Bass song

A bass song is a piece of music that contains low frequency notes, or bass. Bass notes can be acoustic, but within the term "bass song" they are usually synthesized, typically sine waves or very similar. The term "bass song" typically refers to hip hop, trap, dubstep, techno, reggae, or other electronic music genres. However, there are cases where other genres and even acoustic music contain considerable bass content, either acoustically produced, or synthesized. The bass is occasionally in the original recording, but is more likely found in remixes.

Certain types of these songs are usually played on, and sometimes specifically designed for, automobile sound systems with one or more subwoofers. There are other uses for bass songs as well, such as audio tech demos, nightclubs, and raves.

Sometimes, a bass song is a specifically designed track for a certain arrangement of subwoofers or loudspeakers to achieve the maximum sound level possible.

A bass song differs from a bass test in that a bass test is a recording where bass is the main point of the track, while in a bass song, the bass is still very prominent, yet remains supplemental to the rest of the song.

Test

Test, TEST or Tester may refer to:

Science and technology

People

Test (group)

Test is a free jazz cooperative.

Members

References

Test match

Test match in some sports refers to a sporting contest between national representative teams and may refer to:

Bass

Bass or Basses may refer to:

Fish

Music

Bass (sound)

Bass (/ˈbeɪs/ BAYSS; Italian: basso, deep, low) describes tones of low frequency or range from 16-256 Hz (C0 to middle C4). In musical compositions, these are the lowest parts of the harmony. In choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. In an orchestra, the bass lines are played by the double bass and cellos, bassoon and/or contrabassoon, low brass such as the tuba and bass trombone and the timpani (kettledrums). In many styles of traditional music such as Bluegrass, folk, and in styles such as Rockabilly and jazz, the bass role is filled by the upright bass. In most rock and pop bands and in jazz fusion groups, the bass role is filled by the electric bass. In some 20th and 21st century pop genres, such as 1980s pop and Electronic Dance Music, the bass role may be filled with a bass synthesizer.

Musical role

Played in a musical ensemble such an orchestra, such notes are frequently used to provide a counterpoint or counter-melody, in a harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm. In popular music the bass part most often provides harmonic and rhythmic support, usually playing the root or fifth of the chord and stressing the strong beats. "The bass differs from other voices because of the particular role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the larger harmonic organization of a entire work."

Miami bass

Miami bass (booty music or booty bass) is a subgenre of hip hop music that became popular in the 1980s and 1990s. Its roots are directly linked to the electro-funk sound of the early 1980s.

The use of the Roland TR-808 sustained kick drum, raised dance tempos, and frequently sexually explicit lyrical content differentiate it from other hip hop subgenres. Music author Richie Unterberger has characterized Miami bass as using rhythms with a "stop start flavor" and "hissy" cymbals with lyrics that "reflected the language of the streets, particularly Miami's historically black neighborhoods such as Liberty City and Overtown".

Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of Baltimore club, West Coast hip hop, funk carioca, and other genres.

History

1980s

During the 1980s, the focus of Miami bass tended to be on DJs and record producers, rather than individual performers. Record labels such as Pandisc, HOT Records, 4-Sight Records and Skyywalker Records released much material of the genre. Unterberger has referred to James (Maggotron) McCauley (also known as DXJ, Maggozulu 2, Planet Detroit and Bass Master Khan) as the "father of Miami bass", a distinction McCauley himself denies, choosing rather to confer that status on producer Amos Larkins.