- #Acid music studio 10 finding bpm how to#
- #Acid music studio 10 finding bpm mod#
- #Acid music studio 10 finding bpm full#
As you’ll see the Softube Focusing Equalizer has built in saturation but if you’re using a separate saturation plug in, put it before the EQ in your FX chain and apply a similar amount or more should you wish. Let’s first drive the low end as we want the ABL2 to be present as our main bassline and for that we’re going to need to give it some more weight. We’ve turned the saturation dial almost a quarter clockwise and set the LOW CUT to about 85Hz while boosting the LOW GAIN. Just play around with the EQ settings in the same way we have. We’ve chosen the Softube Focusing Equalizer but you can use anything. To do so, load up an EQ to push some of the juicier frequency bands.
We want to accentuate these modulations as much as possible. Now we have the filter modulations we’re well on our way to the classic squelchy TB-303 sound that we are looking for. Not everyone can deliver the perfect take! CUTOFF modulation RESON modulation Step 3: EQ & Saturation For example, we’ve made a performance recording of the CUTOFF and RESON and slightly tweaked using our mouse afterwards. You can also combine both techniques by recording a jam, and editing or looping the recorded envelopes in the editor afterwards. However, in case you don’t have a midi controller to hand you can use the Envelope section in the midi editor within Live to manually alter your filter movements.
You can use any midi controller with rotaries to control the ABL2 by hand. This is preferably done hands-on in real time by playing the sequence, either from the actual machine or from within Live, and afterwards adjusting the parameters for the desired effect. The TB-303 has only a few parameters to play around with, but by modulating them you can create a large variety of sounds with signifiant movement into an otherwise lifeless sequence. ABL2 settings tweaked Step 2: Filter Modulation
#Acid music studio 10 finding bpm mod#
To do so, we’ve increased the DISTORT, CUTOFF, RESON and ENV MOD by turning them all clockwise to taste. This way you can always return to your starting point! Top Tip: Take a screen-shot of your initial setting, as you are likely to heavily tweak this patch. Īt this point, the bassline sounds flat and dull. To inject some much needed life, we’re going to play around with the ABL2 settings prior to any external processing. We’ve kept things simple yet effective with the below pattern and the neutral/factory settings on the ABL.
#Acid music studio 10 finding bpm full#
The sawtooth has a thinner and more aggressive tone in comparison to the more full bodied square wave, so we will use the sawtooth for this patch. Like the original TB-303, the ABL2 has a single oscillator with either a sawtooth or square wave. This allows us to create our own midi pattern in Live’s piano roll where each midi note triggers one note as opposed to PATTERN where every midi note will trigger a pre-programmed factory pattern in the ABL. You can closely replicate this tutorial using any DAW or plugin.
#Acid music studio 10 finding bpm how to#
In this tutorial we’re going to show how to make an Acid House bassline using the AudioRealism ABL2 a popular TB-303 emulation. Unfortunately, “Ten Ragas to a Disco Beat” had only a minor impact on the development of electronic music at the time and it was when Phuture’s “Acid Trax “ was released in 1987 that the worldwide spread of Acid House took hold. His album Ten Ragas to a Disco Beat was the result of various experimentations with the unit and is now widely recognised as possibly the first album featuring Acid basslines.
However, for many Acid had already been debuted several years prior, when Indian musician Charanjit Singh recognised the instrument’s untapped and unintended potential to create liquid basslines. After playing around with the unit for a few years, many attribute their release “Acid Trax” in 1987 as the first Acid House release. However, the instrument had a second life when a group of electronic musicians from Chicago known as Phuture picked up a cheap TB-303 and explored its full liquid potential. Oscar Peterson on the Roland PianoPlus accompanied by a Roland TR-606 and TB-303