The low end of your music is what creates depth, power and the harmonic foundation and anchor of your music composition. And while many music producers focus on the mixing and production of the bass and low end instruments, you actually have the most control to shape the low end of your track in the actual composing stage.
You are now going to learn my best guidelines and tips for composing and arranging your instruments and parts of your track for a clear and powerful low end. Are you ready? Let’s begin!
Course Link: Master the Bass in Your Music
Low End Group
I personally use and recommend you to create a group folder in your sequencer for hosting all your instruments playing in the low end register. One reason for this is that it will make it much easier to mix the low end. But an equally important reason is that you will have much more clarity of what is going on in the low end, because you can simply select the tracks of the entire group to analyze and edit them at the same time in the piano roll editor. This way you will catch any issues going on in the actual notes that affects the clarity of your low end. Such as inconsistent voice leading, too close harmonies, bad note timings etc.
Unison and Octaves
Since the low end frequencies of music are so tight between each note, the main rule of thumb is to layer the low end instruments in either unison or octaves. For example, a double bass with a cello an octave above. Perhaps a tuba in unison with the double bass, and a bass trombone in unison with the cello. Layering instruments in unison creates a more complex and richer sound. And layering instruments in octaves creates a more powerful sound that stands out in the mix. If you want to go beyond the unison and octaves layering, you should make sure to do so higher up in the low end range where you have more space in the frequencies between notes.
Less is More
The rule of thumb when it comes to the frequency ranges of notes in music is that the low end should have less rhythmic density and complexity. Or in other words, less is more. Because the bass frequencies can become muddy very fast, and also because the low end serves as a harmonic anchor in music, and should therefore be more stable in the performances used. A good example is the classic drum kit. The kick drum is the lowest instrument in the kit, and the actual notes of the kick drum in the drum beat is very sparse and simple, with way fewer notes compared to let’s say the hi-hat. The same rule goes for all melodic low end instruments such as basses, cellos, bass trombones or whatever instrument you choose to play the bass and low end parts of your music. Less is more. And if you want to use more notes to create a rhythmic low end, you should make sure to use a tight and short articulation and focus mainly on rhythm and pulse instead of changing the pitch.
Main Rhythm
Syncopation and rhythmic interplay is a great way to create interest, variation and expression in music. However, you should try to avoid this in the low end of your music. Meaning that you choose your main rhythm, and then you stick to that rhythm when layering instruments in the low end. You don’t have to mimic the rhythm completely, but you should try to avoid notes outside of the main rhythm. So for example, let’s say your main rhythm is being played as an 8th note pulsing bass line on a synthesizer or electric bass. Then you want to add an orchestral double bass as another layer in your low end instrument group. You could then for example have this double bass play a single long sustained note for each chord. Or perhaps a slower 4th note staccato pulse. Or even mimic the 8th note straight drive if you want to. But what you want to avoid is to place notes that goes outside of the main bass line, since that will make the rhythmic foundation of your low end loose its clarity and instead start to get muddy. So you should obey the main rhythm that you created on your bass line. Meaning that you can create another rhythm on for example your double bass, as long as the notes you use align in the grid with any of the notes from your main bass line rhythm.
Bass vs Drums
The relationship between your low end melodic instruments and your low end percussion is incredibly important for the overall rhythmic foundation you want to create in your music. The 2 polar opposites are: synchronization and interplay. Synchronization is when you sync the main hits of your low percussion with your main bass line rhythm. This is great for emphasis and accents. Interplay means you have a different rhythm in your low percussion and your low end bass instruments. If you really want complete separation, you want to make sure that your hits and bass notes land on different beats in the grid. But most often you will have a mix between synchronization and interplay. You should always be aware of your intention when composing the rhythms of both these groups, the low end percussion and the low end bass instruments. And since the low end is such a big aspect for the rhythmic foundation of music, you should ever now and then solo these 2 groups to hear the interplay between them, so that you make sure your creative vision is followed.
Bass vs Chords
The bass is the foundation of harmony in music. This is why you should focus mainly on the root note of each chord, for your bass line and low end instruments in your music composition. Especially for the chord changes, where synchronization between your chords and bass will feel the most natural for the listener. And just like with bass vs drums, you can choose how the interplay between your chord rhythms and bass line rhythms should feel. Synchronized for emphasis and rhythmic focus, or separate rhythms for variation and complexity.
Bass vs Melody
The love affair between your main theme (meaning your leading melody) and your main bass line, is one of the most important harmonic relationships in music. This is why I recommend that when you sketch your themes on piano or MIDI keyboard, you should play the bass line with your left hand in octaves, while you play the melody with your right hand. Focus on both the harmonic relationship of the two, as well as the rhythmic interplay. For example, if you want to emphasize certain notes in the melody, make sure to play a note in the bass line in synchronization with those notes in the grid.