J74 BassLine - User Manual

8/17/2019 J74 BassLine - User Manual

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J74 BassLine - User Manual

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J74 BassLine

A tool set for BassLine Progressions


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About J74 BassLine

J74 BassLine is a Max for Live MIDI plug-in specialized in bass line progressions.

They ey idea !ehind "his de#ice is "o ha#e a po$erful "ool $hich co%!ines !o"h rhy"h% and har%ony "oge"her.

In "er%s of rhy"h%& $hich is ey for !ass par"s& J74 BassLine %aes use of perfor%ance "rics such as groove,swing, legato, glide, accent and humanize dynamics. Progra%%ing is done "hrough a si%ple user in"erface& !ased

on concep"s $ell no$n "o elec"ronic %usicians& such as s"ep se'uencing& effec" no!s and pro!a!ilis"ic #aria"ions.

(ro% "he har%ony poin" of #ie$ "he "ool $ors ha#ing no$ledge of scales& chords and progressions& and co%!ines

"hese $i"h "he rhy"h%ic pa""ern crea"ion) "he genera"ed !ass-lines ge" transparently and automatically adapted "o"he progression& on a chord !y chord& "onic !y "onic !asis& re%aining in-ey "o "he selec"ed scale *if you $ish i" "o+.

This $ors a" i"s !es" $hen J74 BassLine is combined with J74 rogressive *ano"her J74 "ool se"& a#aila!le a"

h""p),,fa!riziopoce.co%,progressi#e.h"%l+& in $ha" is called Lined Mode.

Using "he "$o "ools "oge"her you ha#e an in"egra"ed en#iron%en" for chord progressions progra%%ing and for!ass-line produc"ion a" "he sa%e "i%e. In Lined Mode "he progressions crea"ed in J74 Progressi#e& as $ell as "he

selec"ed scale infor%a"ion& are automatically synchronized "o J74 BassLine. J74 BassLine $ill conse'uen"ly produce!ass-lines $hich follow "he scale and chords of "he progression& $i"h har%onically consis"en" resul"s.

/ar%onic in"egra"ion goes fur"her "hen no"e adap"a"ion. The "ool uses "he concep" of in"er#als *"hirds& fif"hs&

oc"a#es& e"c+ and allo$s you "o add leading notes in "he !ass-line "oo *no"es $hich lead "o "he ne0" chord+& gi#ingyour progression a dri#ing %usical feel $hich is peculiar "o !ass par"s.

J74 BassLine can also $or in "hree s"andalone %odes. I" can !e used as a s"andalone !ass-line edi"or *$i"h i"s o$n

in"ernally progra%%ed progression+& as a real-"i%e !ass se'uencer *s"ill using i"s in"ernally defined progression& !u"genera"ing no"es on "he fly& $i"hou" clips+ or e#en as a sla#e de#ice follo$ing chords fro% ano"her "rac *e0"rac"ing

"he "onic "o play "he !ass-line on"o& in "his case also genera"ing no"es on "he fly+.

/o$ "o Ins"all "he "ool

J74 BassLine re'uires a Ma0 for Li#e license for 1!le"on Li#e 2 "o run *older #ersions of Li#e are not suppor"ed+.

Ins"alla"ion is ac"ually 'ui"e easy) 3us" unzip "he do$nload pac& copy "he files "o your co%pu"er hard dri#e and you

are ready "o go. To s"ar" "he "ool drop "he J74 BassLine.a%0d plug-in de#ice on any M!"! trac# in "he 1!le"on Li#e

li#ese".

o"e) BassLine opera"es on the $ession %iew only *%eaning "ha" only MIDI 5lips in "he 6ession ie$ can !e crea"ed+.

This li%i"a"ion is no" #ery res"ric"i#e) i" is #ery easy "o %ae a copy of a MIDI clip fro% "he 6ession #ie$ into "he

1rrange%en" ie$ !y 3us" drag i" o#er or !y glo!al recording and clip "riggering.

Let&s now go through the user interface of the tool, explaining what each command and function does'

http://fabriziopoce.com/progressive.htmlhttp://fabriziopoce.com/progressive.html


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Start-up and Modes of Operation

To open "he "ool& and define "he %ode of opera"ion& use "he de#ice con"rols on "he li""le 8doc#ed 8 user in"erface)

• The 9Bass-Line Editor: !u""on opens "he BassLine ;di"or& as sho$n !elo$ and e0plained ne0".

• The 9Mode: %enu and "he 9Linked Proressi!e: "oggle define "he %ode of opera"ion *see fur"her+

• The 9"e#p: !u""on opens "he help page

Modes of opera"ion

The de#ice has se#eral %odes of opera"ion defined !y "he se""ings of "he 9Mode: and 9Linked Proressi!e: con"rols) Linked Mode $Editor%) 9Mode: < ;di"or Mode = 9Linked Proressi!e: < >

J74 BassLine opera"es as an editor *passing "hrough any inco%ing MIDI and crea"ing MIDI clips+ and synchronizes to

J74 rogressive. 1ny change %ade in J74 Progressi#e "o "he scale se""ings *roo" and scale+ and "o "he progression

are au"o%a"ically synchronized. If you press 96"ar",6"op: on any of "he "ools& "he ac"ion is also synchronized. o"e) 6ynchroniza"ion of "he Progression Ma"ri0 ?indo$ is in"en"ionally lef" one way ) changes %ade in J74

Progressi#e are pushed "o J74 BassLine& !u" not the other way around . This is in"en"ional and allo$s you "o change

"he !ass-line so "ha" i" can play differen"ly fro% "he chords *and "heir "onic no"es+. 1n e0a%ple of use for "his is "o

eep "he !ass-line on "he scale roo" as "onic $hile changing chords& as i" is of"en done in dance and funy %usic. Standa#one Editor Mode) 9Mode: < ;di"or Mode = 9Linked Proressi!e: < >((

J74 BassLine $ors as a standalone editor & using its own scale and progression information& and does no" chec if

