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SeamlessR walks us through how to make a solid bass growl in FL Studio. We will discuss macro...

SeamlessR walks us through how to make a solid bass growl in FL Studio.

We will discuss macro usage for bass in FL Studio. Also, stopping the macro at any individual point makes it sound like a pretty nice Reese bass.

There are seven different things going on with the XY controller in the envelope controller. The X knob is set to continuous output, which means it does not midi output and is a linkable stand-alone controller. Enable continuous output, make your various macros, and activate the X controller that is being controlled by the knob on the surface. The sub-controller is a sub-output. If you try to make the sub-controller a sub-Reese to match the Reese bass, the Reese movement will be too fast and the sound de-tuned.
Using Sytrus for Bass in FL Studio
The Sytrus is actually two different kinds of FM happening at once. The X and the Y moves and the movement is based the macros of the X and Y controllers.

X-control controls the primary FM and is a cross between a sine wave and a triangle wave. A full triangle wave can be too sharp, so introducing a sine wave will smooth the sound. From the previous video “How to Bass 6”, we learned how FM works; the movement of a sine wave is similar to a regular sound wave but the movement of a triangle wave does not move through all the frequencies between two pitches (like a sine wave), making a triangle wave sound sharper. Mixing a sine wave and triangle wave will move smoothly through all frequencies between the two individual poles.

The modulator for bass in FL Studio is one octave higher than the fundamental output and therefore makes the square wave tone. The fundamental output is the cause for the Reesing because of the different pitch; it is all about de-tuning meaning how fast the phasing and how hard the de-tuning. The fundamental output is not harmonically rich and the modulator keeps it at the right pitch. The secondary FM is set to default and introduces stereo into the sound. Also, the modulator makes sure the macro never goes passed 50% and beefs up the sine wave.

The equalizer for bass in FL Studio pushes up the higher harmonics when it goes down (and vice versa) with a macro. The sound produced can be hollow and you do not want the sound to be empty. The band-pass folder shows the bandwidth (low equals more bandwidth, high equals less bandwidth), which is a subtle but important change. The bandwidth transitions between a “crunchy” sound and a sharp sound. The compression pushes the sub that is already re-enforced by an external sub and produces a triangle wave, primarily keeping the bass at a lower time variable (faster speeds). The master is a limiter that provides saturation.
Macros for Bass in FL Studio
When working with the macros, focus on single parameters then move around based on what you want to achieve. The frequency position and amplitude are the two points (X and Y) that provide EQ movement; the frequency is positive and the amplitude is negative. Moving the points during modulation will create a range of sound; experiment with the sound until your desired end-result is achieved.

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