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Chapter 24 Ultrabeat 399
4 Set the attack time of Env 3 to zero. Use the Decay time of Env 3 to shape the sound of
the filtered bass drum.
5 You may also choose to control the filter resonance with an envelope. Make sure you
dedicate a single envelope to this function (in this case, use Env 2 as a Mod source for
Res). Choose a Mod amount for Res of about 0.80. Select a longer decay time in Env 2
than in Env 3 and listen carefully to the fatter and more atonal bass drum sound
achieved through this Res modulation (due to the higher filter resonance).
Note: The bass drum described in the above example is called Kick 2 in the Tutorial Kit,
at a pitch of C#1. It also features an interesting EQ setting (see paragraph below).
More Bass …
Use the Kick 2 filtered bass drum sound as a starting point, and try out the remaining
parameters in the phase oscillator. You will discover that high saturation values make
the sound rounder and add more bass, for example. The character of the example is
beginning to head in the direction of a TR-909.
More Kick …
To get even closer to the 909, use an EQ setting as shown in the following graphic.
Note the low frequency pressure point around 60 Hz (which can be seen in the red
area on the EQ graph) as well as the assertive punch or kick (the blue area starting at
460 Hz and up) of a 909 bass drum are strengthened. (This EQ setting is already part of
the Kick 2 setting.)
More Contour …
In the example, all four envelopes are being used. Take some time to play with the
shapes of the envelopes, while maintaining the attack and decay settings. Experiment
with the junction points of the decay phase in the different envelopes to familiarize
yourself with the sound shaping options available. Start with the decay phase of Env 4
(which controls the volume of Oscillator 1 as well as filter resonance) and observe how
reshaping the belly of the envelope can change the character of the sound from crisp
and short to round and voluminous.