J74 Progressi#e is presen" in "he li#ese". 1ll fea"ures and "echni'ues on J74 BassLine are fur"her a#aila!le for use. Li!e &'ords Mode) 9Mode: < Li#e 5hords *9Linked Proressi!e: has no effec"+

J74 BassLine $ors as a real time se(uencer and follows the chords detected by the companion )J74

*hord"etect'amxd+ device *also included in "he pac+. Pu" "he J74 5hordDe"ec".a%0d on "he "rac $here chords

are recei#ed *in real "i%e as MIDI inpu" or "riggered fro% a clip+. J74 BassLine $ill adap" "he !ass-line se'uence "o

"he chord "onic and play in "une. Please no"e "ha" in "his case "he se""ing of 9Lined Progressi#e: is no" rele#an" and

"ha" any inpu" MIDI $ill !e silen"ly dropped. 1ll fea"ures e0cep" "he @hy"h% sec"ion and "he Progression Ma"ri0 are

suppor"ed in "his %ode. Standa#one Se(uen)er Mode) 9Mode: < Li#e 6"andalone *9Linked Proressi!e: has no effec"+

J74 BassLine $ors as a standalone real time se(uencer, using its own progression and scale information. 1lso in

"his case "he se""ing of 9Lined Progressi#e: is no" rele#an" and any inpu" MIDI $ill !e silen"ly dropped. 1ll fea"ures

e0cep" "he @hy"h% sec"ion are suppor"ed in "his %ode.


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*'e BassLine Editor

The BassLine ;di"or is "he place for progra%%ing your !ass-lines. The de#ice $ors using a co%!ina"ion of rhy"h%ic

and har%onic "echni'ues and genera"es e0"re%ely realis"ic resul"s& $i"h 3us" a fe$ clics. ?hen $oring as an

edi"or& resul"s are al$ays pro#ided in "he for% of standard M!"! clips in the $ession %iew *clips are crea"ed on "he

"rac "he de#ice is hos"ed+. ?hen $oring as a se'uencer& no"es are ins"ead generated in real time "o "he "rac.

o"e) @eference "o "he pre#ious paragraphs if you need "o no$ ho$ "o se" up "he %ode of opera"ion.

The Main sec"ion pro#ides "he !asic se""ings and "he !u""ons for crea"ing and s"ar"ing MIDI clips)

• 9+oot: and 9S)a#e: define "he scale har%onic en#iron%en" "o $or $i"h 9A:

• 9&reate ip: crea"es a ne$ clip for "he !ass-line progression you progra%%ed

• 9Start,Stop: can !e used "o s"ar" or s"op "he las" crea"ed clip 9A:

• 9./ Lu)k0: rando%izes all para%e"ers and genera"es a ne$ clip

9A: In Lined Mode "hese func"ions are synchronized "o J74 Progressi#e.

The >p"ions sec"ion defines so%e i%por"an" charac"eris"ic of "he en"ire !ass line)

• 9ne0,&'ro/ati): Iney adap"s "he !ass-line so "ha" "he resul"s remain in #ey with the wor#ing scale *for

any chord "onic , degree in "he progression+. 5hro%a"ic ins"ead le"Cs "he pi"ch #alues in "he

se'uencer,edi"or $or in chro%a"ic %ode *no scale adap"a"ion,fil"ering is applied+

• 9uration,Leato: selec"s "he $ay no"es are released. ?i"h Dura"ion !eing selec"ed& no"es are played for

"he leng"h defined in "he se'uencer Dura"ion *D+ line *see ne0" for de"ails+. ?i"h Lega"o selec"ed& "he !ass

line is perfor%ed in legato mode *"ha" is) a no"e e0"ends "ill a ne$ no"e !egins+

•

9&o/press: defines if sipped no"es are lef" %u"ed or co%ple"ely re%o#ed. This affec"s "he Lega"o %ode)if 5o%press in > sipped no"es are re%o#ed and played no"es e0"end "ill "he ne0" non-sipped no"e. If

5o%press is >ff sipped no"es are %u"ed !u" lef" in "he se'uence& allo$ing a for% of 6"acca"o

perfor%ance. More on "he sip func"ion la"er in "his %anual.

• 9nter!a#: defines "he nu%!er of !ars "he se'uencer $ill co#er. By defaul" "his is one *+ !ar.

• 9O)ta!e: defines "he reference oc"a#e and can "ranspose "he se'uence one or %ore oc"a#es& up or do$n.


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*'e Se(uen)e Se)tion

The 6e'uencer sec"ion allo$s you "o progra% "he fi#e funda%en"al charac"eris"ics of "he !ass line perfor%ance)

*rier Se(uen)e

Pit)' $offset% Se(uen)e

Leadin Se(uen)e

e#o)it0 Se(uen)e

uration Se(uen)e

• The 9*rier se(uen)e: or **+ defines $hen a ne$ no"e is played as a s"ep in "i%e *unless sipped !y "he

#aria"ion sip effec"+. This defines "he funda%en"al aspec" of "i%ing& al"hough "he ac"ual "i%ing can !eradically al"ered !y "he @hy"h% sec"ion *using "he 6$ing and,or Eroo#e effec"s+& as e0plained la"er.

• The 9Pit)' $offset% se(uen)e: or *P+ defines "he pi"ch of "he no"e. 1ny$ay& ins"ead of !eing an e0ac" pi"ch

*lie 5 or D+& a P #alue represen"s "he -L./!%- pitch *or si%ply offse"+ from the tonic of the currently

active chord0degree in the progression. Posi"i#e #alues %o#e "he pi"ch up& ega"i#e #alues %o#e "he pi"ch

do$n. ?i"h a 1 %inor chord ha#ing "onic on 1F& a pi"ch *offse"+ #alue G7 $ill gi#e an ;F& $hile a #alue of -H

$ill play an ; *in"o "he oc"a#e !elo$+. ?i"h ano"her chord& o"her pi"ches $ill !e genera"ed using "he

sa%e rules. The 9Pi"ch Display: *placed !elo$ "he se'uencer sec"ion+ sho$s "he progra%%ed pi"ch offse"

#alue and $hich note interval "he pi"ch $ill !e in "he scale. I%por"an") $i"h Iney %ode selec"ed J74

BassLine %ay s"ill %odify "he pi"ch for you so "ha" "he resul" re%ains in "une $i"h "he selec"ed scale.

