Erica Synths

FM VERDICT
9.1
A powerful sequencer
and plenty of unique
features make this much
more than just another
Bassline-clone
DRIVE: Blends the raw signal with the
overdriven one, great for adding extra
harmonic weight .
FM LVL: Driven by the LFO, this can
do everything from subtle pitch drift
to audio-rate pitch modulation .
SEQUENCER: The 16-step sequencer
can program accents, slides, cutoff
modulation and pitch envelopes .
FILTER: Like the fi lter in Erica’s
Acidbox, this is Polivoks-inspired with
both low-pass and band-pass modes .
example, program a modulated
cutoff pattern, while also slowly
modulating the overall cutoff level
with the LFO, or manually. An
overall modulation depth rotary
affects the cutoff modulation
coming from all sources.
The sequencer also features an
arpeggiator, with options to adjust
the pattern, range gate length and
direction of arpeggios. What’s
particularly cool about it is the
ability to program arpeggios within
a sequence, ie engage the
arpeggiator for a few steps on top of
a pre-programmed pattern. This is a
really nice little tool for adding
complexity to riffs and basslines. It
also has a secondary Step Roll
feature whereby users can repeat
selected steps within a sequences
as the pattern plays back, which is
a nice little performance tool.
The DB-01 has a selection of
scales onboard, allowing users to
create patterns around one of eight
preset scale types. There are also
16 user scale slots for defi ning your
own scales, which can be
programmed with microtonal scales
removed from the usual chromatic
scale. A transpose function allows
users to change the root pitch of
sequences on the fl y too.
Randomisation
The fi nal tool in the sequencing
arsenal is a well-equipped
randomisation tool. This allows
users to randomise elements of
their pattern based around set
conditions – ie, just note, just
modulation – and, in some cases
within a preset range. It’s another
string to the DB-01’s bow that
makes it a deceptively deep and
fl exible creative tool.
Hardware-wise, along with its
primary ¼ inch audio output, the
DB-01 has multiple CV ins and
outs. There are inputs for pitch,
gate, modulation and clock, as well
as outputs from the clock and
sequencer pitch/gate. There are
also standard MIDI in and out ports
rounding things off.
Overall, the Bassline DB-01 is
an excellent little bass machine
that more than lives up to our
expectations. Sound engine-wise,
the marriage of analogue oscillators,
Polivoks fi lter and gritty detune and
drive make this an absolute beast
when it comes to full, gritty bass
and lead sounds. If we’re being
picky there are a few minor gripes:
for one thing, the master volume is
hidden in the settings menu, which
is a bit fi ddly, particularly since the
drive and resonance can make
levels ramp up pretty quickly. I
would have liked to be able to set
different sequence lengths for the
note and modulation tracks too, to
achieve polyphonic fi lter movement.
As it stands, the Last Step tool lets
users change sequence lengths on
the fl y, but the modulation and note
track lengths are always linked.
Finally, it’s a bit of a shame there’s
no audio input included too, since
it would really add to the
instrument’s appeal if you could run
external sounds through that
excellent fi lter and drive circuit.
These are pretty minor
complaints and feature requests
though, none of which detract from
the fact that this is one of the best
specialist bass synths going. It
doesn’t come cheap, relatively
speaking, but the deceptively deep
sequencer and top-notch sound
should more than justify the
purchase for you.
example, program a modulated
cutoff pattern, while also slowly
modulating the overall cutoff level
with the LFO, or manually. An
overall modulation depth rotary
affects the cutoff modulation
coming from all sources.
The sequencer also features an
arpeggiator, with options to adjust
the pattern, range gate length and
direction of arpeggios. What’s
particularly cool about it is the
ability to program arpeggios within
a sequence, ie engage the
arpeggiator for a few steps on top of
a pre-programmed pattern. This is a
really nice little tool for adding
complexity to riffs and basslines. It
also has a secondary Step Roll
feature whereby users can repeat
selected steps within a sequences
as the pattern plays back, which is
a nice little performance tool.
scales onboard, allowing users to
create patterns around one of eight
preset scale types. There are also
16 user scale slots for defi ning your
own scales, which can be
programmed with microtonal scales
removed from the usual chromatic
scale. A transpose function allows
users to change the root pitch of
sequences on the fl y too.
Randomisation
The fi nal tool in the sequencing
arsenal is a well-equipped
randomisation tool. This allows
users to randomise elements of
FM
VERDICT
DRIVE:
Blends the raw signal with the
overdriven one, great for adding extra
harmonic weight
.
FM LVL:
Driven by the LFO, this can
do everything from subtle pitch drift
to audio-rate pitch modulation .
SEQUENCER:
The 16-step sequencer
can program accents, slides, cutoff
modulation and pitch envelopes .
FILTER:
Like the fi lter in Erica’s
Acidbox, this is Polivoks-inspired with
both low-pass and band-pass modes .
users to randomise elements of
their pattern based around set
conditions – ie, just note, just
modulation – and, in some cases
within a preset range. It’s another
string to the DB-01’s bow that
makes it a deceptively deep and
fl exible creative tool.
Hardware-wise, along with its
primary ¼ inch audio output, the
DB-01 has multiple CV ins and
outs. There are inputs for pitch,
gate, modulation and clock, as well
as outputs from the clock and
picky there are a few minor gripes:
for one thing, the master volume is
hidden in the settings menu, which
no audio input included too, since
it would really add to the
instrument’s appeal if you could run
arpeggiator for a few steps on top of
a pre-programmed pattern. This is a
really nice little tool for adding
complexity to riffs and basslines. It
also has a secondary Step Roll
feature whereby users can repeat
selected steps within a sequences
as the pattern plays back, which is
a nice little performance tool.
The DB-01 has a selection of
scales onboard, allowing users to
create patterns around one of eight
preset scale types. There are also
16 user scale slots for defi ning your
own scales, which can be
programmed with microtonal scales
removed from the usual chromatic
scale. A transpose function allows
users to change the root pitch of
sequences on the fl y too.
Randomisation
The fi nal tool in the sequencing
arsenal is a well-equipped
randomisation tool. This allows
users to randomise elements of
DRIVE:
Blends the raw signal with the
FM LVL:
Driven by the LFO, this can
SEQUENCER:
The 16-step sequencer
FILTER:
Like the fi lter in Erica’s
Erica Synths Bassline DB-01 | Reviews
71
FMU359.rev_erica.indd 71 13/06/2020 13:51