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Controlling Bass Master
Fine control of parameters
MIDI Learn Parameters
Top Layer Sample Start
Sub Layer Octave
Use the MIXER to balance the TOP and SUB Layers.
Sub Direct Out
Cutoff and Resonance
When ON, the filter CUTOFF tracks the notes you play on the keyboard. This way higher notes automatically have a higher filter cutoff. When OFF, the filter CUTOFF frequency is the same no matter what note you play. Most of the time you want tracking ON, as this gives a more natural sound. Try this setting with a high RESONANCE to make the effect obvious.
The FILTER ENVELOPE is used to make the filter CUTOF move over time with a press and release of a keyboard note. First increase or decrease the amount control. It's bi-polar meaning you can make the filter move up or down. Now play with the ADSR (Attack, Decay, Sustain and Release) - these control the way that the filter moves over time.
The FILTER LFO is used to make the filter cutoff periodically move up and down.
Start with the AMOUNT control and move it up or down.
Now choose a LFO SHAPE. You'll find the usual suspects here, but also shapes like DRIFT and SAW EXP - These offer interesting sound sculpting variation.
The RATE control changes the speed of the LFO.
With the SYNC button on, you can choose any speed from 8 bars to 1/32 triplet of a beat. With the SYNC button off, you can choose between 0.01Hz to 50 Hz.
The PHASE Control defines where the waveform starts, with a range of 0 to 360 degrees. So if you have a sine wave selected, 0 degrees starts the wave from the bottom, and 90 degrees starts it from the top, where it then travels down.
Finally, the TRIGGER drop down can be set to ON or OFF. When it’s ON, the LFO always starts when you press the key down. When it's OFF, it moves freely irrespective of when you press a key.
There are 5 distortion algorithms - each has a DRIVE control and a COLOUR control.
DRIVE sets how much effect there is and COLOUR adjusts the frequencies that come out of the distortion.
DESK, DRIVE and FUZZ are different distortion models offering a different sonic character.
CRUSH is a digital sample rate reduction model.
DUAL is two distortion units combined to give even more nastiness!
Take some time to listen to how each of these distortions add and remove harmonic content from the sound. Depending on the waveform chosen in either layer, and the filter settings, the different distortions will add to or take away from the sound, fattening things up, or thinning them out. Remember that if the distortions are removing bass, you can use the sub layer, set to DIRECT OUT to beef things up again, or play with the Frequency booster (see later in the guide)
CHORUS FX can be used to thicken sounds, detune and to make them wider. The four Chorus algorithms can be used to do just that.
AMOUNT is how much chorus you are adding and RATE is the speed of the modulation – you will hear this as a the 'stereo-ness' or detuning of the sound moving slowly or more quickly.
For mort bass sounds you generally want the low end of the bass to be mono, then most of the time you want to use chorus on the top layer only.
3 Reverb algorithms offer a reverb with different flavours. BRIGHT, MID and DARK refer to the frequency content, so adjust depending on your taste.
The LEVEL controls how much signal goes to the reverb. The SIZE control adjusts the largeness and decay of the reverberant sound.
Master FX Frequency Booster
First turn up the LEVEL control. This is a DRY WET control, so this mixes in the booster. At fully DRY, there is no effect, so the knobs will have no effect on the sound.
Now, as you increase the TOP, MIDDLE, or BOTTOM controls, you will boost the sound for each frequency. These frequencies have been tuned to work well with Bass, so if you want more bottom end, then you know what to do! The MIDDLE control adds more body to the sound, and the TOP adds sparkle. But this is of course dependent on the sound you put in.
- If you have just a sub sound with no high frequency, then the TOP control will either do very little, or add a 'click' to the start of the sound. Too much TOP may even give make the sound click too much, so be careful when adding it. The MIDDLE control on a sub sound will add some harmonics, making it richer and fuller. And the BOTTOM will add even more bass, maybe too much, so care is needed.
- If you have a more distorted sound, or one with more high frequency, then the TOP will really accentuate those frequencies. If you have reverb too, then lots of TOP will make that reverb hold for longer.
- If you have a sound with not enough bottom end, then just boost the BOTTOM to bring it back.
Note that the TOP, MIDDLE and BOTTOM controls only go up, i.e. they only add to the sound. So, for example if your sound has too much mid range, boost the TOP and BOTTOM to effectively reduce the middle.
The LEVEL Control on the right is the master level. This can be used to compensate for any level added by the frequency booster.
Pitchbend and Glide Settings
Increase the GLIDE setting to change how long it takes for 2 differnt notes to slide between each note. This ranges from 0 - 10 seconds. There is a drop down menu to the right with PORTA and LEGATO settings.
PORTA (portamento) means that the notes will always glide, no matter what your playing style. LEGATO means that notes will only slide when 2 notes overlap, so you have to hold down a key at the same time as playing the second key. So LEGATO allows you to make some notes glide and others not, depending on whether the notes overlap.
The PITCH control shows you the status of the pitch wheel on your MIDI keyboard, but you can also click + drag the control with your mouse to create a pitch bend. The RANGE control can be set from 1-12 in semitones, giving you the option of 1 semitone to 1 octave of pitch bend.
Modulation Wheel settings
The modulation section contains settings for how your modulation wheel on your MIDI keyboard can control the sound of Bass Master. Every preset in Bass Master has the modulation wheel setup, with some subtly changing the sound, and others completely transforming it. There are 3 destinations, meaing that the mod wheel can control up to 3 things, each by a different amount.
The MOD control shows you the status of the modulation wheel on your MIDI keyboard, but you can also click + drag the control with your mouse to create a modulation. The 3 knobs to the right define how much modulation is applied. These are bi-polar meaning that you can increase the destination or reduce it.
Each knob has an associated DESTINATION. Every continuous control (knobs and sliders, but not switches and dropdown lists) can be set as a destination.
It's quite a long list! But this does mean that you can get creative with your programming.
If you have made changes to a factory preset, or created your own, you're going to want to save it.
There are two save buttons.
SAVE will overwrite the current preset .
Note that you cannot overwrite a factory preset. If you press SAVE on a factory preset, the SAVE AS box will open where you can create a new user preset.
Save As will give you the option to create and name a new preset, opening a box to enter preset name and preset folder.
Thanks for reading the Bass Master user guide. I hope that Bass Master becomes your go-to instrument for Bass sounds. If you have any other questions or requests please contact support