Rediscovering the Bass Station synth engine

Before we delve into what’s new in version 2.5, let’s take a quick recap on how the synth engine is set up. Essentially, what the Bass Station 2 offers is a classic subtractive analogue signal path, comprised of oscillator, filter and amp sections coupled with a pair of ADSR envelopes and two LFOs.

The oscillators themselves are digitally controlled analogue (DCOs). Each offers a choice of four, fairly standard, wave shapes – sine, triangle, saw, and variable-width pulse – along with an octave selector switch and coarse and fine tune rotaries. Each oscillator has a trio of modulation controls. Two of these affect pitch modulation, applied from the mod envelope and LFO 1. A third rotary is used to apply pulse width modulation, the source of which can be switched between the mod envelope and LFO 2. There’s also a ‘function’ switch for engaging sync between the two oscillators.

These oscillators are joined by a noise generator and sub oscillator. That sub osc is linked to osc 1, and can be set to track its pitch at either one or two octaves below. There are three sub oscillator wave shapes: triangle, square and narrow pulse. There’s also an external audio input. In the mixer panel we get level controls for the oscillators, sub osc, noise and external in. There’s a ring modulation rotary here too, used to ‘multiply’ the output frequencies of the two oscillators for a gritty effect.

The BS2 features two filter types – the original Bass Station design and an Acid version – the former of which is switchable between 12dB and 24dB and low-, high- and band-pass modes. There are distortion and resonance controls here too, and modulation can be applied from both the mod envelope and LFO 2.

So what’s this all good for in practice? Well, as its name suggests, the BS2 is great for bass sounds. With the classic filter at a low cutoff, the amp envelope kept short and distortion at minimum, it’s easy to create percussive, tom-like bass throbs. Engage distortion, filter resonance or ring mod to add harmonic grit – the BS2 can quickly sound very gnarly!

Particularly when used with the onboard arp, it can do a solid impression of Roland 101 or 303 lines. For authenticity here, use just a single oscillator and use combined Mod + Amp envelope mode to emulate the single envelopes of those classics. The ‘Acid’ filter comes into its own here, allowing for authentic, metallic, raspy bass and lead sounds.

Osc sync and ring mod are great for more complex timbres. Both excel when you begin to experiment with the frequency relationship between the two oscillators. Engage sync or ring mod and play with the octave selectors and tuning rotaries for interesting timbral effects, and get some pitch modulation from the LFO or mod env involved too.