Version: Kontakt 5.5.2 / WAV / V1
8 Custom-made Bass Instruments
Download Method: Kontakt Hub
A collection of unique and very playable bass sounds to fit all kinds of low-octave needs, ranging from the wooden to the metallic, from the pure sine-wave to the reese, with some vintage DX7 thrown in for good measure.
This is a woody, acoustic-sounding bass. If a Rickenbacker made an acoustic bass guitar, it might sound something like this. Multi-sampled, with different velocity-levels and articulations, round-robin triggering of alternate samples, note-off noises etc. You want dirt! I'll give you dirt! Turn the mod-wheel to crank up the distortion, with selectable amp simulation.
Even better, there is a Kontakt script to do intelligent legato - you can simultaneously tie legato notes together and play polyphonic bass-lines (listen to the demo). Yes, you too can be Jaco.
The demo is played in real-time, no sequencing. Uses after-touch (key-pressure) for vibrato, the mod-wheel for distortion. The Kontakt script/performance view has a "tone" knob which controls the mic position, and a knob to control the note-off volume.
The custom legato script ties together notes that are played legato that are close together in pitch. Using the menu, you can choose whether notes closer than 2 or 7 semi-tomes or an octave get tied, or whether the instrument plays in the normal polyphonic manner.
Mod-wheel brings in distortion.
Monophonic key-pressure brings in vibrato.
"Tone" knob controls a blend between recordings made with
mics at different distances from the nut.
"Note Off" knob controls the level of the note-off samples.
"Amp Sim" menu allows selecting an amp-simulation - none, Brit
"Reverb" knob controls the amount of the built-in reverb
Developed to mark the 30th anniversary of one of the most popular synthesizers ever, here is the DX7 "electric bass" sound, one of the signature sounds from DX7.
This sound was everywhere in the early 80ies - think A-Ha "Take on Me", Janet Jackson "When I think of You", John Parr's "St. Elmo's Fire", Kenny Loggins "Danger Zone" or Howard Jones "What is Love", to name just a few.
This sample-set is sampled direct from a 1983 brown battleship DX7 (original edition of course), including the haze of digital distortion that you got from a 12-bit machine with 1983-level technology.
Sampled at multiple velocities of course, to preserve the rich dynamics of the DX7.
As ever, I give you more: a touch of a button brings in an extra pair of voices with controllable detuning for a fuller sound. The custom interface has controls for distortion and chorus, as well as allowing the selection of two amplifier impulse responses. The mod-wheel controls the amount of the built-in LFO, while the speed is controllable from the custom interface. Finally there is an "auto phasing" effect which adds a phasing effect, but rather than being cyclically modulated, this one changes with every new note to add a lot of motion to your playing.
Mod-wheel: controls the amount of LFO routed to pitch (vibrato)
"LFO freq": controls the LFO frequency
"Multi Voice": turns on the additional, detuned voice
"AutoPhase": turns on the AutoPhasing effect
"Detune": controls the detuning of the additional voices (only visible
when MultiVoice is selected)
"Distort": controls the amount of distortion
"Speaker": selects between amplifier speaker emulations (none, Tweed or Rock)
"Chorus": switches the built-in chorus on or off
A very responsive fretless bass sound sampled from a DX7.
If Howard Jones were on ECM he would have played this sound! Its sampled at multiple velocities to accurately capture the great non-linear velocity response that was the brilliant thing about the DX7.
The dedicated Kontakt interface has a wealth of controls: You can choose polyphonic or a monophonic mode with controllable glide-time. You can control the volume of the "attack" that comes in when you hit it hard. You can select whether to include a chorus and/or some dirt, i.e., characteristic DX7 aliasing: Yes, these samples were made direct from a custom-programmed sound played on my own real, vintage 12-bit DX7 with all its warts (sonic ones and a case held together with the judicious application of a little 5-minute epoxy) . Finally, you can also select between two sets of samples which simulate playing near the neck or near the bridge. Additional performance controls include after-touch mapped to vibrato, and the mod-wheel brings in a subtle "wow" as you let the note ring.
