Звук Учебник Дизайн: Создайте TB-303 Патч В Spectrasonics Trilian

I very much doubt that when Tadao Kikumoto designed Roland's TB-303 in the early 80s, he knew that he would be starting a cultural revolution! On its release in 1981...  

Я очень сомневаюсь, что когда Тадао Kikumoto разработан Роланда TB-303 в начале 80-х, он знал, что он будет, начиная культурной революции! После его выпуска в 1981 году продукт, предназначенный как простая басовая линия аккомпанемент ящик для певцов и авторов песен,

Затем в 1987 году, чикагская снаряжение называется Phuture выпустил трек под названием Кислота треков и Acid House родился. TB-303 был звук, который определен песня! Хлюпающий, резонансные, искаженные и повторяющиеся.

С тех пор его сделала вид на десятки тысяч записей из поп-музыки до хип-хоп, электро Рок Ambient. А ее все еще идет сильный!

Эмуляция TB-303 в Trilian

Есть, конечно, несколько прекрасных посвященный эмуляции программного и аппаратного обеспечения 303 в наличии (если вы не хотите потратить $ 2000 на оригинал, с японского руководства !!!).

Это, однако, очень легко сбить один в Spectrasonics 'электростанция басовый синтезатор Trilian , и гораздо проще программировать. И это звучит неплохо, тоже! Давайте сделаем это!

Шаг 1 - Сигнал

Открытое Trilian и выберите в окне редактирования. Нажмите на изображение Soundsource в центре панели, чтобы открыть браузер.

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.

Шаг 2 - Конверты

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!

Шаг 3 - Фильтр

Turn the Filter section On and load in the 'LPF Juicy 24db' Lowpass from the drop down menu. Set the ENV amount to 0%.

Шаг 4 - Управление голосом

Now it’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 I’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. 

Шаг 5 - Программирование последовательности

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 ‘tied’ 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.

Here’s a sequence I’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?

Шаг 6 - Назначение параметров Главного управления

Before we start to tweak this sound I’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 you’ll see the default Controls mapping. These are dead easy to change. First, I’m going to map the Filter's Cutoff.

Before you assign a new parameter to the control it’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 I’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'. We’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 I’m all hooked up, and I'm ready to record some tweaking. Here’s a quick example. I’m just playing with CUTOFF, RESONANCE, ENV MOD and ENV DECAY parameters.

That’s about it for the basic setup. Save out your Patch. Don’t forget you can always use the TB-303 Square waveform by simply switching to it in the Soundsource window.

Шаг 7 - Добавление эффектов

You can go a step further and add Distortion and Delay to make a more aggressive 303 Patch if you like. Here’s a setup I made for mine:

And here's how I’ve assigned the parameters to the Main Controls:

The result is pretty hardcore!

So that’s it! A TB-303 in Trilian. The only thing you need now is a large field to stand in and some glow sticks!

For the past 20 years Toby has worked as a professional guitarist, programmer and producer. Clients include Sir Paul McCartney, George Michael, Shirley Bassey, Yusuf Islam, Giles Martin as well as the London 2012 Olympic Ceremonies. He has also worked extensively in TV, Advertising and Film. As well as composing himself he has also ... Read More


That's pretty sweet! Thanks for taking the time to show us this and sharing your techniques!

Thank U Toby...Way 2 Go!!
Hello !!! I know this is from 2011 but ... can't figure out how to do this :(
I've done 20 times exactly what its said on this tutorial but I've absolutely not the same sound at the end

Maybe someone can help me? does there is some stuff not explained here? or maybe with an update this tutorial is not functional anymore?

thanks if someone see this :)

Want to join the discussion?

Create an account or login to get started!