get that plucky sound from opening up the filter. Cattle feel very briefly and closing it briefly. Uh, So that's mainly the filter envelope. And you can also increase this by using the AMP. Envelope and doing the same thing. Turn up there so you can hear what the Onley the AM section does. Things doesn't do anything, Okay, unless you also turn down the sustain a lot so it will become short, plucky and snapping and together if used in both, you can get that super snappy, kind off Plunkett basis sound These kinds off plucked bass sounds work great for driving baselines like this, for example, and so on. So that was the pluck based sound. No, let's continue in the next video. 20. The Sounds of Bass - Summary & Action: congratulations. You have now learned all the fundamental types off base sounds I come back to again and again as a composer and producer. Basically, every bass sound are used in one of my projects is variation on one off these types of bass sounds you have just learned. Let's make a quick summary off the mall. Acoustic bass, electric based pad base, sub bass wound bays, dirty bass, retro bays, age ebays and plucked bass. Now I always say that taking action is the best way to move forward on your journey. So I recommend that you practice all these types off base sounds in your DW right now. Practice how to find them in your plug ins and instrument libraries practice how to shape them in creative ways with sound design and effects, and also practice playing them, using various performance techniques to get a sense off how we can actually use them in one of your music compositions. Good luck and have fun playing the sounds off base 21. Bass Style 1 - The Driving Bass: Now let's talk about the playing styles and performances of base in your music. Of course, you have almost infinite possibilities, and of course, you can mix and blend go back and forth between playing styles. But I want to share some of the fundamental playing styles for base that I personally use over and over again. Here we go based style room, the driving base. If you want to add energy to your music, the driving baseline is one of my personal favorites. It is a based performance that focus on rhythm and drive more than varying the notes in pitch similar to an ostinato part in or Strings. For example, a classic driving baseline is this straight drive with. For example, eighth notes. I will demonstrate this on an electric bass because it it's so very common. So listen to the one and two and three and four and one n two and three and four end and so on. But then you can start to experiment with rhythm and note length for the bass notes to create the kind of vibe and drive that works for the track you are working on right now, something like this for example, or perhaps with a warm synthesizer like this. Now, for the final example off the driving bass, I have connected a synth to play the bass layered with a piano here. So if I play the piano, appear on its lay it with the sinks down here. Uh, so now I can play like this, which is a straight baseline, or at some groove to it. Yeah, uh, essentially these or the kinds of things you do with a driving based 22. Bass Style 2 - The Authority Bass: basis style to the authority base. Now, if you want minimalism and you want to keep the base and lower and very spores and controlled the authority, baseline is always a great shows. Basically, you use long, sustaining bass notes to Addie Sense of power and authority, almost like when a church bell rings and the malls respect, since it all assess a few words. But every word has a lot off impact and importance, for example, on Lee playing the bass in whole notes for every new court. Now, to demonstrate this, I have actually laid three instruments a synth bass, an orchestral bays and the piano here. So when I play the authority base, I focus on holding the notes for a long time, like it's church bell ringing each note like this. Do you feel that authority and power from Alling, saying a few words but giving huge weight to each word That is essentially whether the authority bases about now, I will play the authority bays with my left hand while at the same time playing a milady on my right, and so listen for the base, how it plays those long, powerful notes off authority. All right now, let's continue in the next video 23. Bass Style 3 - The Noble Bass: basis style. Three. The noble base. If you want a very classy and gracious sounding your base, I recommend what I call the noble base. Basically, you focus more on the transitions between the base knows and use softer and smoother transition types like Leg, Otto Porter, memento or gliding. If you use a bass guitar, make your baseline gracefully move and you will get that noble sound. So for the noble base, I recommend orchestral bases played with a bow, because that means you can do these transitions on the league Otto playing technique, which basically means smooth transition from one note to the next. Like this, for example, all right. And it is even more noble if you can make thes slower transitions like port aumento Greece Sando or on electric basket or gliding over the neck. So I will demonstrate this on this double bass plug in, which can use porter mental transitions. So listen to this example. As you can hear you get that noble sound in the base by focusing on the transition between the notes, making them smoother and flow together 24. Bass Style 4 - The Walking Bass: based style. Four. The walking Bass. The classic walking bassline simply walks up or down from one base. Note to the next. The notes in between are basically transition notes for the walk, often simply walking down