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Mak­ing a clas­sic Hatcha and Lost-style bass with Dune CM

Computer Music - - Producer Masterclass -

1 Add Dune CM to an in­stru­ment track in your DAW and be­gin by click­ing the Bank B but­ton in the cen­tral win­dow to bring up an ini­tialised patch. In the Osc 2 panel, click the sine os­cil­la­tor shape, and turn the Osc Mix knob up to 50% so we can hear the os­cil­la­tor we just ac­ti­vated.

2 In the Osc 1 panel, click the Sel os­cil­la­tor shape, and drag up on the wave­form dis­play be­low to set the wave­form shape to 48, a big, bassy, pulse-like wave. Let’s add some fil­ter move­ment and lo-fi pro­cess­ing: set the fil­ter type to LP12+Bitcrush, Fil­ter Cut­off to 45%, Reso to 100%, Key Track to 50%, and Env to 8%.

3 In the Fil­ter En­ve­lope panel, set the At­tack to 44%, the De­cay to 36% and the Sus­tain to 0%. This quick open­ing and clos­ing fil­ter cut­off move­ment gives the patch a push at the start, but the pulse os­cil­la­tor is too loud and over­bear­ing. Turn the Osc Mix up to 74% to make the sine os­cil­la­tor more dom­i­nant in the mix.

4 We’re get­ting a slight click at the start and end of the sound which de­tracts from its punch­i­ness. This can be reme­died by set­ting the At­tack to 7% and the Re­lease to 20% in the Amp En­ve­lope panel. Now let’s add more punch to the sound’s at­tack with some pitch mo­du­la­tion.

5 In the cen­tral panel, click the Mod Ma­trix 1>12 but­ton and set the sec­ond row of the ma­trix to Source: Mod Env, Amount: +12 and Des­ti­na­tion: Osc 2 Semi. This gives the sine os­cil­la­tor a kick-like per­cus­sive punch at the start of the sound. We can con­trol how long the pitch mo­du­la­tion takes with the De­cay knob in the Mod En­ve­lope panel…

6 …set the De­cay to 30%, tight­en­ing up the pitch move­ment, mak­ing it re­ally punchy. Cur­rently, the saw os­cil­la­tor doesn’t fol­low the same pitch move­ment at the sine os­cil­la­tor, so let’s fix that by set­ting the third row of the mo­du­la­tion ma­trix to Source: Mod Env, Amount: +12 and Des­ti­na­tion: Osc 1 Semi.

7 We don’t just have to stick with the one type of pitch mo­du­la­tion – let’s get an LFO mod­u­lat­ing the os­cil­la­tors’ pitch as well. Set LFO1’s wave­shape to saw, and ac­ti­vate its Re­set but­ton. This causes new notes to re­trig­ger the LFO from the start of the wave­form, giv­ing us a con­sis­tent move­ment.

8 Set the fourth and fifth line of the mod ma­trix to Source: LFO1, Amount: +1 and Des­ti­na­tion: Osc 2 Semi and Source: LFO1, Amount: +1 and Des­ti­na­tion: Osc 1 Semi re­spec­tively. Now LFO 1 mod­u­lates the pitch of both os­cil­la­tors. Try ex­per­i­ment­ing with dif­fer­ent LFO 1 Rate val­ues to hear how it af­fects the sound.

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