• The 9Leadin se(uen)e: or *L+ con"rols an i%por"an" perfor%ance "echni'ue) "he use of 8leading no"es8

*no"es $hich lead "o "he ne0" chord,degree+. ?hen a s"ep has a Leading "rigger > *!lue+& "he pi"ch $ill!e no" defined in reference "o "he curren" but "o "he 1-2/ degree0chord in "he progression. 6o if "he

curren" "onic is 1F !u" "he ne0" degree $ill ha#e a "onic of 5F& a G7 offse" $i"h Leading > $ill cause "he

pi"ch "o !eco%e E *and no" ;+& $hile a -H $ill gi#e a E *and no" ;+.

• 9e#o)it0 se(uen)e: or *+ defines "he #olu%e applied "o "he no"e& useful for accen"s or 'ui"e no"es.

• 9uration se(uen)e: or *+ defines "he leng"h of "he no"e& if Lega"o is not selec"ed. Using longer dura"ions

!efore shor"er dura"ions on con"iguous s"eps you can achie#e glide effec"s& $hich sounds nice on %any

%onophonic ins"ru%en"s *"he leng"h of a no"e e0"ends !eyond "he !eginning of "he ne0"+.

o"e) Bo"h 9eloci"y se'uence: and 9Dura"ion se'uence: offer "$o little arrows on "he lef" side of "he in"erface.

These arro$s allo$ you "o %o#e up and do$n all "he corresponding #alues.

>"her con"rols on "his sec"ion)

• 9S'ift Left,+i't: "o shif" "he en"ire se'uence *indeed lef" or righ"+

• 9Step &ursor,o)k: "o ac"i#a"e a cursor #isualizing "he posi"ion for "he ac"i#e s"ep& if play!ac is ac"i#e.

• 9Preset: $hich pro#ides you $i"h useful !uil"-in prese"s.

• 9Edit Proression: $hich opens "he Progression Ma"ri0 for edi"ing "he progression 9A:

9A: In Lined Mode "he progression is synchronized "o J74 Progressi#e.


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/ere an e0a%ple of "he harmonic behavior of J74 BassLine. The selec"ed scale in "his case is B! Minor.

The progression is 4-H--& repea"ed four "i%es.

The se'uence has "riggers *T+ on s"ep & 4& 7& & and H. This is a #aria"ion of "he GGF %odel of"en used in

rhy"h%. o"icea!le is also "he use of Pi"ch offse"s *P+ and of Leading no"es *L+ in "he se'uence)

• Trigger has Pi"ch offse" < & so i" $ill !e "he "onic *depending of "he ac"i#e chord , degree+

• Trigger 4 has Pi"ch offse" < G7& so i" $ould !e a perfec" fif"h up fro% "he "onic.

• Trigger 7 has Pi"ch offse" < GF& so i" $ould !e an oc"a#e up fro% "he "onic.

• Trigger has Pi"ch offse" < G7& so i" $ould also !e a perfec" fif"h up fro% "he "onic.

• Trigger has Pi"ch offse" < -H and Leading no"e "rigger >& so i" $ould !e a perfec" fif"h do$n& !u" !ased

on "he "onic of "he next chord . More on "his $hen looing a" "he resul"ing clip.

• Trigger H has Pi"ch offse" < -F and also a Leading "rigger >. 1gain $ill !e looing a" "his in a fe$ lines.


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If $e o!ser#e "he resul" for "he por"ion corresponding "o a B Minor chord *B Minor is "he firs" degree in "he scale&

$hich in "he e0a%ple progression is progra%%ed a" in"er#al +& "he clip por"ion loos lie "his)

• Trigger has Pi"ch offse" < & so i" is se" "o !e "he "onic of "he chord& in "his case B! *or 1K+

• Trigger 4 has Pi"ch offse" < G7& a perfec" fif"h up& $hich in "his case resol#es in"o a (

• Trigger 7 has Pi"ch offse" < GF& "he "onic !u" an oc"a#e up& gi#ing a B *or 1K+

• Trigger has Pi"ch offse" < G7& a perfec" fif"h up& again (

• Trigger has Pi"ch offse" < -H and Leading no"e "rigger >& so i" %aps "o a perfec" fif"h do$n but in

reference "o "he "onic of "he next chord . In "he e0a%ple progression *a" in"er#al + "he ne0" chord is

ano"her B Minor *no chord change+. 6o "his gi#es a (. (ur"her in "his paragraph $e $ill see "he effec" of"he sa%e Leading "rigger& !u" on "he chord of in"er#al 4 *$hich is follo$ed !y a differen" chord+& resul"ing

in a differen" ou"co%e.

• Trigger H has Pi"ch offse" < -F and also a Leading no"e "rigger >. 1s in "his case "he ne0" chord is also

ano"her B Minor& "his gi#e as 1! *EK+ no"e.

Le"Cs no$ ha#e a loo "he "he en"ire clip& $here %ore !ars are crea"ed in rela"ion "o "he differen" chords in "he

progression *degrees 4-H--+. This $ill sho$ "he effec" of "he har%oniza"ion and of "he leading no"es. /ere "he full clip)

1s you can see "he resul"s is !ars long& gi#en !y "he 4-H-- progression se'uence *four !ars+ repea"ed four

"i%es. The sa%e !ass-line is har%onized each "i%e "o "he ac"i#e chord.

If you loo a" !ar and 4 you can see "he effec" of "he Leadin note. The firs" "i%e *!ar in "he clip+ no"es

corresponding "o s"eps and H ha#e !een se" "o ( and EK *as in "he de"ailed e0plana"ion a!o#e+. 1ny$ay "he

second "i%e *on !ar 4+ "he no"es on s"eps and H ha#e changed "o 1K- and 5K as "he next chord is a DK Minor.

