1. Before starting a new track, how do you generally split up designing your sounds for the track? Separate projects each for bass samples, pad samples, drums etc.?

Well i dont tbh, because i find some stuff useful for other tunes as well. After all breeding the breeds give new breeds in terms of layering layers of basslines, effects, or kicks / snares. Its a big mess, but keeping the strict numerics in libraries helps to have an order with vast amounts of samples. There is a certain moment “i dont have what i want in this track, so i need to make it for that track which is true for example.” most of the cases its pads or intro synths logically.

2. Do you have any tips for obtaining a tighter groove between bassline and drums?

They all differ, perhaps a hierarchy of layers is the most logical answer, attack should supress layer two which is midsnare, midsnare should supress whitenoise and whiteish tails of the snare and then summing to one channel to tighten them up with desired compression / distortion clipping / transient plugin. Same goes towards bassline and then you get to see its the same principle branching out like a fractal, all suppressing hierarchy, but thats also a style of music, so it might differ to someone else’s books

3. Would you care to explain in any detail how to setup filters in z-plane for bass? I understand the fundamentals of the procedure but have only obtained morph filtering instead of z-plane

Hardly here, imagine a cube in 3d space and a dot inside which is a variable traveling to xyz so thats 6 xy pads working together to explaing this movement in a cube and every side is routed to one filter so 6 times 2 is 12 automations which can be applied to filters distortions and whole channelchains. It is more then a filter now. Fl studio is good for even creating some projects that are actually instruments. This is the sidechained principle of the zplane which i upgraded to my needs.

Many thanks, from one collection of stardust to another 🙂

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