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In this tutorial today, I’m going to show you how I make bass-lines using Garageband, however, considering I first wrote this piece over a year ago (I’m currently editing it now), some of the things that I would’ve done are now tactics I no longer use. For example, I find that just using a better 808 instrument is probably the best way of going about it, rather than trying to improve the sound of a stock instrument. So how would I do it then?

To make 808s in Garageband

Raabta song free download pagalworld. 1) Use the root and 3rd notes of the chords used in your song for the bass line
2) Switch to an instrument that’s higher in pitch like the piano to better hear if the notes are on key
3) Switch to Garageband’s 808 Bass once you’ve determined the bass line is on key

With all that said, many of the things I’ve talked about here are still applicable to the 808 Studio II synth (which you can grab here from Plugin Boutique). I’ll walk you through the process of making bass-lines in the first part of this guide, and then we’ll run through some music theory in the ending of the tutorial, that way, if you so choose, you can understand the theory behind why something works. However, for the sake of not wasting time, we’ll just dive right into how I made a bass track for a recent song.

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How To Create Boutique 808s In Garageband

A lot of people like to just wing it and see what sounds good, which is a great way of going about it as well, but sometimes you may need a little extra help to make something that sounds good.

1) Figure out the Key Signature

The best way to build a bass-line, a melody, or a harmony of some kind is to understand what key you’re in first while using my guide on Traveling Guitarist as a reference.

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For this, you can just look at the very first note of your melody, either by looking at the actual standard notation option in Garageband or by clicking on the note in the Piano Grid.

Hover your cursor over the note and the DAW will tell you what note it is. This is likely the key signature of the song. Typically, the very first note of the song is representative of its key signature, but not in all cases.

Sometimes it’s the last note as well.

Let’s say you’ve made a song and the very first note is not the key signature that it’s in.

You’ll know because if the first note is A, and then you google what the notes are of A Major (A, B, C#, D, E, F#, and G#), you’ll play those notes and they won’t sound good with the rest of the music.

But at least you know that the key signature of the song features an A note.

Just open the Musical Typing in Garageband, or play the notes on the MIDI Keyboard, and play up the notes from that A.

So, you play A, then A#, then B, then B#, and then C, and then C# until you’ve figured out how many sharps in are in the song. Once you have the number of sharps, you can determine what the notes of the scale and the key signature are.

For instance, the song could be in the Key Of E Major, but the very first note of it is A.

In the Key of E Major, the notes are the following, E, F#, G#, A, B, C#, D#, and E, which looks like this:

With that said, in most cases, you won’t have to do any of this, because usually, the first note signifies what key the song is in, so don’t worry too much, additionally, Melodyne 5 from Plugin Boutique can analyze the song’s key as well and it does so automatically.

2) Play Around With The Scale/Notes Of The Chords

Now that we’ve figured out the song is the Key of E Major, you can play around with the notes mentioned above: E, F#, G#, A, B, C#, D#, and E.

You can also use the bass-line to outline entirely new chords in the song, which will add more melodies to the song, rather than just outlining the notes of the chord – a tactic that I learned from PianoForAll (their site here) (which is one of the best ways to learn piano for music production purposes).

For instance, we could play an E Major Chord with the bass-line: E, G#, and B, or an F# Minor Chord, F#, A, and C#.

Basic three-note chords are built from every other note of the scale.

After you’ve created the bass-line from playing around with the aforementioned scales and chords, you can move on to the next important – arguably the most crucial – part of the process which is mixing them so they sound cool.

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In hip-hop or trap, the bassline and the boutique 808s are pretty much always matched up directly to the kick drum, which creates that strong, massive bass-sound that kicks the subwoofers in people’s cars.

You can hear the bass kicking in when people are driving around in their cars.

As I wrote in my article, 10 Tips For Better Boutique 808s, I stated that one thing I like to do is draw out the note until the next Snare beat kicks in, that way the bass stops thumping right before the Snare.

This really has the effect of illuminating or emphasizing the flow of the bass and rhythm section.

You can see what this looks like in the image below:

You can experiment with the 808 in terms of at which point you want to stop it. Playing the 808 all the way up to a clap or a snare will have the added effect of illuminating the Snare beat.

Explained in another way, if play the 808 all the way through claps and snares, it probably won’t sound as good. It’ll just sound like a bunch of noise, and won’t add to the rhythm of the track.

Moreover, If I’ve created a beat with many different kick beats (notice I didn’t say snare/claps), I’ll extend the bass-line so it plays all throughout those beats, but also at the same time, create a new bass-line – which is the same note – that falls on each kick beat.

It’s hard to explain in words so here’s what that looks like:

Another that I like to do when creating bass-lines is using what’s called a “slur,” or as guitar players call them, hammer-ons and pull-offs.

The “slur” is a term used in Western notation that signifies that two or more notes should be played together without separation.

For instance, on the guitar, it means you pick the one note with your picking hand, but then you play the rest of the notes with your left-hand without doing any more picking.

Regarding bass-lines, especially in the DAW scenario, this means that you’re quickly oscillating between one and two notes, and you usually do this so that the bass-line falls on the kick – as I noted above.

You can see what this looks like in the image below:

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