1s ne0 has !een selec"ed& no"es no" resul"ing par" of "he scale are "ransposed au"o%a"ically "o fi" in"o "he scale.

o"e) The !n3ey op"ion opera"es ind-of underwater . The !es" $ay "o see i" in ac"ion is !y using a Pi"ch >ffse" of a

third interval *$hich is a G or G4& depending fro% "he con"e0"+. 1n e0a%ple $ill clear "hings up. Le"Cs say $e $or

on $i"h "he 5 Ma3or scale *5D;(E1B+ and "ha" $e use a pi"ch is of G4 on a s"ep. If "he "onic of "he firs" chord is 5F&

G4 $ill gi#es ;F *$hich is up a maor third interval +. This no"e is in scale& no "ransposi"ion needed. Bu"& if "he ne0"

chord "onic !eco%es DF& G4 $ould !e (KF& $hich is no" a no"e of "he scale. ?i"h Iney ac"i#e& 56 will be

automatically transposed by the plugin to 5 & %aing "his a minor third interval *$hich is G+. >f course& if you

disa!le Iney *or !e""er se" i" "o 5hro%a"ic+& you $ill ge" (KF as resul". This is $ha" Iney really does


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Step Operations se)tion

The 6"ep >pera"ions sec"ion is $here you can do so%e %angling of "he se'uences. The sec"ion offers a nu%!er of

func"ions *or 3us" opera"ions+ useful $hile !uilding a se'uence. 6o%e opera"ions are individual for each se(uence

line *for ins"ance affec"ing only eloci"y or only Dura"ion+& $hile so%e apply to all the lines.

6"ep >pera"ions $hich are indi#idual "o "he se'uence lines are)

• 9+nd-*: calls a @ando% func"ion for "he Trigger 6e'uence

• 9+nd-P: calls a @ando% func"ion for "he Pi"ch *offse"+ 6e'uence

• 9+nd-L: calls a @ando% func"ion for "he Leading 6e'uence

• 9+nd-: calls a @ando% func"ion for "he eloci"y 6e'uence

• 9+nd-: calls a @ando% func"ion for "he Dura"ion 6e'uence• 9+st-*: rese"s "he Trigger 6e'uence

• 9+st-P: rese"s "he Pi"ch *offse"+ 6e'uence

• 9+st-L: rese"s "he Leading 6e'uence

• 9+st-: rese"s "he eloci"y 6e'uence

• 9+st-: rese"s "he Dura"ion 6e'uence

• 9+e!-P: re#erse "he Pi"ch *offse"+ 6e'uence *for "he ac"i#e "riggers only+

• 9n!-P: in#er"s "he Pi"ch *offse"+ 6e'uence *posi"i#e !eco%e nega"i#e and #ice#ersa+

• 9Left-P: shif"s Lef" "he Pi"ch *offse"+ 6e'uence

• 9+i't-P: shif"s @igh" "he Pi"ch *offse"+ 6e'uence

6"ep >pera"ions $hich $or on all se'uence lines a" once are)• 9+e!-A##: re#erse all "he se'uence lines "oge"her

• 9Mi-A##: redis"ri!u"es "he #alues across "he s"eps in each se'uence line

• 9+nd-A##: calls a @ando% func"ion for all "he se'uence lines "oge"her

• 9+st-A##: rese"s all "he se'uence lines


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*'e ariations se)tion

The aria"ions sec"ion is useful "o add a degree of randomness to the bass8line. The $ay "he rando%ness is applied&

"hough& is no" li%i"ed "o "he si0"een s"eps of "he se'uencer) i" extends to the entire progression and each ne$

degree in "he progression $ill ha#e i"s o$n rando%ness& $i"h a sligh"ly differen" effec". The resul" o#er "he en"ire

progression $ill !e na"ural.

I" is i%por"an" "o unders"and "ha" "he con"rols in "his sec"ion only define thresholds. The ac"ual rando% nu%!ers

*for each s"ep and for each degree+ are genera"ed under$a"er *"ha" is) you do no" see "he%& !u" "hey e0is"+. The

higher you se" a "hreshold for a gi#en effec"& "he %ore liely a no"e $ill !e affec"ed !y such effec". 6e""ing a

"hreshold "o N $ill assure no #aria"ion is added on "ha" par"icular aspec" "o any no"e.

/ere "he "hresholds %eaning and "he na"ure of "he effec"s)

• 9Skip8:& se"s "he pro!a!ili"y "hreshold for notes to be s#ipped . If "he rando% nu%!er for a no"e is !elo$

"he "hreshold& "he no"e $ill !e sipped.

• 9Spread8:& se"s "he pro!a!ili"y "hreshold for notes to be spread within the scale on a two octave range. If

"he rando% nu%!er for a no"e is !elo$ "he "hreshold& "he no"e $ill !e spread "o a po"en"ially differen"

no"e *in "he sa%e scale+.

• 9e#o)it08:& se"s "he range of randomness for the velocities *on "op of "he eloci"y 6e'uence #alues+. If "he

rando% nu%!er for a no"e is !elo$ "he "hreshold& "he no"e $ill !e al"ered in #olu%e *in propor"ion "o "he

"hreshold+.

• 9uration8:& se"s "he range of randomness for the duration of notes *on "op of "he Dura"ion 6e'uence

#alues if Lega"o is no" ac"i#e+. If "he rando% nu%!er for a no"e is !elo$ "he "hreshold& "he no"e $ill !e

al"ered in dura"ion *in propor"ion "o "he "hreshold+

1s you can see "his process is inheren"ly rando%. If you are no" sa"isfied $i"h "he resul"s& you can ei"her change the

thresholds or create a new set of random numbers.

In "he firs" case you change "he "hreshold using "he N con"rols *!u" eep "he rando% nu%!ers+) "he effec" $ill !e a

#aria"ion of "he sa%e effec" *as "he rando% nu%!ers are "he sa%e& !u" "he "hresholds ha#e changed+. If you press

"he underlying 9Seed: !o""o% "his genera"es a ne$ se" of rando% nu%!ers *pro!a!ili"y+ for "he no"es. e$ clips

genera"ed agains" "he ne$ se"& e#en $i"h unchanged "hresholds& $ill !e *po"en"ially+ radically differen".


