1. Designing a performance patch with Bazille CM
1 Load an instance of u-he’s Bazille CM in your DAW, then call up the Bazille Bass preset. Although the tone of this midrange bass is OK, we can use velocity and pressure modulation to turn a simple riff into something a lot more dynamic and evolving. We program a 1/4-note-long A2 note riff, and vary the velocity values of the notes.
2 Navigate to Bazille CM’s MIDI & More panel. By patching the Velocity MIDI modulator’s output (its red connector) into one of the Cutoff’s grey input ports, then applying mod depth via the knob, our filter cutoff amount will change, depending upon the incoming note’s velocity value.
3 Next, use note velocity to scan through the Sequencer’s different Snapshots (essentially eight independent sequences), then use those sequencer signals to wobble filter frequency. First, patch the Velocity modulator to the Sequencer’s Rotate input. Then, route the Sequencer’s second output to a Cutoff mod input, then increase Mod Depth.
4 The Sequencer’s Rotate control lets you rotate between different snapshots, accessed by clicking on numbers on the dial. Within these snapshots, we program different sequencer values. Now, different velocity values trigger different sequencer patterns, giving an evolving sound – perfect for this sequenced bass riff.
5 Let’s turn our attention to aftertouch modulation, which can give our patch a more expressive sound. We take the Press modulator’s output and connect it to Osc 1’s Fractalize mod input, then turn the amount up. In a nutshell, the Fractalize control modulates one waveform with multiple cycles of another. Time to dial in some aftertouch modulation…
6 Within our MIDI region, we record in some aftertouch movement, creating a short sweep at the end of the first bar and a longer one at the end of the phrase. This modulation creates a resonant, hard sync-style sweep. Although still a simple one-note pattern, our riff now has a much more interesting and ‘performed’ feel thanks to some choice MIDI modulation.