Deep House Basslines in Massive

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From our Deep House Series:

5 Simple Deep House Production Tips
7 Deep House Bassline Patterns and Techniques
6 Deep House Chord Progression Tips for Beginners

Hello producers, how’s it going? We’re continuing our Deep House Series with a sound design post in Massive. We’ll be creating 3 different bass sounds in a very quick and simple way, with a minimum amount of steps to follow. I’ll do my best to explain the process, but some basic knowledge of Massive is required. Nevertheless, if you are unable to follow this post, you can simply download the presets here. The MIDI patterns are also provided, or can be downloaded here. If you have any questions or suggestions, get in touch with us at hi@promusicproducers.com.

PREV

 


 Bass Sound #1


Our first bass-line is a simple one oscillator, resonated square-wave. We’ll be using the first envelope to modulate the lowpass filter. Click here to download this preset.

 

This bass-line plays the following MIDI pattern:

1p1

 

STEP 1 – We’ll start by selecting the Square-Saw1 Wavetable on the first oscillator (OSC1), with the position knob (Wt-position) all the way to the left so it’s playing a plain square-wave:

11

It sounds like this:

 

STEP 2 – Select a Lowpass 4 filter type on FILTER 1 and turn the Resonance down a bit:

12

See how it resonates when I move the Cutoff knob:

 

STEP 3 – Turn the Cutoff knob to the left (9 o’clock). We’ll be shaping our Lowpass4 Filter with the first envelope, so link the first envelope (1 Env) with the Filter Cutoff. For the envelope to affect our filter, we need to increase its range of control (the blue ring) from 9 o’clock to approximately 3 o’clock:

13

It sounds like this:

 

STEP 4 – You may want a faster attack and a shorter delay on the envelope, so move the Attack knob all the way to the left and the Decay knob to around 11 o’clock.

14

It sounds like this:

 

STEP 5 – Finally, effects. On the FX1 Slot, we can add the cool Dimension Expander effect to widen the sound. We could also add a Bitcrush effect on the first INSERT slot for a subtle white-noisy sound:

It sounds like this:

 

Let’s try another MIDI pattern:

It sounds like this:

 

 


Bass Sound #2


Our second bass-line is just a brighter version of the first bass-line, with an extra oscillator pitched 7 semitones up in the scale for that Deep House vibe. It also plays the exact same MIDI pattern. Click here to download this preset.

 

STEP 1 – We’ll build this sound on the exact same settings from the first bass preset. We’ll just add the Woody Wavetable on the second oscillator (OSC2), pitched 19 semitones up. Thus, this oscillator will play one octave (12 semitones) and 7 semitones up above the note played. Also, note that the first oscillator was pitched down one octave. No other changes had been made:

21

It sounds like this:

 

 


Bass Sound #3


Our third bass-line is a more complex 3-oscillator sound, making use of the Modulation Oscillator in Massive to get this metallic feeling. Click here to download this preset.

 

This bass-line plays the following MIDI pattern:

31

 

STEP 1 – We’ll be starting with 2 oscillators for this one. Oscillator 1 (OSC1) will play the Groan III Wavetable. Oscillator 2 (OSC2) will play the Digi Cook I Wavetable:

311
It sounds like this:

 

STEP 2Pitch the second oscillator (OSC2) one octave down and pitch the first oscillator (OSC1) 7 semitones up for that Deep House style sound:
32
It sounds like this:

 

STEP 3 – Select the Lowpass 4 filter type on FILTER 1, and turn both the Cutoff and Resonance all the way down. To get that plucky sound, we’ll be using the first envelope (1 Env) to manipulate the filter cutoff. So, link the first envelope (1 Env) to the FILTER 1 Cutoff, and increase its range of control all the way up to 3 o’clock (the blue ring):
33
It sounds like this:

 

STEP 4 – Decrease the Decay and Level on the filter envelope:
34
It sounds like this:

 

STEP 5 – Let’s make use of the MODULATION OSCILLATOR in Massive to create a more interesting sound. Inside this oscillator, set the Pitch to 12. Then, activate the Ring Mod on the first oscillator (the Ring Mod Knob is at the default 12 o’clock position). The signal coming from the second oscillator will be modulated through the Phase mode. So active the Phase mode on OSC2, and turn the Phase knob left to 10 o’clock:
35
It sounds like this:

 

STEP 6 – The final step, adding some effects like the Dimension Expander in Massive or the default Reverb from the first return channel in Live:
36
It sounds like this:


That’s it!

If you found this post useful, don’t forget to share it!

If you have any questions or suggestions get in touch with us at hi@promusicproducers.com.

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