>Step by step

1. Understanding signal workflow by mimicking the 303

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The first step in our process requires the booting of your DAW and an instance of the Zebra CM plugin. We’re working with our beautiful new-look version here, so grab your update if you haven’t done so already. Once loaded, visit the drop-down patch menu and select Init to start with a clean slate. 2

In line with the simple architecture of the Roland TB-303, we’re only going to be using Osc 1 for this patch. The original 303 offered only a saw or square wave; you can use either, but we’re going to stick with the slightly richer saw shape, which is also the default settling. 3

Once we begin to program sequences later, it will be important to ensure that we are in monophonic mode. This is indicated by the highlighted No. 1, which is in the Osc 1 section. Check that the

Volume is also set to around the 12 o’clock mark, on Osc 1, as well. 4

The best filter fit for us is the default LP (low-pass) 12dB filter. The original 303 offered a fixed 24dB low-pass filter, but many users reported a grittier 18dB performance. Hence 12dB is closer to the original character. It’s also worth trying the LP Vintage filter for slight variation. 5

If you audition our patch at this point, it will sound very bright. To counteract this, reduce the filter Cutoff control to around the 10 o’clock mark. By total contrast, it will now sound incredibly dull! Don’t panic, because we’ll re-introduce some brightness in a couple of steps’ time. 6

In order to get that 303 squeal, we’ll need some resonance. Increase the Resonance pot to just before the 12 o’clock position. You can also watch the central display for a more accurate value; we’re aiming for around 45-47.

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Staying within the Filter section, we want to send Env2 in the direction of our cutoff. By default, there is a pot already assigned, so increase its value to a position of around the 1 o’clock mark. You’ll see an outline appear around the Cutoff control to confirm this.

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To mimic the 303’s control of accents, we want to set up velocity control of the filter cutoff too. Locate the unassigned pot (bottom right of filter section) and assign it to Velocity. Then set a pot value at around the 2 o’clock position.

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The 303 offered a simplistic envelope shape, but we want to create a sound with a degree of bite. We’ll do this by visiting Env1 and reducing the Sustain to the 10 o’clock position. This gives a degree of sustain, while not affecting the bite of the initial attack and decay.

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Env2 on the other hand, is affecting our filter cutoff. Here we need to reduce the Decay down to the 11 o’clock position, while also reducing the Sustain and Release amounts to zero. This is fully anti-clockwise.

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Our sound is pretty much good-to-go, but we can add a little backend delay to help make it production ready. Firstly, activate the delay, by right-clicking the Delay Line (bottom right) then tweak your Feedback and Mix settings to suit. We suggest toning them down, as we have indicated, so they don’t overwhelm.

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Finally, record some notes in your DAW. Use your DAW’s automation facility to either record or draw in filter cutoff movement. This will help create a sense of movement within your track, and provide the perfect way to create tension and builds.