The reason that the fundamental of a square wave cuts through more than that of a saw wave is because the even harmonics of the saw wave in the sub region are masking the fundamental. The square doesn't have those. A touch of even harmonics will help the square sub to become even more powerful but too much and it'll lose the deep feel.
It's good to note this if you use saturation too. picking a type that is primarily odd harmonics will sound more subby than ones with a lot of even harmonics
Oh man, Anthony Marinelli has some synth bass tips for the minimoog and arp2600. His work is legendary! But thanks for all the work you do! I’m always working on composing longer structures using synths.
I feel like when I feel stagnant with what I'm writing you come out with a video with some sort of instrumental that inspires me - while I learn! Thank you sir!
I think what you're saying about using the bass to lock in everything above it is demonstrated really well by some legendary bass guitarists in rock, jazz, and funk. The two immediately coming to my mind right now are John Entwistle and Aston Barrett, both of which frequently serve as absolutely perfect musical anchors and the glue that holds a song together without overwhelming everything else going on.
This video prompted me to open the STAFF view (Cakewalk Sonar) so I could see a staff line for "keys" and "bass" allowing me to compose the bass line to move as you should Bach did with pedals and manuals. I prefer to look at staff view than piano roll when composing/improvising.
thanks for this. im really curious to try out some new combos. The roland SE-02 I have has some interesting waveforms....a sawtooth plus triangle blend and a reverse triangle on OSC 3. that with the Xmod feature should lead to some interesting sounds.
The logical way forward, would be a lesson in counterpoint. I had no musical education and I can't do the dots but I hear harmony and I feel it just as you describe; as q resonance in the body, a rightness. When I hear contrapuntal playing, from a Bach fugue to a Shostakovich string quartet to Juju music, for me it's about being important but not getting in the way so that others can be important too but also the space between th notes ( a big lesson).
I've been trying to keep away from music theory (to not ruin my organic music making process, whatever that means), but your excellent videos are making it really difficult to not dive in.
I second this! I find your approach to these videos is bridging the gap between my own classical music education and what I'm learning in mid-life about synthesis, voicing, composition, mixing, balancing, etc. I am finally REALLY seeing where all the theory, harmony, counterpoint, etc. can get put to work!
I think that's a myth told by those who don't want to learn theory. It's not for everyone, but it doesn't ruin anything. But, for some people (myself included) more theory knowledge can lead to overwhelm and analysis paralysis if they're not sure how to apply it to a creative process. It's why I try to approach things from a creative/compositional perspective rather than an analytical/theory perspective. It's about combining the head knowledge with the intuitive, exploratory aspects of making music. For me that happened when the theory became almost subconscious and started helping me make decisions without actively thinking about it.
@@JamesonNathanJones You creative / compositional approach really helps since it's practical and hands-on. I just learned about paradiddles, I didn't read too much into the theory, but instead just made a track with the basic idea and made myself figure it out on my own. It was fun, interesting, and productive.
Slightly out of tuned saw tooth waves, beat locked PWM on the sub octave, feed first filter (12db) with FM from a sexy woman talking dirty and resonance at 50%, feeding second filter (24db) with slight dynamic envelope and resonance at zero.
For more free harmony--related goodies I like to use in my own music➡bit.ly/FreeHarmonyGuide
The reason that the fundamental of a square wave cuts through more than that of a saw wave is because the even harmonics of the saw wave in the sub region are masking the fundamental. The square doesn't have those. A touch of even harmonics will help the square sub to become even more powerful but too much and it'll lose the deep feel.
It's good to note this if you use saturation too. picking a type that is primarily odd harmonics will sound more subby than ones with a lot of even harmonics
0:20 somewhere out there, Rick Beato's ears started itching and he doesn't know why
It's Rick's world and we're all just living in it.
These videos are super helpful thank you for covering these! I don't think it gets talked about like this enough!
Oh man, Anthony Marinelli has some synth bass tips for the minimoog and arp2600. His work is legendary! But thanks for all the work you do! I’m always working on composing longer structures using synths.
I feel like when I feel stagnant with what I'm writing you come out with a video with some sort of instrumental that inspires me - while I learn! Thank you sir!
I think what you're saying about using the bass to lock in everything above it is demonstrated really well by some legendary bass guitarists in rock, jazz, and funk. The two immediately coming to my mind right now are John Entwistle and Aston Barrett, both of which frequently serve as absolutely perfect musical anchors and the glue that holds a song together without overwhelming everything else going on.
Yeah
Nick Batt / synth memes reference 🤣😜🙌
The PWM King himself
This video prompted me to open the STAFF view (Cakewalk Sonar) so I could see a staff line for "keys" and "bass" allowing me to compose the bass line to move as you should Bach did with pedals and manuals. I prefer to look at staff view than piano roll when composing/improvising.
That's true
I love the Hank Hill/Tom Anderson impression there in the beginning lol
Great video good sir
thanks for this. im really curious to try out some new combos. The roland SE-02 I have has some interesting waveforms....a sawtooth plus triangle blend and a reverse triangle on OSC 3. that with the Xmod feature should lead to some interesting sounds.
The logical way forward, would be a lesson in counterpoint.
I had no musical education and I can't do the dots but I hear harmony and I feel it just as you describe; as q resonance in the body, a rightness.
When I hear contrapuntal playing, from a Bach fugue to a Shostakovich string quartet to Juju music, for me it's about being important but not getting in the way so that others can be important too but also the space between th notes ( a big lesson).
Square is my go to bass, pwm for something extra
the return of the *youtube shorts!
I've been trying to keep away from music theory (to not ruin my organic music making process, whatever that means), but your excellent videos are making it really difficult to not dive in.
It makes things easier. It’s like trying to get to a place in the woods without a map. It can be done, but why would you want to. 🤷🏾♂️.
I second this! I find your approach to these videos is bridging the gap between my own classical music education and what I'm learning in mid-life about synthesis, voicing, composition, mixing, balancing, etc. I am finally REALLY seeing where all the theory, harmony, counterpoint, etc. can get put to work!
I think that's a myth told by those who don't want to learn theory. It's not for everyone, but it doesn't ruin anything. But, for some people (myself included) more theory knowledge can lead to overwhelm and analysis paralysis if they're not sure how to apply it to a creative process.
It's why I try to approach things from a creative/compositional perspective rather than an analytical/theory perspective. It's about combining the head knowledge with the intuitive, exploratory aspects of making music. For me that happened when the theory became almost subconscious and started helping me make decisions without actively thinking about it.
@@jjbing3 Maybe I just want to get lost in the woods while trying to find that place?
@@JamesonNathanJones You creative / compositional approach really helps since it's practical and hands-on. I just learned about paradiddles, I didn't read too much into the theory, but instead just made a track with the basic idea and made myself figure it out on my own. It was fun, interesting, and productive.
OK, but hear me out. What if I want to create music to induce profound boredom and ennui in my listeners? This could be a real use-case!
Slightly out of tuned saw tooth waves, beat locked PWM on the sub octave, feed first filter (12db) with FM from a sexy woman talking dirty and resonance at 50%, feeding second filter (24db) with slight dynamic envelope and resonance at zero.
TH-cam shorts 😂
Since synths have become so accessible to the general public, they are becoming less and less interesting.
Lol sure