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/ere an e0a%ple *$i"h "he sa%e progression proposed !efore+ firs" $i"hou" and "he $i"h #aria"ion effec"s !eing

applied *in "his case all "hreshold ha#e !een se" "o FN& for de%ons"ra"ion purposes+)

>riginal *all "hresholds < N+)

?i"h "he aria"ions effec"s applied *all "hresholds a" FN+)

1s you can see)

• 6o%e no"es ha#e !een s#ipped . 6ee for ins"ance a" !ar ) "here is a DK in "he firs" clip $hich has !een

sipped in "he second clip. o"ice also "ha" in !ar H& $hich res"ar"s "he sa%e 4-H-- progression a second

"i%e& "he sa%e does no" apply. This "o sho$ "ha" "he func"ion is not repea"ed a" each ne$ !ar& !u" has

so%e unpredic"a!ili"y across "he progression.

• There are also e0a%ples of no"es !eing changed in pi"ch !y "he spread effec". In "he second clip "here are

ins"ances of "he EK no"e& $hich are no" presen" in "he firs" clip.

• %elocities are clearly !eing affec"ed& as $e see a fluc"ua"ion in #eloci"y in "he second clip *original #olu%es

$here fla" a" #eloci"y < & $hich is "he defaul"+.

• 1lso "he "uration has !een affec"ed !y "he #aria"ion) "he second ( *in !ar F+ in "he second clip is shor"er

if co%pared "o "he sa%e no"e in "he firs" clip.


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*'e +'0t'/ se)tion

The @hy"h% sec"ion allo$s you "o manipulate the timing in a rhythmic way & affec"ing "he "rigger "i%es& $hich are

o"her$ise 'uan"ized "o ,"h no"e leng"hs& as in "radi"ional s"ep se'uencers. The sec"ion pro#ides "$o separa"e

effec"s& 6$ing and Eroo#e& each $i"h a differen" rhy"h%ic goal.

9S:in8:

The 6$ing effec" adds incremental anticipation or hesitation "o "he "riggers. This is an e0"re%ely po$erful "ool for

gi#ing "he !ass-line an unusual& funy cadence. ega"i#e #alues an"icipa"e "he "riggers& posi"i#e #alues delay "he

"riggers. The incremental na"ure is defined !y "he co%!ina"ion of "he 96$ingN: #alue and "he 9Ti%e Base: se""ing

and can easily pro#ide $ays "o add "riple"s or Fnd no"es in "he %i0.

Useful rhy"h%ic #alues for genera"ing "riple"s and Fnd no"es are "he in"eger frac"ions of "he in"er#al *$hich !y

defaul" is se" "o one !ar+& such as) ,4 *G,-FHN+& , *G,-N+& ,F *G,-HN+. These #alues can !e 'uicly se" up using

"he li""le !o0 !elo$ "he 96$ingN: con"rol. >"her 96$ingN: #alues& unrela"ed "o such frac"ions& $ill crea"e a %ore

unusual syncopa"ion. 1s %en"ioned& an i%por"an" fac"or $hich affec"s ho$ "he incre%en"al "i%e shif"ing is applied

is "he se""ing of "he 9Ti%e Base: con"rol& $hich is e0plained 3us" a fe$ lines !elo$ *$i"h a fe$ e0a%ples+.

9;roo!e8:The Eroo#e effec" adds per trigger independent random anticipation or hesitation, and does "his looping the effect

across the degrees of the progression *each "i%e a !ass-line res"ar"s& as $i"h each ne$ degree& "he sa%e groo#e is

applied+. This has a rhy"h%ic effec"& gi#en !y "he looping. 1ny$ay "he o#erall resul" has a %ore rando% e%phasis&

as "he "i%ing has a rando% co%ponen". The $ay "o co%!ine "he 9Eroo#eN: #alues $i"h "he 9Ti%e Base: se""ing is

e0plained !elo$ *$i"h a fe$ e0a%ples+. I" is also i%por"an" "o no"ice "ha" in "he case of 9Eroo#eN: "he 9Seed:

!u""on can !e used "o genera"e a ne$ rando% pro!a!ili"y se". The 96eed: does no" affec" "he 96$ingN: effec".

9*i/e Base:

The 9Ti%e Base: se""ing affec"s !o"h "he 96$ingN: and 9Eroo#eN: effec"s. This se""ing defines "he area for the

effects to be applied0looped on' ;ssen"ially "his influences $hich !ea"s $ill !e less affec"ed *and %ore 8on !ea"8+

and $hich $ill !e %ore effec"ed *and po"en"ially %ore off !ea" or %o#ed "o$ards "riple"s or F nd no"es+.

Possi!le #alues for 9Ti%e Base: are)

• 4n *or a ,4"h in"er#al+

• Fn *or a ,F"h in"er#al+

• Fdo" *or ,4"h in"er#al+

• n *or full !ar in"er#al+

Le"Cs do so%e e0a%ples so "ha" "he %anipula"ion gi#en !y "hese effec"s $ill !e %ore in"ui"i#e "o see.


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;0a%ple of 96$ingN: effec"

/ere "he de#ice se"up)

?hen a clip is crea"ed without @hy"h% sec"ion effec"s *!o"h a" N+& "his resul"s in "he follo$ing !ass-line)

The follo$ing sho$s ho$ "he clip changes $i"h differen" #alues of 96$ingN: and 9Ti%e Base:& as depic"ed)

>n "he lef" side all clips ha#e !een processed $i"h 9Ti%e Base: < n& on "he righ" side $i"h 9Ti%e Base: < Fn.

In "he %iddle *four"h ro$+ "he original clip is re-o!"ained& as 96$ingN: is se" "o N. Mo#ing up you can see "he

effec" of a gradual decrease of 96$ingN: *fro% N& "o respec"i#ely -FHN& -N and -HN+. Mo#ing do$n you can see

"he specular effec" of a gradual increase of 96$ingN: *fro% N& "o respec"i#ely GFHN& GN and GHN+.


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1s you %ay ha#e no"iced& "he "i%ing of no"es changes& in rhythmic fashion.

