Ex­plor­ing Bass Synth

Mas­chine’s 2.6.8 up­date added a 303 and 101-in­spired monosynth to the soft­ware’s in­built tool­kit. Let’s take a look…

Future Music - - PRODUCER’S GUIDE TO -

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Bass Synth’s in­ter­face may not look very much like a Roland clas­sic, but its sound en­gine has a dis­tinctly acid-friendly feel, thanks to its combo of a single os­cil­la­tor with a res­o­nant fil­ter. A ba­sic mod­u­la­tion en­ve­lope – with just a single de­lay con­trol – al­lows for squelchy fil­ter mod­u­la­tion.

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The os­cil­la­tor can morph con­tin­u­ously between a sine wave (far left set­ting) and square wave (far right set­ting) via tri­an­gle and saw waves. The sine mode will give a clean, punchy bass tone, and as you turn this to­ward the right it will add more grit and midrange har­mon­ics.

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For clas­sic acid house bass, in­crease the fil­ter res­o­nance and fil­ter mod­u­la­tion. Ad­just the cut­off to suit your bass pat­tern. The De­cay con­trol can now be used to dial in the length of those dis­tinc­tive acidic fil­ters sweeps.

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Glide between notes helps give that au­then­tic acid feel. The Glide Time con­trol dic­tates the length of th­ese, but by de­fault Glide is turned off com­pletely – the switch to turn it on is tucked away on the Ad­vanced pa­ram­e­ter page. Try au­tomat­ing Glide off/on to add it to just a few notes in your pat­tern.

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Turn up Bass Synth’s Drive dial for a bit of au­then­tic added grit. A few insert ef­fects will help pol­ish your sound – a short de­lay, ana­logue-style com­pres­sion and tape or vinyl em­u­la­tion will give a proper vin­tage house feel.

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