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00:00 - 0:00:22 The rehearsal podcast. At the cozy talk in the rehearsal room. With our moderators Mr. Raumwelle,
0:00:22 – 0:00:26 Tobi and Mr. Emergency Strom.
0:00:26 – 0:00:29 Have fun!
0:00:29 – 0:00:48 Hello and welcome to a new edition of the Prober podcast.
0:00:48 – 0:00:53 Moment, moment, moment, not so fast. This is a bonus sequence. Why?
0:00:53 – 0:01:00 909 isn't working now. You can say it. 909 divided by 3.
0:01:00 – 0:01:01 303.
0:01:01 – 0:01:13 Yes, we don't have today, we don't have today, we don't have tomorrow, but we have today, so it's a bonus sequence,
0:01:13 – 0:01:24 because uncut, unfiltered, except for the small, nasty bathrobe words that we have to filter out,
0:01:24 – 0:01:35 In fact, today we have the third of March, no, second of March, the 2.03.
0:01:35 – 0:01:43 again a party, then to introduce devices from Roland, as well as at
0:01:43 – 0:01:54 our No Oh No Bonus is today just a special a special date at the stop to
0:01:54 – 0:02:04 Honor the Roland TB-303. This is the Roland Transistorbass 303. Why is this thing called that?
0:02:04 – 0:02:10 I used to wonder why TB and then somewhere transistor bass, yeah okay,
0:02:10 – 0:02:17 But if you look at the circuit, you understand that. It is an
0:02:17 – 0:02:23 A very special transistor. Yes, exactly, a Japan component. Now very difficult to
0:02:23 – 0:02:31 to get, if at all. Which transistor is that? You know that? I know it because
0:02:31 – 0:02:37 It's not. I don't know how to find it, no. I once built a clone like this.
0:02:37 – 0:02:53 Do-it-yourself kit. That was the beginning of the 2000s. But I actually
0:02:53 – 0:02:58 actually ordered parts from Japan to recreate the stop, but actually got it
0:02:58 – 0:03:05 then somehow manage that the board was then half soldered and then … yes.
0:03:05 – 0:03:20 So the original is supposed to be a BA662 … oh, sort of like that. But in all the replicas,
0:03:20 – 0:03:36 Yes, two SC2291, 1583 or 536F and a few other consorts represented.
0:03:36 – 0:03:41 Yeah, so that's just for the freaks now.
0:03:41 – 0:03:46 Yes, there are numerous replicas, but let's start again.
0:03:46 – 0:03:47 So, when did this thing come out?
0:03:47 – 0:04:05 Roland put the device on the market in 1981, as a kind of cheap option for bassists, nonsense, for guitarists, yes …
0:04:05 – 0:04:06 Having an accompaniment.
0:04:06 – 0:04:12 An accompanying bassist, an e-bassist for bands.
0:04:12 – 0:04:21 And had been put on the market for solo guitarists because they thought,
0:04:21 – 0:04:24 Yeah, okay, if there's someone like that, he wants a cheap one.
0:04:24 – 0:04:29 If he is a solo guitarist, he might want a cheap bass accompaniment.
0:04:29 – 0:04:34 And that's why it has a sequencer on board.
0:04:34 – 0:04:43 already a small silver plastic box with relatively few controllers. Sounds like if you
0:04:43 – 0:04:50 Which would be used as a bass synthesizer, for guitar accompaniment pretty shit.
0:04:50 – 0:04:52 Totally unspectacular.
0:04:52 – 0:04:59 Very unnatural and halt, yes, so not particularly. As I said, the sequencer.
0:04:59 – 0:05:05 who is there with you, you also notice that the so bass guitar-like stop somehow
0:05:05 – 0:05:15 It was designed and it's just shit to program, you have to say quite clearly.
0:05:15 – 0:05:16 It's terrible.
0:05:16 – 0:05:26 Why is this thing so iconic? Why does it cost on eBay, why does it really cost?
0:05:26 – 0:05:34 Poorly processed plastic box, so 2, 3, 4,000 euros?
0:05:34 – 0:05:43 That's a good question. So if you consider that the thing was then at the import price of 700
0:05:43 – 0:05:49 and a few capers came to the market, and not … ne, the market at all. Dollars were
0:05:49 – 0:05:56 like almost 400 and didn't sell at all and I think that was the point,
0:05:56 – 0:06:02 It was in the shops for a while. You're right, $395 and $730.
0:06:02 – 0:06:09 D-Mark. And the thing stood around in the shops for a while and became cheaper and cheaper and
0:06:09 – 0:06:17 and cheaper and nobody wanted to have it, until then, yes, in Chicago house musicians,
0:06:17 – 0:06:23 DJs came up with the idea because the thing was super cheap to use.