?i"h 9Ti%e Base: < n& "he area for "he effec" e0"ends "o "he full leng"h *n < !ar+& so "he s$ing ei"her co%presses

or e0pands all "he "riggers "i%e& $i"h all no"es ei"her !eing an"icipa"ed *$i"h 96$ingN: O + or delayed *$i"h 96$ing

N: +& in gradual fashion *no"es a" "i%e are unaffec"ed& "he %ore you proceed& "he %ore s$ing is applied+. 1"

each ne$ !ar "he effec" res"ar"s *as $e ha#e 9Ti%e Base: < n+& $i"h a looping feel.

?i"h 9Ti%e Base: < Fn& "he area is reduced "o half a !ar *Fn < ,Fnd+ and "herefore "he co%pression,e0pansion

res"ar"s a" each half !ar. o"es are an"icipa"ed $i"h 96$ingN: O + or delayed $i"h 96$ingN: & !u" in gradual

fashion and $i"h a periodici"y of half a !ar) no"es a" "i%e are unaffec"ed& "he %ore you proceed "ill "he half of "he

!ar& "he %ore s$ing is applied and "hen& a" half of "he se'uence& "he effec" s"ar"s all o#er again. This gi#e again a

looping effec"& !u" a 'ui"e differen" one.

The sa%e logic applies $i"h "he o"her 9Ti%e Base: #alues& Fdo" *,4 "h+ and 4n *,4"h+& $i"h "he areas of looping

ha#ing "heir respec"i#e periodici"y leng"h of ,4"h and ,4"h of "he 9In"er#al:. Par"icularly in"eres"ing is "he case of

Fdo" *,4"h+. This se""ing par"i"ions "he clip in an asy%%e"rical $ay& in "runs of "hree !ea"s. 1s "his e0"ends across

%ul"iple !ars& i" produces a 'ui"e s"range resul"& full of "riple"s and pauses. Try i" ou"

o"e) "he #alues of G,-FHN& G,-N and G,-HN for "he 96$ingN: con"rol are i%por"an". They %o#e "he no"es fro%"he !oundary of "he ,"h in"o in"er#als of ,Fnd or& in case of no"es separa"ed of ,Q "h& i" in"roduces "riple"s.

eedless "o say "hese are good ele%en"s "o "hro$ in for an in"eres"ing %usical receip"& $i"hou" ac"ually needing "o

!e a funy player or progra% "he% %e"iculously on "he grid.

1s you can e0perience !y yourself& "he difference "o "he ear !e"$een a si%ple s"raigh" se'uence and "he sa%e

se'uence processed $i"h 96$ingN: can !e 'ui"e no"icea!le. 6o%e of "he co%!ina"ions of 96$ingN: and 9Ti%e Base:

in"roduces peculiar s$ing cadences in"o "he se'uence. The resul"s can !e 'ui"e funy indeed

;0a%ple of 9Eroo#eN: effec"

The 9Eroo#eN: effec" is %ore rando%-lie& al"hough i" is s"ill #ery rhy"h%ical *as i" is looped across "he in"er#al+.

Le"Cs "ae "he sa%e se'uence se"up& as used in "he e0a%ple a!o#e& and apply a 9Eroo#eN: of HN in co%!ina"ion

$i"h 9Ti%e Base: se" "o Fn. The progression is also repea"ed four "i%es. This resul"s in "he follo$ing clips *on "op "heoriginal& on "he !o""o% "he one $i"h 9Eroo#eN: < HN and 9Ti%e Base: < Fn+)

1s you can see each se'uence s"ep has no$ a per-s"ep differen" an"icipa"ion or hesi"a"ion *delay+ "i%ing. Rou can

also see "ha" "his is repea"ed o#er each in"er#al of "he progression *in"er#al is here se" "o !ar& "he defaul"+.

o"e) 9Eroo#eN: $ors a" i"s !es" $i"h 3us" a li%i"ed a%oun"& so%e"hing a!ou" F-FHN *HN in "his e0a%ple is 3us"

"o sho$ "he resul"s %ore clearly+. 6o%e li""le 9Eroo#eN: can !e co%!ined $i"h 96$ingN: for good resul"s.


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*'e &usto/ Preset se)tion

In "he 6e'uencer sec"ion you %ay already ha#e no"iced a %enu $i"h built8in presets. These prese"s ha#e !een

%ade "o gi#e so%e specific resul" on so%e popular genre of %usic and are par"icularly useful "o sho$ ho$ "he

changes affec" "he !ass-line se'uence and ho$ "hey can !e co%!ined "o achie#e a par"icular %usical resul".

1s you can ge" fro% "heir na%es& "here is a le#el of "as"e in#ol#ed $i"h "hese prese"s& $hich is pro!a!ly a !i"

personal *read) "here is a lo" of funy s"uff in "here+. This %ay or %ay no" resul" good "o e#ery !ody.

Tha"Cs $hy "here is also a dedica"ed *ustom reset section. This allo$s you "o crea"e your o$n prese"s& sa#e "he%

and recall "he%. They can !e s"ored in !an files& recalled $hen necessary& in any ne$ pro3ec".

The sec"ion sho$s a %a"ri0 of bulbs and fe$ !u""ons. The !ul! represen"s a %e%ory slo". The color of "he !ul! "ells

you if "he slo" is free *dar gray+& if i" holds already a prese" *ligh" gray+ or if i" is ac"i#e *yello$+. Rou can also sa#e or

load "he $hole !an "hrough files.

/ere ho$ i" $ors.

• To s"ore a snapsho" on a slo" press S"rite: can !e used "o sa#e a prese" ban# as a prese" !an file on your dri#e 9AA:

• 9Erase: can !e used "o clear all cus"o% prese"s *all slo"s , !ul!s+ in "he curren" !an.

9AA: I%por"an") prese" !an files %us" ha#e a 'maxpresets e0"ension "o !e correc"ly sa#ed and recalled


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*'e Proression Matri $Bass% >indo:

The Progression Ma"ri0 is $here you progra% your own progression& as indeed a se(uence of degrees in order of

time' Before sho$ing ho$ "he user in"erface $ors in "his #ie$& le"Cs gi#e a shor" e0plana"ion on $ha" degrees are.

