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344 Chapter 23 Ultrabeat
4 Make the settings shown in the following graphic to the filter section: Filter type = LP
24, Cutoff value = 0.10, Mod Source for Cut = Env 3, Mod Amount for Cut = 0.60,
Resonance = 0.30.
5 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.
6 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
set, 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 our example is
beginning to head in the direction of a TR-909.
More Kick…
To get even closer to the 909, we recommend 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.)