Dubito molto che quando Tadao Kikumoto progettato Roland TB-303 nei primi anni '80, sapeva che sarebbe stato di iniziare una rivoluzione culturale! Al momento della sua uscita nel 1981 il prodotto, concepito come una semplice scatola accompagnamento Bass Line per cantanti e cantautori,
Poi, nel 1987, con sede a Chicago societÃ chiamata Phuture rilasciato un brano chiamato Acid Tracks e Acid House Ã¨ nato. Il TB-303 era il suono che ha definito la canzone! Squelchy, risonante, distorti e ripetitivi.
Da allora la sua fatto la sua comparsa su decine di migliaia di record dal Pop al Hip Hop, Rock Electro di ambiente. E la sua ancora forte!
Emulando un TB-303 in Trilian
Ci sono naturalmente alcune ottime emulazioni software dedicato e hardware a disposizione del 303 (se non volete spendere 2.000 dollari su un originale, con un manuale giapponese !!!).
E 'comunque molto facile da battere uno in synth Spectrasonics' bass potenza Trilian , e molto piÃ¹ facile da programmare. E suona piuttosto bene, anche! Consente di farlo!
Fase 1 - La forma d'onda
Aperto Trilian e selezionare la finestra Edit. Clicca sull'immagine Soundsource al centro del pannello per aprire il browser.
Navigate down the Source list to Roland TB-303 and select the waveform called TB-303 Sawtooth.
Half the battle is already won as Spectrasonics has lovingly sampled the waveforms from the original model, which does have quite a distinctive sound.
Fase 2 - Buste
Go back to the Edit window and set the Amp and Filter envelopes like so:
On both envelopes, turn down the Velocity ('VELO') knob to 0%. Done!
Fase 3 - Filtro
Turn the Filter section On and load in the 'LPF Juicy 24db' Lowpass from the drop down menu. Set the ENV amount to 0%.
Fase 4 - Voice Control
Now itâ€™s time to set up the Voice Controls for the sound. These are on the right-hand side of the Edit window. Set them up like this:
The sound is monophonic so Iâ€™ve enabled Solo (in Legato mode, the tiny 'L' to the left of the Solo button) with 'Voices' set to 1 (to be on the safe side!). The 'Oct' is set to 0, and the 'Gain' to -6 db.
The Glide is on (again, in Legato mode) for Layer A with a time of 9ms. I found this to be the optimum time setting when comparing against other 303 clones.
Solo and Glide are very important as they affect how the Note triggering, Envelopes and Portamento effect work on overlapping notes.
Fase 5 - Programmazione di una sequenza
How you program your sequence will affect how the 303 sound will work. The TB-303 has two kinds or notes, short and tied.
Short notes I found have a length of about 2/3 of a 16th-note. The gap between them, apart from sounding right ensures that the sample is re-triggered, as well as the Filter envelope.
Any longer notes you program should have this gap at the end, too. Long notes on a 303 are made by putting two notes of the same value one after the other and enabling Glide to the first note. This ties them together to make one note.
On the 303 you will only hear the Portamento Glide effect if the two â€˜tiedâ€™ notes have different pitches. In a sequencer this is done by overlapping notes. You can hear this in the example below.
The time we set for the Glide (9ms) is constant so the farther away from each other the notes are, the more extreme the effect.
These overlapping notes also serve to prevent the sample re-triggering from the start (Solo mode) and also stop the Filter envelope from re-triggering. The Glide and Filter envelope are two trademark sounds of the 303.
Hereâ€™s a sequence Iâ€™ve put together. It has short, long and overlapping notes. Here it is with the Filter set to 1370 kHz. You can copy it or make your own to test the sound.
Not bad, eh?
Fase 6 - Assegnazione dei parametri ai controlli principali
Before we start to tweak this sound Iâ€™m going to assign the parameters I need for the Patch to do its thing to the Macros in the Main Controls page. This just makes it easier to reuse the Patch later and looks cool as well!
If you switch to Main youâ€™ll see the default Controls mapping. These are dead easy to change. First, Iâ€™m going to map the Filter's Cutoff.
Before you assign a new parameter to the control itâ€™s a good idea to clear it as it will already have parameters assigned to it. If you don't, your new parameter will be added to the list which could cause some problems later.
Control-Click on the Cutoff knob and choose 'Clear all parameter assignments for this control'.
Now Control-Click again and choose 'Assign this control to the next touched audio control'. Go to the Edit page and click Cutoff in the Filter section.
Rename the new assignment CUTOFF.
Repeat these steps with the Filter Resonance (RESONANCE), Envelope Depth (ENV MOD) and Filter Decay (ENV DECAY) parameters.
Now Iâ€™m going to assign these Controls to a Group. I do this by clicking and dragging left on the the far right corner of the separator bars. A new Group is created called 'Group 2'. Weâ€™ll use it later.
You can now assign these hardware MIDI faders by Control-Clicking on each knob and choosing 'MIDI CC Learn'. You could also use your host's automation assignments for these, too. In Logic, for example, it's the Controller Assignments window.
Now Iâ€™m all hooked up, and I'm ready to record some tweaking. Hereâ€™s a quick example. Iâ€™m just playing with CUTOFF, RESONANCE, ENV MOD and ENV DECAY parameters.
Thatâ€™s about it for the basic setup. Save out your Patch. Donâ€™t forget you can always use the TB-303 Square waveform by simply switching to it in the Soundsource window.
Fase 7 - Aggiunta di effetti
You can go a step further and add Distortion and Delay to make a more aggressive 303 Patch if you like. Hereâ€™s a setup I made for mine:
And here's how Iâ€™ve assigned the parameters to the Main Controls:
The result is pretty hardcore!
So thatâ€™s it! A TB-303 in Trilian. The only thing you need now is a large field to stand in and some glow sticks!