izotope trash 2 when not using bass sounds?

The bell filter is used to add an interesting resonance before distortion. I place the two notches at ~ 150 Hz and 500 Hz, two areas that can become a bit too overpowered in a bass like this. I insert two notch filters and one boosted bell filter. Trash any track: not just guitars and basses, but drums, synths, pads, vocals, brass, woodwinds, and more. This will create some interesting timbres after distortion. Combining the power of multi-band, dual-stage distortions with advanced post-filtering, Trash 2 offers immediate sonic transformation Give your low end some thump, get a warm crunch on the midrange, and let your high end soar. To take advantage of the coming distortion, I also create some extreme EQ curves so that the distortion is hit harder by different frequency ranges. This will replace some of the nice harshness that we’re losing. This isn’t much of an issue, as I know that I'm going to be distorting the bass after this EQ. This eliminates some of the boxy nature of the bass, while also dulling a bit of the mid and high-mid harshness that we have. I attenuate signal between about 800 Hz and 3000 Hz by a considerable amount. I start with an EQ to shape the sound a bit.

However, we’ll show that you can still get to a nasty sound with standard processors. When designing heavy basses like this, it can help to use some crazy effects. Now that the bass itself is sounding decent, we can move on to processing. I drop the sustain level a bit as well, as I want the end of this short swell to jump out a bit. I set this envelope to have a slightly longer attack time, as I want the bass to quickly swell in during its attack phase. OpA’s Level parameter is set to 0.0 dB, so it will be playing at its full volume according to its volume envelope. This is why I begin building my bass off of a low sound with minimal harmonics. Its Coarse parameter is set at 1, so it will play the pitch of the low MIDI notes that I’ve already written in.įM synthesis creates a ton of new harmonic content, so modulating a high-pitched signal can sound pretty harsh. In Operator, this is done with the Coarse parameter, which moves an operator’s pitch through the harmonic series based off of the played MIDI note. This number determines the operator’s pitch relative to the MIDI note played. This is usually measured in whole numbers. Most operators in an FM synthesizer will have some sort of pitch-based parameter.

Izotope trash 2 when not using bass sounds?