Progressions and Degrees in ?es"ern Music

The %a3ori"y of $es"ern %usical scales uses seven notes *or is deri#ed fro% scales using se#en no"es+. 5hords can

!e !uil" fro% such scales !y a procedure $hich adds no"es in "he scale a" specific in"er#als *"hird and fif"h in"er#als+&

each "i%e s"ar"ing fro% a differen" no"e of "he scale. Using "his %e"hod *called "he dia"onic %e"hod+ seven chords

can !e !uil"& each chord associa"ed "o a differen" s"ar"ing no"e& par" of "he selec"ed scale. These s"ar"ing no"es and

"heir associa"ed chords are $ha" $e call degrees of "he scale. These s"ar"ing no"es are also called tonic no"es in "he

con"e0" of "heir corresponding chord degree.

5onsider for e0a%ple "he 5 Ma3or scale *5 D ; ( E 1 B+. 1pplying "he dia"onic %e"hod resul"s in "his chord se")

• 5hord Degree *I+) 5 %a3or& 5-;-E *< "riad fro% "he s" no"e in "he scale& 5+. 5 is "he "onic of "his chord.

• 5hord Degree F *II+) D %inor& D-(-1 *< "riad fro% "he Fnd no"e in "he scale& D+. D is "he "onic of "his chord.

• 5hord Degree *III+) ; %inor& ;-E-B *< "riad fro% "he rd no"e in "he scale& ;+. ; is "he "onic of "his chord.

• 5hord Degree 4 *I+) ( %a3or& (-1-5 *< "riad fro% "he 4"h no"e in "he scale& (+. ( is "he "onic of "his chord.

• 5hord Degree H *+) E %a3or& E-B-D *< "riad fro% "he H"h no"e in "he scale& E+. E is "he "onic of "his chord.

• 5hord Degree *I+) 1 %inor& 1-5-; *< "riad fro% "he "h no"e in "he scale& 1+. 1 is "he "onic of "his chord.

• 5hord Degree 7 *II+) B di%.& B-D-( *< "riad fro% "he 7"h no"e in "he scale& B+. B is "he "onic of "his chord.

Progressions and Degrees in J74 BassLine

In J74 BassLine *as in J74 Progressi#e+ progressions are e0pressed using a se(uence of degrees& $hich is a

a!s"rac"ion concep" fro% "he ac"ual scale. The Progression Ma"ri0 ?indo$ is "he place $here you can progra%

your progression 9A:.


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1s you can see fro% "he pic"ure& "he progression is e0pressed as se(uence of degrees in order of time. ?here a

yello$ do" is placed& a degree is inser"ed. ?hen an ac"ual scale is applied "his resul"s in ac"ual chords and in tonic

notes. J74 BassLine au"o%a"ically calcula"es "he "onic no"es of "he corresponding chord& using "he% as "he

reference 9 value for the itch :ffset *P+ se(uence.

The ac"ual progra%%ing in "he Progression Ma"ri0 is si%ple)

• >n "he horizon"al a0is you define when "he degree is placed in "i%e *"i%e !e"$een and & "he "i%e

uni" defined !y "he 9In"er#al: in "he >p"ions+.

• >n "he #er"ical a0is you define which degree $ill !e inser"ed *degrees "o 7+

• 1 special #alue for a do" is "he empty or rest interval . 1n e%p"y , res" can !e inser"ed !y

adding a do" on the grayed8out row set below the row for degree S - I+ and na%ed 9e/pt0:.

The 9"o#d: "oggle defines ho$ res" in"er#als are "ransla"ed in"o "he clip. If 9/old: is se" "o >& i" holds "he !ass-line

on "he pre#ious degree o#er "he e%p"y in"er#al. If /old is se" "o >(( no !ass-line is played in "ha" in"er#al.

The follo$ing opera"ions are a#aila!le on "he Progression Ma"ri0 ?indo$)

• 9Left,+i't: 6hif" arro$s) 1pplies a ro"a"ion "o "he lef" or "o "he righ"

• 9?p,o:n: 6hif" arro$s) Mo#e "he progression one degree up or do$n

• 9?ndo:) does an undo of "he las" opera"ion

• 9up#i)ate:) duplica"es "he Progression

• 9Epand:) shif"s righ" and duplica"es "he firs" chord

• 9S'orten:) shif"s lef" and re%o#es "he firs" chord

• 9+e!erse:) re#erses "he chord progression

• 9&o/pa)t:) re%o#es any chord repe"i"ion

• 9&op0:) copies "he progression in %e%ory *for pas"e ac"ion lie Inser"& 1ppend or @es"ore+

• 9nsert:) does a pas"e of "he las" copy !efore "he curren" progression

• 9Append:) does a pas"e of "he las" copy af"er "he curren" progression• 9+estore:) dele"es all and does a pas"e of "he las" copy

• 9ear A##:) erases "he progression en"irely

9A: In Lined Mode "he progression %a"ri0 of J74 BassLine is synchronized "o J74 Progressi#e. 1ny$ay

synchroniza"ion only $ors one way ) changes %ade in J74 Progressi#e are pushed "o J74 BassLine& !u" not the

other way around . This is in"en"ional and allo$s you "o change "he !ass-line so "ha" i" can play differen"ly fro% "he

chords *and "heir "onic no"es+. 1n e0a%ple of use for "his is "o eep "he !ass-line on "he scale roo" as "onic $hile

changing chords& as i" is of"en done in dance and funy %usic.

e0" a fe$ addi"ional considera"ions on "he %odes of opera"ion $hich can !e good "o no$.


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>orkin with J74 Proressi!e $Linked /ode%

J74 BassLine can !e efficien"ly used in co%!ina"ion $i"h J74 Progressi#e pro#iding an in"egra"ed "ool for $ri"ing

%usic *chord progressions and har%onically consis"en" !ass par"s+. Using "he "$o "ools "oge"her in Lined Mode

you can $or $i"h "he "$o "ools a" "he sa%e "i%e& ha#ing "heir !asic infor%a"ion al$ays 9A: synchronized.