"Neck"/"Bridge" chooses between the brighter "Bridge" or the softer
"Neck" set of samples
"Effects Off"/"DX7 dirt on"/"Chorus on" etc - allows to select combinations
of a chorus effect and of "DX7 dirt" - subtle digital noises characteristic
of the vintage 12-bit circuitry of the original DX7
"Attack" - controls the amount of "Attack" (only when notes are played
loudly, i.e. keys struck with high velocity)
"Monophonic" - monophonic response with controllable glide
"Glide" (only present when "Monophonic" is on) controls the glide-time
(The mod-wheel brings in a subtle "wow" as the note is held,
and key-pressure ("channel pressure") brings in a vibrato.
Its somewhere between a bass guitar and a hammered dulcimer. But don't think the twee folky sound of a hammered dulcimer, but rather the jangly, noisy sound of hitting on your heavy-gauge roundwound GHS Boomers with a drumstick. Lots of character and body - great for bass, but also good in the higher register for more melodic uses.
Richly sampled at multiple velocities and with round robin alternates
Here's the controls:
"Mix": controls the mix between the mic'ed and pickup samples.
"Stereo": controls how the mic'ed and pickup samples are placed in the
"Squeak": controls how often the string-squeak noises are triggered
(they are triggered *after* a note is released)
"Attack": controls the volume of the attack part of the sound
"Note Off": controls the volume of the note-off noises
"UltraBass": controls the amount of an extra sine-wave bass layer,
which fills out the deep bass
"Flanger": switch the built-in flanger on or off
"Reverb" menu: controls the built-in impulse reverb:
None - no reverb
Jangly - a short, jangly sort of sound, more of an ambience than
Long - a longer reverb sound
"Reverb" knob: controls the amount of reverb.
In the "hammerbass.nki" version, the note-off noises and squeaks are
all triggered by playing, with note-off noises and squeaks being
triggered at the end of played notes. The "hammerbass_ksw.nki" has
the different types of sounds triggered by the start of the played
note, and the different types of sounds selected by keyswitching: the
C1 = selects main notes (including attack and ultra-bass)
C#1 = selects the note off noises
D1 = selects the string squeaks
The Jaw-Harp Bass
A breathy, lamellophone bass sound built from a comprehensive set of jaw-harp samples. The difference to an actual jaw-harp is that this Kontakt-instrument can be played chromatically. Multiple-velocity and round robin alternate samples of course. Samples in close-miked stereo for a nice wide sound. The mod-wheel fades between two different intonations. Controls are provided for a "clanky" attack sound. The custom interface gives you control over a sub-bass which can be added, tone-colour, as well as the choice of two built-in reverbs and a built-in delay.
Mod-wheel: fades between two different intonations
"None" - no clank attack sound
"Random 1" - occasional random instances of clank attack
"Random 2" - as above but more frequent
"Full Time" - clank attack with every note
"Sub Bass" button:
"Sub Bass: Low" - low octave on subbass
"Sub Bass: Normal" - higher octave on subbas sound
"Sub Bass" Knob: controls the Subbass volume
"Bright" - bright sound, emphasizes breathiness
"Neutral" - neutral sound
"Dark" - dark sound, breath de-emphasized
"None" - no reverb
"Room" - a room reverb
"Reverb" knob: controls the amount of reverb
(not visible if "Reverb: None" is selected)
"Delay" knob: controls the amount of delay
A crunchy Reese machine, greasy like peanut-butter but cuts like a table-saw. Produces a reese-y bass sound, based a triple sawtooth wave, so there is continuous movement as the three waves beat against each other. From there, there is an added layer of buzz which fades in an out randomly for extra movement, and then the whole thing is run all kinds of further nonlinear nastiness.
The custom Kontakt interface has a host of controls to tailor the sound to your depraved needs. There is a selectable "Attack" and a control for the sub-bass volume, the built-in filter, and the buzz volume, as well as built-in phaser and chorus effects, a choice of built-in delays, as well as the vital crunch (distortion) and selectable amp-simulator controls. You can also control the filter frequency using the mod-wheel to keep the sound moving, just like a proper reese.
The soundcloud demo showcases only two of the miriad possibilities for tuning the sound.