0:06:23 – 0:06:34 1985 in a Chicago-based musician, DJ Pierre, of the group Future, namely Nathan Jones,
0:06:34 – 0:06:41 Somehow a TB-303 from the "Thrift Store", as it is called in America,
0:06:41 – 0:06:52 Such a pawn, such a pawn, such a box for little money and has brought it with you.
0:06:52 – 0:07:01 extreme settings, i.e. what was intended completely contrary to the original purpose,
0:07:01 – 0:07:07 has stopped from this device, because Roland was very generous with the parameter spread,
0:07:07 – 0:07:17 This is where new, very futuristic-looking screeching chirping and blubbering sounds come out.
0:07:17 – 0:07:25 This is also due to the filter. It's fucking steep. I think
0:07:25 – 0:07:33 It has 18 or 24 dB. Yeah, I just got a little take I took,
0:07:33 – 0:07:38 Which you can kindly replay right away, where we'll have a few
0:07:38 – 0:07:42 Audio examples have what the thing sounds like at all, what we mean by screaming and bubbling
0:07:42 – 0:07:50 and so on. Then I told you that the thing had 24 dB filter. This is computationally pro
0:07:50 – 0:07:56 Prooktave 24 dB, slope, steepness, lowpass filter.
0:07:56 – 0:07:58 Nominally, it is 18 dB.
0:07:58 – 0:08:06 Exactly. And what's even more special is that it only has two waveforms that the oscillator spits out.
0:08:06 – 0:08:09 Yeah, that's a... you don't need it for bass, right?
0:08:09 – 0:08:13 No, either a rectangle or hold a sawtooth.
0:08:18 – 0:08:24 If we want the audio example of me with VoiceOver, do we want to record it?
0:08:24 – 0:08:24 Yes, yes.
0:08:24 – 0:08:30 And then maybe we can talk about other devices afterwards,
0:08:30 – 0:08:37 who are talking about clones and how to get to such a TB-303
0:08:37 – 0:08:42 and then we can also provide a bit of, yes, musical context,
0:08:42 – 0:08:45 What we both did there.
0:08:45 – 0:08:45 Exactly.
0:08:45 – 0:08:48 Tobi was there too, he did a little tinkering, didn't he?
0:08:48 – 0:08:49 Yeah, but he didn't submit anything.
0:08:49 – 0:08:50 Didn't he?
0:08:50 – 0:08:51 I have nothing in my hand.
0:08:51 – 0:08:52 That's not, is it?
0:08:52 – 0:08:53 Yeah, yeah, okay.
0:08:53 – 0:08:54 All right.
0:08:54 – 0:08:55 Okay, then I'll start your take.
0:08:55 – 0:08:56 Yes, thank you, thank you.
0:08:56 – 0:08:59 For a pleasant twelve minutes.
0:08:59 – 0:09:14 So what you hear here so boringly so well, that's from D16, a Polish company that
0:09:14 – 0:09:24 the Fosikion 2. I can't even pronounce the name. So a 303 emulation, a plug-in,
0:09:24 – 0:09:32 Which is very good. You hear it, it just sounds kind of bassy, but just so boring
0:09:32 – 0:09:40 so good. It's a classic sawtooth. I have an innocence here. Classic sawtooth.
0:09:40 – 0:09:49 It is, so to speak, set to zero. If we play a little bit of the functions now, I can
0:09:49 – 0:09:56 Let's talk about how an A303 works. This is a very simple synthesizer. An oscillator
0:09:56 – 0:10:04 It has only two waveforms. Once a sawtooth, what you are currently hearing here, and a rectangle.
0:10:04 – 0:10:13 Then there is a 24 dB filter and it is not as popularly claimed an 18 dB filter.
0:10:13 – 0:10:15 It is a 24 dB low pass filter.
0:10:15 – 0:10:23 Then there is an Accent function to stop at the sequencer certain notes especially
0:10:23 – 0:10:24 to emphasize.
0:10:24 – 0:10:26 We will demonstrate that again in a moment.
0:10:26 – 0:10:34 There is no LFO, there is no distortion unit, there are no effects, there is no
0:10:34 – 0:10:41 Feedback. There is basically only the sequencer as a modulation sequencer,
0:10:41 – 0:10:48 where you can put these accents or the so-called slides. This means:
0:10:48 – 0:10:59 From one note to another, this pitch up, pitch down. Yes, that's it
0:10:59 – 0:11:06 Really? All the plugins that are available on the market, here is the D-16 from
0:11:06 – 0:11:15 Vrosecon is just one example. There is also the plugin from Artoria, what is the name of it?