To ac"i#a"e Lined Mode selec" "he follo$ing)

• 9Mode: %enu < ;di"or Mode& in "he doced de#ice #ie$

• 9Linked Proressi!e: < >& & in "he doced de#ice #ie$ *>@ e'ui#alen"ly 9Linked to J74 Proressi!e: < >

in "he Progression Ma"ri0 ie$) "hey do and are "he sa%e "hing& al$ays reflec"ing "he sa%e #alue+.

In "his %ode J74 BassLine opera"es as an editor *passing "hrough any inco%ing MIDI& crea"ing MIDI 5lips on "he

sa%e "rac i" is hos"ed on+ and synchronizes to J74 rogressive. 1ny change %ade in J74 Progressi#e "o "he scale

se""ings *roo" and scale+ and "o "he progression are au"o%a"ically applied "o J74 BassLine. 1lso& if you press

96"ar",6"op: af"er crea"ing a ne$ clip on any of "he "$o de#ices& "he s"ar" or s"op ac"ion is applied "o !o"h

si%ul"aneously.

I%por"an" o"es)

• In Lined %ode& J74 Progressi#e is au"o%a"ically se" "o 8"rac %ode8 *clips of J74 Progressi#e are

au"o%a"ically crea"ed in "he "rac J74 Progressi#e is in"o& sa%e !eha#ior as J74 BassLine+.

• 5hanges "o "he @oo",6cale and "o "he progression as done in J74 Progressi#e are au"o%a"ically copied "o

J74 BassLine.

• 6"ar",6"op !u""ons opera"e in "ande% !e"$een "he de#ice.

• If you changed "he J74 BassLine progression or "e%porarily disa!le Lined %ode you can "he 9@uer0 J74

Proressi!e: !u""on "o synchronize %anually.

9A: 1s %en"ioned already synchroniza"ion in Lined Mode pushes changes %ade in J74 Progressi#e "o J74 BassLine

!u" no" "he o"her $ay around. This op"ion is useful for so%e specific applica"ions& such as #eeping the scale root

tonic bass while doing chord changes' This is a po$erful !ass "echni'ue of"en used in dance& funy and e#en 3azz

%usic. (or e0a%ple you could ha#e J74 Progressi#e progra%%ed $i"h a chord progression -H--4& !u" %odify "he

progression of J74 BassLine "o ha#e so%e"hing differen"& lie ---4 or e#en ---& eeping "he sa%e degree on

"he roo" of "he scale for %ul"iple in"er#als,!ars. Try yourself and hear "he effec"


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>orkin without J74 Proressi!e $?n#inked /ode and Li!e /odes%

?n#inked Editor

J74 BassLine can of course $or as a s"andalone edi"or without J74 Progressi#e. In "his case *$i"h 9Mode: %enu <;di"or Mode& 9Linked Proressi!e: < >((+& i" is on J74 BassLine i"self "ha" you selec" "he roo" and scale and

progra% your progression in "he Progression Ma"ri0 ?indo$. If no J74 Progressi#e is in your li#ese"& "his is ac"ually

"he %ode J74 BassLine $ill au"o%a"ically "urn "o. There are fur"her no ca#ea"s. In "his %ode you 3us" $or as

e0plained in "his %anual. 1ll fea"ures and "echni'ues descri!ed here are suppor"ed.

Li!e &'ords Mode

?i"h 9Mode: %enu < Li#e 5hords& J74 BassLine $ors as a standalone se(uencer and follows in real time the

chords detected by the companion device J74 5hordDe"ec".a%0d *also included in "he pac+. In "his %ode pu" "he

J74 5hordDe"ec".a%0d on "he "rac $here chords are played *in real "i%e !y inpu" or fro% a clip+ and J74

BassLine $ill adap" "he !ass-line se'uence "o "he de"ec"ed chord "onic. In "his case no"es are sen" direc"ly !y "heJ74 BassLine plug-in on "he "rac. Please no"e "ha" in "his %ode "he se""ing of 9Linked Proressi!e: is no" rele#an"

and "ha" any inpu" MIDI no"e $ill !e silen"ly dropped.

o"e) all fea"ures except @hy"h% sec"ion& Leading o"es and Progression Ma"ri0 are suppor"ed in "his %ode.

Li!e Standa#one

?i"h 9Mode: %enu < Li#e 6"andalone& J74 BassLine $ors as a standalone se(uencer & using its internal

progression and scale information& for real-"i%e !ass se'uencing. 1lso in "his case "he se""ing of 9Linked

Proressi!e: is no" rele#an" and any inpu" MIDI no"e $ill !e silen"ly dropped.

o"e) all fea"ures except @hy"h% sec"ion and Leading o"es are suppor"ed in "his %ode.


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One #ast tip ;et t'e free J74 "ar/otoo#s

/ar%oTools is a se" of de#ices for MIDI har%oniza"ion for 1!le"on Li#e *Ma0 for Li#e+. They can !e used "o adap" in

real-"i%e MIDI "o chords and scales or "o si%ply disco#er and display chords and scales. I" can !e used $i"hin a Li#e

se" or e#en in colla!ora"ion $i"h o"her %usicians using a T5P,IP ne"$or.

The se" includes)

• Ma0 for Li#e analyzer and har%onizer !ased on inpu" chords

• Ma0 for Li#e analyzer and har%onizer !ased on a selec"ed scale

• Ma0 for Li#e dia"onic chord har%onizer !ased on a selec"ed scale

• Ma0 for Li#e dia"onic au"o-popula"ed rac of chords *A+

• Ma0 for Li#e add-on for ne"$or co%%unica"ion of chord and scale infor%a"ion

• 6"andalone chord analyzer $hich can co%%unica"e #ia >65 *T5P,IP+ "o "he Ma0 for Li#e "ools

• 6"andalone scale selec"or $hich can co%%unica"e #ia >65 *T5P,IP+ "o "he Ma0 for Li#e "ools

J74 BassLine - User Manual

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