If there’s one thing we have gleaned from this months , it’s that there is plenty of love for the Roland TB-303, with use that extends far and wide. One of the most bizarre considerations that we lay firmly at the 303’s door, is how it managed to garner its reputation as an eternal classic, with a vintage price tag to match, while offering such an incredibly simple signal path that could be trumped by so many other synths, old and new.
With this consideration at the front of our minds, we’re going to create a classic 303 ‘aceed’ sound using our very own Zebra CM. Ironically, our in-house softsynth is capable of so much more than the basic 303 architecture, but the dressed-down process serves as a perfect entrée to understanding signal workflow. We’ll also be using some basic envelope settings, for both amplitude and filter modulation.
Armed with this basic concept, it’s a simple progression to getting something which sounds more akin to an SH-101, Bass Station or Moog, by extending the 303 construct with a second oscillator or sub-oscillator. So let’s create a great 303 sound, all from our very own Zebra (with real credit to our friends at u-he, of course!).
1 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.
Bu hikaye Computer Music dergisinin January 2022 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber ? Giriş Yap
Bu hikaye Computer Music dergisinin January 2022 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber? Giriş Yap
BLEASS Arpeggiator
Classic synth-based arpeggiators' up-down patterns can be tedious, says Stuart Adams. Can Arpeggiator bring the variability he craves?
Synthogy Ivory 3 German D
One of the most highly regarded piano libraries around gets an update. Does it strike a chord with our reviewer, Herr Roland Schmidt?
MODALICS BITFUZZER
Distortion can be a great effect for enlivening and mashing up sounds, and this month we've got you a plugin that can do both
RADICAL RHYTHMS
From pepping up basic grooves to creating full-on 4/4-flouting madness, learn a multitude of timing tricks with our classic guide
SEDIBUS
Detaching from The Orb mothership, Sedibus is the latest project of core figurehead Alex Paterson, accompanied by former Orb-member and key creative collaborator Andy Falconer. With a studio shorthand and a shared passion for flourishing ambient textures, the pair's second record SETI gazes skyward for its inspiration. We spoke to Andy to learn more...
Sidechain compression
Sidechain compression is an excellent mixing tool and in this tutorial we pick apart this essential process
How to make a rave-style techno track
Prepare to get fists in the air as we learn the tools, tricks and tempos for nailing the basics of rave-ready techno
Make a filter kick bass with BazilleCM
Following our deep-dive into the oscillator section of BazilleCM, we follow the signal flow to create a filter-thumping bass sound
MARIA W HORN
An avid explorer of sound's spectral properties, Maria W Horn's work realises the potential of long-forgotten spaces. Via instrumental textures, room responses, the human voice and a specialised computer language, she synthesises entirely new sonics. We heard more about her processes and the at-times chilling story behind her affecting new album, Panoptikon
THE ULTIMATE GUIDE TO CREATIVE REVERB
Reverb has been relied on for its evocative sonic character ever since the first homo sapien warbled expletives into a dark cave. The transformative power of space is still a vital mix ingredient