0:11:15 – 0:11:27 Is it Acid V2? Acid V is that. The Acid V, that offers even more than the thing here by
0:11:27 – 0:11:36 D16, but that's it. Software plugin Roland TB-303 is mainly
0:11:36 – 0:11:44 In the early, late 90's, early 2000's the company Propellerheads was at the start with their
0:11:44 – 0:11:53 with his rebirth. That was two TB-303s, one 808, one 909. It almost triggered the boom.
0:11:53 – 0:12:02 I will briefly demonstrate the individual synthesis functions. So it's not really
0:12:02 – 0:12:06 Not much of it. So here you hear the boring sawtooth. I now the
0:12:06 – 0:12:21 Cutoff turn up a bit, then you also hear the bass. That was it. I'll leave the cutoff
0:12:21 – 0:12:34 Let's go to 50%, let's go to Resonance. You realize it's thinning out. The bass, it gets less
0:12:34 – 0:12:40 bassy, but more as it is so beautiful called "squelchy", so more so circling.
0:12:40 – 0:12:46 So, if I go from the 50 percent again to 100, then you also hear
0:12:46 – 0:12:51 The typical 303 Cretan.
0:12:51 – 0:13:12 Let's go back to 50. What does rectangle sound like? I'll turn down resonance.
0:13:12 – 0:13:24 Is a bit bassier, but a bit more in the overtones, but so central is a bit
0:13:24 – 0:13:30 less. So it sounds a bit hollow, the whole thing. Here, too, I only shoot at the cutoff for the first time.
0:13:30 – 0:13:50 So very boring, good for a guitar player as an accompaniment. Now I turn the resonance full
0:13:50 – 0:13:57 open. Again, the low frequencies go away, are thinned out by the resonance.
0:13:57 – 0:14:05 That's a little shrieking, a little hollow. Now for the cutoff.
0:14:05 – 0:14:20 Here you already have the typical sound.
0:14:20 – 0:14:32 Now, if we're working with Slides and Accent, I'll put these in the sequencer.
0:14:32 – 0:14:54 There's a little bit more acid feeling. We still have the
0:14:54 – 0:15:01 the rectangle have resonance fully turned on, Accent is set, Slide is set.
0:15:01 – 0:15:05 I'm going to do a little bit of the cutoff and I think I'm going to do a little bit of it.
0:15:05 – 0:15:07 More acid feeling.
0:15:07 – 0:15:32 [Music]
0:15:32 – 0:15:38 Back to 50 percent, I turn down resonance again.
0:15:38 – 0:15:46 Accent can also be adjusted in volume, you can hear here also fully turned up.
0:15:46 – 0:15:51 Can you dose a little less, uh, dose a little more.
0:15:58 – 0:16:02 And it is modulation through the hollow curve.
0:16:02 – 0:16:08 And the slide time.
0:16:08 – 0:16:21 A little more cutoff.
0:16:26 – 0:16:28 More resonance.
0:16:28 – 0:16:50 What many AcidX like to do,
0:16:50 – 0:16:54 is that they simply switch effect devices behind it.
0:16:54 – 0:16:58 We can do that here.
0:16:58 – 0:17:02 We can be here... what is it?
0:17:02 – 0:17:06 What is it?
0:17:06 – 0:17:10 Let's just put a delay behind it.
0:17:10 – 0:17:22 Actively switch. Now!
0:17:22 – 0:17:35 As a result, polyrhythmic effects come into play, which of course also becomes dramatic.
0:17:35 – 0:17:39 It works if you work with Accent a little bit more.
0:17:39 – 0:17:42 [Music]
0:17:42 – 0:17:48 [Music]
0:17:48 – 0:17:54 [Music]
0:17:54 – 0:18:00 [Music]
0:18:00 – 0:18:07 [Music]
0:18:07 – 0:18:23 Yes, what many acts do is simply add a distortion to it.
0:18:23 – 0:18:28 There are a lot of different distortions, or not just distortions.
0:18:28 – 0:18:34 What are the names of the others? Well, hold on to what you use to destroy guitars and sound,
0:18:34 – 0:18:39 This can also be used for a 3in3. That sounds like it, too. Attention!
0:18:39 – 0:19:01 [Music]
0:19:01 – 0:19:04 So you can then use the thinned out bass sound
0:19:04 – 0:19:07 Give a little more glory again
0:19:07 – 0:19:13 through distortion and when we now go into self-oscillation with resonance,
0:19:13 – 0:19:19 that's just this screeching acid effect, then you hear it again more clearly.
0:19:19 – 0:19:22 [Music]
0:19:22 – 0:19:28 [Music]
0:19:28 – 0:19:34 [Music]
0:19:34 – 0:19:40 [Music]
0:19:40 – 0:19:47 [Music]
0:19:47 – 0:20:07 [Music]
0:20:07 – 0:20:11 Yes, I actually got it for the 303
0:20:11 – 0:20:13 Not to say.
