Tech Tip:Adventures In LO-FI For Bass Players


By Craig Anderton

 

 

Yes,  it’s all the rage: Lo-fi music, where you mess up sound not because you  lack experience or can’t afford good gear, but because you want to mess  it up—and mess it up good. In this month’s column, we’ll consider when  bad things happen to good basses, and why that can be fun.

 

 

MAKING THE CONNECTION

 

I  like lo-fi sometimes, but there are limits—I still want the bass, along  with the kick, to be the driving low-frequency force behind a tune.  However, a lot of lo-fi boxes, while delivering cool effects, take away  the rich low end we need to preserve.

 

Lo-fi works best for me when placed “on top” of the main bass sound, like chocolate syrup on a sundae. This requires a parallel effects connection so that the effect is added to the bass.

 

With  hard disk/plug-in effects-based recording, you often end up adding  effects on mixdown. The simplest solution here is to copy your main bass  track to another track, and use plug-ins to process the copied track.

If  you’re using a mixer (hardware or software), you’ll probably want to  pan the two sounds to center, unless you use stereo bass and stereo  effects. There’s one caution: Some lo-fi effects might affect phase  enough to thin out the bass sound. Flip the phase switch of the channel  with the effects, and listen carefully in mono. If the sound is fuller,  leave the phase flipped. If it’s thinner, go back to standard phase.

 

 

 

LO-FI OPTIONS

 

Here are some of my favorite effects for turning basses into instruments of mass destruction.

 

Distortion.You  can always obtain distortion by overloading an amp, but distortion  boxes and plug-ins are often more flexible. For hard disk recording  applications, guitar and bass amp simulators like Native Instruments’  Guitar Rig, IK Multimedia’s Ampeg SVX and AmpliTube 2, Waves GTR,  Universal Audio’s Nigel, and iZotope’s Trash are ideal for this task.  And of course, when it comes to hardware, there are a zillion options  for distortion.

The  biggest problem with distortion is that it generates a ton of  harmonics, which can tilt your instrument’s spectrum too much into the  treble zone, thus producing a thin sound. I recommend following  distortion with a high-cut filter so you have some control over the  high-end/low-end balance.

 

Ring modulator. A ring modulator has two inputs. You plug your bass into one, and some  other signal source (anything from a steady tone – the usual choice – to  drums or program material) into the other input. The ring modulator  output then generates two tones: the sum of the input frequencies, and  the difference. For example, if you’re playing A = 110 Hz on the bass  and feed in a 500 Hz tone into the other input, the output will consist  of two tones: 610 Hz and 390 Hz. Because these are mathematically (not  harmonically) related, the resulting tone is “clangorous” and has  characteristics of a gong, bell, or similar enharmonic percussive  instrument.

 

Ring  modulators are good for having crazy sounds going on in the background  of your main line. They add a sort of goofy, non-pitched effect that  uncenters the tonal center of whatever you’re playing. Hardware ring  modulators aren’t easy to find; probably the best is the Moogerfooger  Ring Modulator. But software plug-ins are plentiful, including free  ones. Go to the net and search on “Ring modulators” and “plug-ins,” and  you’ll find plenty of options to try out.

 

Bit decimation. I don’t know of any hardware box that performs this function, but bit  reduction is a fairly common plug-in type for digital audio (Fig. 2).  The concept is to reduce the number of bits used to represent a signal.  For example, 16 bits gives over 65,000 steps of amplitude resolution –  good enough to encode a signal with excellent fidelity. Cut that down to  4 bits, and you have only 16 steps of resolution. This turns nice,  round waveforms into weird stair-step shapes that generate lots of  strange harmonics. There’s also a certain “graininess” to the sound, and  a kind of bizarre, ringing effect.

 

Sample rate conversion. High sample rates give better fidelity, but conversely, really low  sample rates give worse fidelity. The Redux plug-in shown in Fig. 2 has a  “Downsampling” option that works similarly by arbitrarily removing  samples. For example, if it’s set to “1,” every sample at the input  passes through to the output; if set to “4,” three out of every four  samples are discarded on their way to the output.

 

Pitch shifting. Technologically speaking, pitch shifting is a hard effect to create;  with budget effects, the sound quality is usually not all that great.  But with newer effects (Fig. 3), by setting the pitch shift to one  octave lower and playing high up on the neck, you can get a “growl” that  definitely has its uses. The sound may end up being somewhat diffused,  but when you need a huge bass sound, this could be the ticket.

 

As  to software, there are plenty of pitch-shifting options, but not all  are real-time. Your best bet is to use octave divider effects found in  amp simulator software.

 

Demented plug-ins. Software  plug-ins have inspired a wide range of nastifiers. Some of these add  vinyl scratches and pops to sounds, some are designed to emulate  overdriven analog tape, and some have no real hardware equivalents (one  of my current favorites is Native Instruments’ Spektral Delay). The more  complex the plug-in, the greater the odds that you can push the  controls into creating crude, lewd, and rude effects.

 

 

 

WHY ON EARTH...

 

...would  anyone want to make ugly sounds? Well, maybe you recently joined  Slipknot, or maybe you just have a sense of humor. Or maybe you’re tired  of excessive attention to detail and want something more raw and rough.  In any event, relax your standards from time to time – you may discover  some unusual sounds that end up being “keepers.”