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Submission Bass Eurobass V2: Your Bassist In A Box

By Charlie Abend

Eurobass 2: Your Bassist In A Box

Eurobass 1 was a competitive player in the bass midi instrument market. It was easy to use and famously lacked what submission bass’ owner Ermin Hamidovic refers to as “Bitch arms.” With all the different options, it can be hard to separate one midi instruments strengths and weaknesses from another. Some are great with their realism and dynamics, while others shine with their intuitive interfaces, and ready to use tones. Euorbass 1 was a leading the competition already, excelling in both realism, and efficiency. Eurobass 2 take the ideas and expand them to a place far beyond what we’ve heard before. With a brand new GUI that is lean, efficient, and ready to be your bass tech & player in any of your bass tone/performance needs, eurobass 2 is your “bassist in a box.” They are there to help give you, the mixer, the tones, and performance to make your projects sound the way they need to sound.

What Makes Submission Bass Eurobass 2 so special? 

Eurobass 1 was highly effective at providing a great bass sound with only midi feeding it and thankfully worked with Kontakt Player Native Instruments Free Version of Kontakt. However, it was split up into 3 different “tones” or NKI files which are DI, drive, and clean. So when trying to decide on a bass sound for a mix, it can get frustrating to have to change out the NKI in your Kontakt player to hear a new bass sound. Eurobass 2 puts all of the tone selection within the new GUI. You can leave the power knob off to use the raw DI coming off Eurobass 2. Alternatively, you can power on the pre-processed tones and select between clean, and drive tones. There is also a knob to the right to control the overall color of the tones. This easy to use display is a reoccurring theme throughout Eurobass 2. The alternate picking options are very clearly shown in the center of the interface. Where the alternate picking kicks in are determined by a note value selection displayed directly above you host tempo and the value of the alt picking in milliseconds. Everything from key switches to tone color, string noise, and muting noise are found here. The keyswitches are displayed in real time as the parts are played and simple pop up menu tells you the notes for all the key switches available. A send to a stereo chorus is easily accessible under the volume knob. The stereo chorus is a beneficial effect to reach for that was absent from Eurobass 1. Probably the most used effect for a bass tone next to distortion, the chorus is a convenient thing to have such easy access to. All of this makes Eurobass 2 extremely easy to navigate, most of the thinking that happens when Eurobass 2 is open go to creative input on the tone, and not how to make the plugin work correctly.

Only The Tones You Need 

Eurobass 2 comes fully stocked with a DI, drive tone, and a clean tone. These tones have been tirelessly tested to be 90% mix ready out of the box. There shouldn’t be any drastic shaping needed outside the tone knob, and even the manual recommends leaving that at noon for most occasions. They have compression to ensure dynamic consistency. The general tone shapes have been explicitly chosen to be favorable in most all situations. However, if you find yourself wanting a little more low grit, the tone knob can be move counterclockwise to get a darker, more low mid grit overall feel. Alternatively, if you’d prefer a brighter tone with more bite, a turn clockwise will brighten things up. The balances have been painstakingly tested over a wide range of different mixes to ensure these tones would work across as many mixes as imaginable. It would be best if you weren’t playing around with a bunch of various features and components to get a working bass sound, and the majority of what makes a bass sound good can go for many different circumstances. However, in case there are special circumstances, some extra midrange was left in the tones to allow personal crafting to find the perfect fit for your mix entirely. Some of the ranges they specify in the manual are 166hz and 245 Hz. These areas need some subtle taming to make the bass fit just right in the mix. No more than 0.5db adjustments will be needed for the drive tone. The clean tone has had some extra fat left in it, so that it may be used in a broader array of circumstances, for this reason, you would normally need more drastic moves may db needed in these areas. The only other area to note is that 70 Hz might fight with the kick a little, but again, some subtle cuts here will blend it right in. A tool like track spacer is also recommended in the manual to fix this area. 

 

Realistic and Un-Restricting

The big question with a midi instrument is always, how real does it sound? Most midi instruments feel like a trade-off. The ones that sound the most realistic tend not to have the best built-in tones. The ones that have the most natural interfaces, don’t always sound the most realistic. It’s a give and takes that can be frustrating when dealing with software that tells you that you can apparently “have it all.” The string noise and muting noise features are a huge factor to Eurobass’s natural sound. The string noise adds noise and life to the notes being played, which helps move away from that keyboard sound that some midi bass instruments can have. The muting noise feature is the volume of the resonance created on the release of note. This is what the sound of a player catching a note on a rest would sound like. This feature’s return in Eurobass 2 is one of the main contributing factors to its realistic sound. However, Eurobass 2 consists of completely new samples from Eurobass 1. When Ermin first talked to us about Eurobass 2, we asked why he was doing a 2? Eurobass 1 was so good and effective, what about it needs to be changed? He said, “Yeah, but we can do better.” Not only are the new samples highly realistic, and of course, bitch arm free. However, the initial transient has been left untouched in the software. The reason for this is to ensure maximum punch from the instrument and to let the mixer adjust this to their preference with a limiter. After all, Eurobass 2 is your bassist in a box, and you are still the mixer which makes them sound great.

Conclusion

Eurobass 2 takes the competition for the best midi bass instrument and walks away holding the title. The all in one interface makes navigating the midi instrument world easy and intuitive. Anyone can feel at home behind the wheel of eurobass 2 whether you program bass regularly, or are just starting for your demos. You owe it to your productions to make Eurobass 2 a part of them. Even if you have productions with phenomenal natural bass, layering in Eurobass 2 alongside a great bass performance can also help bring out the best in your mixing ability. There are very few instances where adding Eurobass 2 to your project will not improve it. If you are an incredible bassist, give your arms a break for a bit and try out Eurobass 2.

Have you already picked up Submission Bass Eurobass 2? Let us know in the Plugin Alley Facebook Group!

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