the scale or up the scale to the new root. Note off the cord, and you don't have to play every scale note. When walking up or down. You can actually skip some of the nose or several notes if you want. All right, So to demonstrate the walking bass, I will use this combination again. A synth bass, which I will play with my left hand and a piano, which I will play with my right hand, and I will play chords here on my right. And so let's say you are going to play from an A minor Teoh if major well, using the walking bass instead of going directly from a we simply walk down to the F like this. You can continue. Let's say you're going to the D minor wraps up again, and you can get even more fancy and do like a chromatic walk like this Go book. Instead of walking from a to F with only the gene between you can go like on this chromatic scale here. And of course, you can skip notes If you're going to play, let's say a minor dean. So instead of going waken skip Bengal like this, basically, you walk the way you like to walk. 25. Bass Style 5 - The Riffing Bass: based style. Five. The Reffing Base. This is one of the most fun baselines to play. In my opinion, a briefing baseline adds movement and spices up your baseline by jumping around riffing, rounding pitch and groove on, Of course, also by adding rhythm and note length variation when briefing with your base, add so much more character to it. And here's the power tip. One of the greatest moments to use the briefing based performance is when you want to increase the power off your main accents in your composition, basically, by layering with your main percussion hits, etcetera. So this time, because I think it's so much fun. I'm going to go bit crazy because I'm layering a synth bays with an electric bass and a piano. So check out as I reef focus on the rhythm, changing and jumping around with the notes and so on on the base while playing something that suits the baseline on my right hand on the piano. So check this out, Um, and or perhaps something like this, you get the point riff with a rhythm riff around on the notes and rift with the groove. That is what the reffing base is all about. 26. Bass Style 6 - The Melodic Bass: these line six, the melodic bass and by melodic I mean that it actually follows the main milady line like a deeper layer of it. It doesn't have to be note for note, though. For example, the base can skip a few of the no changes in the melody. But the main point is to let the base mimic the main melody, hook or motive in your music. Here's a power tip. You should not overuse the melodic bassline because that would make your music to simply stick, and you will lose all the depth that comes from the interplay between all the ports in your composition. However, whenever you want to truly bring out the main melody riff hook or what every call it used the melodic bassline to mimic for maximum impact. Now, to demonstrate the melodic bass, I basically went all in and layered a synth based on electric bass, a piano and a breast in samba wall. So I'm going to show you how you play this now on your meeting keyboard by basically playing your hook melody or, if only right and thank you can mimic it on your left and with the base to accept it and really make it more powerful. Basically, you mimic what you play on your right hand playing the riff melody or hook with your left hand playing the bass. But you shouldn't use it all the time. Just spice it up here and there, where you want to really have the amazing power and ex entered notes of your hook. Or if so, let's say you play something like this. Eso instead of playing all the same notes on the left hand with the bass, the melodic bass, you seem to choose which ones you want to accent. So I want to extend the beginning off this hook. So here I simply mimic in the base. Then I make it another type of based on for the rest. So like this, for example, so that waas the melodic bass which basically is mimicking what the melody Houk rift us in the base on a couple of chosen notes that you truly want to extend with more power 27. The Styles of Bass - Summary & Action: congratulations. You have now learned all the fundamental base performance styles I come back to again and again as a composer. Let's make a quick summary off them all. The driving based, the authority based the noble base, the walking bass, the reffing base and the mellow dick bass now take action. Practice all these types of based performances styles either by playing them on your media keyboard or by programming them in your d. A. W right now And remember, you can be as creative as you wish. With these baselines, you can mix and blend between them. Jump back and forth between any of these styles at any moment in your composition, or stick to one style for an entire section of your track. If you wish. The choice and power off base is in your control as a composer, good luck and have fun playing and performing baselines. 28. Congratulations - You are Amazing!: congratulations. You have now completed my course and learned how to add shape and perform powerful based in your music. Now take action because the only way to move forward on any journey is to take a step forward and then another step and so warm. Practice all the tips and guidelines you have learned in my course and focus, especially own the sounds off base, the playing styles of based designing and shaping your overall base and finally performing baselines to empower your music stories. So take action and remember my mantra for success. Learn every day, practice every day and create everyday. My name is Mike, and I wish you good luck and great success as a professional composer.