Adam Monroe Music Slap Bass v1.1
Kontakt Vst: 0.98 Gb | Au: 0.98 Gb
Adam Monroe的Slap Bass是从Fender Jazz电贝司吉他,Carvin J99拾音器和DR Hi-Beam贝司弦直接采样到Radial Pro48 DI Box中的。通过将E弦一直调低至C,可获得更大的范围。省去了标准5弦低音的低B(B0),从而降低了调音的“松懈感”。

尽管在贝司的极高音域中,确实会给弦线拉紧音,但普通音符开始变得与流行乐音色区分开来,尽管每个音符都仔细,细致地记录了“拍打”和“流行”音色。用吉他拨片记录常规音符,以保持半打击乐和金属声。

常规拾音记录在具有4个力度层的5音循环中。力度层本身没有很大的动态范围(在-7 -1 dB之间),因为低音吉他通常是压缩信号,最终在现代录音中达到某种水平。拍击发音为5圈循环,但以一个速度层的形式存在。决定只选择最好的拍打声或爆破声,而不是混入许多不同的声音,以实现一种“更好”的发声vst乐器,而不是更“逼真的”声音。

定期用变性酒精清洁低音琴弦,因为金属Hi-Beam声音趋于迅速变暗。通过选择最佳的位置来开始采样新的弦乐,以确保在弦乐之间的音调过渡最小化而付出了痛苦。通过选择最佳的谐波音调并在这些音符周围调音/解谐弦音,可以达到一个八度的谐波,因此不可能在标准调谐的低音上重现这些谐波,但它们听起来确实很酷。

记录了大多数弦乐的幻灯片,但省略了诸如开放弦乐之类的幻灯片,或者向下或向上滑动会超过标准调音。为了方便起见,选择了大三分和完美五分。以120 BPM的速度记录幻灯片。
Adam Monroe’s Slap Bass was sampled from a Fender Jazz electric bass guitar with Carvin J99 pickups and DR Hi-Beam bass strings directly into a Radial Pro48 DI Box. An extended range was obtained by tuning the E-string all the way down to a C. The low B (B0) of a standard 5-string bass was omitted do to “floppiness” from down-tuning.

“Slap” and “pop” articulations were carefully and meticulously recorded for each note, although in the extreme upper range of the bass, do to tension of the string, normal notes starts to become indistinguishable from a pop articulations. Regular notes were recorded with a guitar pick, in order to maintain a semi-percussive and metallic sound.

Regular pick notes were recorded in 5 note round-robin with 4 velocity layers. The velocity layers themselves don’t have much of a dynamic range (between -7 -1 dB), as bass guitars are typically compressed signals that end up somewhat level in modern recordings. Slap articulations are 5 turn round-robin, but exist as one velocity layer. The decision was made to simply pick the best representations of a slap or pop sound, rather than mix in many different sounds, in order to achieve a “better” sounding vst instrument as opposed to a more “realistic” one.

Bass strings were periodically cleaned with denatured alcohol, as the metallic Hi-Beam sound tends to darken rather quickly. Pains were taken to ensure that the transition in tone between strings was minimized by selecting the best places to start sampling a new string. One octave of harmonics was achieved by selecting the best harmonic tones and tuning/detuning strings around these notes, thus it would be impossible to recreate these harmonics on a standard-tuned bass, but they do sound cool.

Slides were recorded for most strings, but were ommited for things like open strings, or when sliding down or up would overshoot standard tuning. Major Thirds and Perfect Fifths were chosen for the sake of usability. Slides were recorded at a tempo of 120 BPM.

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