Mod-wheel: controls the resonant filter's corner frequency
"Attack" button: controls whether or not there is an attack on the sound
"Sub Bass": controls the volume of a fundamental-tone sinewave.
"Filter" and "Resonance": control the frequency and resonance of
the resonant filter
"Buzz" menu: controls whether the "Buzz" layer is off, is routed
direct to the output or is passed through the resonant filter
"Buzz Vol": controls the overall volume of the buzz layer "Chorus" button: turns the built in chorus effect on or off
"Phaser" button: turns the built-in phaser (notch filter) on or off
"Phaser F": controls the frequency of phaser nulls
"Delay" button: allows you to choose between different built-in delays
(including turning the delay off)
"Amp Sim" menu: controls the built-in amp. simulator
"Crunch": controls the amount of "crunch" or distortion
Hand me down my walking cane, and y'all had better prepare yourself, because you never heard a sound like the Rubberbandbass. When I saw this short fat guy stretch a band between his toes, hey, I laughed so hard, cause the man got down!
Sure, some people play $3000 Alembics or Double-basses worth more than their cars. But sometimes, you ain't got no cash and you just need to get down. That's when you turn to the Rubberbandbass, its the bass for everyone!
This is a multi-sampled rubber band, a nice fat purple one if you care, for that rubbery bass-sound. As ever, extensive controls are provided. There is a choice of three different impulse-responses, including two acoustic-sounded woody soundboards and a Tweed amp along with a "Tone" control to adjust the midrange. A built in LFO, controlled by the mod-wheel can go from adding a bit of grrrmph buzz to a rubbery wobble. Two-octave pitchbend - hey, this thing is stretchy - and a choice monophonic modes with legato or full-time glide or polyphonic, and finally a built-in delay.
(Thanks to www.freesound.org, where user Alienistcog a.k.a. Chris Castiglione provided the extra twisty rubber-band noises, and Vincent Sermonne provided the brushed-drum track used on the demo, and to the Spinners for advertising copy)
Notes below E0 play the extra-twisty rubber-band noises.
"Glide" knob: controls the glide time
"Glide" menu: selects the playing mode
"None": polyphonic, no glide
"Legato": monophonic, pitch glides to next note if notes are played legato
"Fulltime": monophonic, pitch always glides to next not.
"Linear Glide" button: select linear or logarithmic gliding mode (only has an
effect of either "Legato" or "Fulltime" is selected above
"LFO freq": controls the frequency of the LFO which modulates the pitch
(vibrato). The amount of modulation is controlled by the mod-wheel.
"Note Off": controls the volume of the note-off samples
"Tone" knob: cuts or boosts the midrange
"Tone" menu: select an impulse response function. Options are
"Acoustic 1" and "Acoustic 2" - two different acoustic-instrument
"Tweed Amp" - the response of a Tweed amplifier
"Delay": controls the amount of the built-in delay
"Del. Time": controls the delay time of the built-in delay
A pure sine-wave bass with a difference - you can keep going down and down and down!
It works like this: for notes below a certain point, a subtle octave doubling starts to occur. Its like the foldback on a Hammond organ, except the effect is gradual. It means your bassline can go down and down and down, but still not fall off the bottom of what your speakers can reproduce. The point below which the foldback occurs is selectable, by note or frequency, so you can tune it for your computerspeakers or your club bins. Check out the Soundcloud demo to see what it sounds like.
The custom Kontakt interface allows you to select either a pure sine, or a waveshape with some second or some third harmonic content. There are three selectable types of attack (all three can be heard on the Soundcloud demo), as well as controls for the built-in saturation and chorus effects.
"Monomode": when selected the instrument plays monophonically
"Cut": controls the built-in high-pass filter to avoid saturating your audio
by filtering out the inaudible subharmonics. "Wave": select different waveforms
Sine: pure sinewave
Sine+2: sine + 2nd harmonic, for a rounder sound
Sine+3: sine + 3d harmonic for a hollower sound
"Attack" menu: select different attack sounds
"Attack" knob: controls the level of the attack samples
"Saturate": controls the built-in saturation (distortion)
"Chorus": activates the built-in chorus effect