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Chapter 14 Ultrabeat 384
9 You may also choose to control the lter 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 lter resonance).
Note: The bass drum described in the above example is listed as Kick 2 in the Tutorial Kit, at a
pitch of C#1. It also features an interesting EQ setting, as described in “Add body and bite to your
kick drum”.
Add body and bite to your kick drum
Do any of the following:
m Add some bass to your sound:
Use the Kick 2 ltered 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.
m Enhance the attack transients of your sound:
To get even closer to the TR-909, use an EQ setting as shown in the following gure. Note that
the low frequency pressure point around 60 Hz (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.)
m Use envelopes to change the color of your sound:
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 dierent envelopes to familiarize yourself with the sound-
shaping options available. Start with the decay phase of Env 4, which controls both the volume
of oscillator 1 and lter resonance, and observe how reshaping the belly of the envelope can
change the character of the sound from crisp and short to round and full.