0:20:13 – 0:20:15 This is so in principle
0:20:15 – 0:20:22 That's what the asset sound is, that's what the 303 sound is.
0:20:22 – 0:20:31 You can also work with other effects, with Bit Reducer, Sample Reducer or other effects.
0:20:31 – 0:20:37 And you can also use other synthesizers, if you look at this simple formula from an oscillator,
0:20:37 – 0:20:48 Segezahn or rectangle, 24 dB filter, simple hollow curve and then with the hollow curves settings
0:20:48 – 0:20:56 playing around and also with the, maybe with a distortion unit behind it and a bit
0:20:56 – 0:21:04 In principle, you can build 303-like sounds with any synthesizer.
0:21:04 – 0:21:33 [Music]
0:21:33 – 0:21:37 That's it. For the first time as a sound example.
0:21:37 – 0:21:46 Yes, the part that actually lives mainly on its modulation effects.
0:21:46 – 0:21:51 From the slides, from the accent, from the height curves that are triggered there.
0:21:51 – 0:21:53 And the movement, huh?
0:21:53 – 0:21:54 Yeah, that's right.
0:21:54 – 0:21:58 So, verbatim. You have to, in order to get horny effects,
0:21:58 – 0:22:03 This is what makes an asset an asset.
0:22:03 – 0:22:09 Rotate the cutoff and resonance with both hands
0:22:09 – 0:22:13 In the meantime, catch a few others with it.
0:22:13 – 0:22:16 Thank goodness we have software synthesizers,
0:22:16 – 0:22:19 And that brings us to all the alternatives.
0:22:19 – 0:22:22 Thank goodness we have software synthesizers where you can automate that.
0:22:22 – 0:22:29 Well now, for example, this Acid V of Arturia, which I had called, has a lot to offer.
0:22:29 – 0:22:31 Automation has many effects.
0:22:31 – 0:22:40 Sounds a bit like the stubborn sister of the D-16 Phosikon, but I can call the name
0:22:40 – 0:22:41 Still not speaking out.
0:22:41 – 0:22:47 So D-16, Polish company, they just have a software version, software emulation of the
0:22:47 – 0:22:53 303 Arturia, has the asset V as 303 emulation. Both sound very good, I can, both,
0:22:53 – 0:22:57 We recommend it to ourselves. There's a third one. What's their name? I forgot.
0:22:57 – 0:23:07 Oh my God, I've written them all into a blog post. But I had
0:23:07 – 0:23:08 That made the days.
0:23:08 – 0:23:16 The dear listener, read the blog article of the Sascha, of the Mr. Raumwelle. It should almost
0:23:16 – 0:23:22 be published here at the same time as this episode. URL?
0:23:22 – 0:23:27 Is linked in the showfeeds, in the shownotes.
0:23:27 – 0:23:32 Very good. Exactly. What are the hardware-technical alternatives?
0:23:32 – 0:23:33 What comes to mind so spontaneously?
0:23:33 – 0:23:43 So I have the MB-33 MK2 from MAN myself.
0:23:43 – 0:23:46 It's not a sequencer, is it?
0:23:46 – 0:23:49 Yeah, that's just a 19-inch device.
0:23:49 – 0:23:52 It's here again, or it's been there recently as a new edition.
0:23:52 – 0:23:56 I thought it was MB, written together.
0:23:56 – 0:23:59 For the others, there was almost a drop in the line between them.
0:23:59 – 0:24:01 between the 33 and the MB.
0:24:01 – 0:24:04 That was kind of a table-top device,
0:24:04 – 0:24:07 What you served from above.
0:24:07 – 0:24:12 I think they bought it for $120, didn't they?
0:24:12 – 0:24:14 That thing was improbably cheap.
0:24:14 – 0:24:18 Then there's...
0:24:18 – 0:24:25 There are some hardware things you can buy right now.
0:24:25 – 0:24:27 Now you can even... No, it is no longer available.
0:24:27 – 0:24:31 The MAM Systems MB-33 Retro is no longer available.
0:24:31 – 0:24:34 It's a pity. So it sounds very good.
0:24:34 – 0:24:37 I once had the predecessor, the MK1 version.
0:24:37 – 0:24:39 It sounded very fat.
0:24:39 – 0:24:41 I liked that thing.
0:24:41 – 0:24:44 I sold it at some point because of a lack of sequencers.
0:24:44 – 0:24:46 You have to have a decent sequencer.
0:24:46 – 0:24:51 Yes, then there is the ML303 from Asset Code.
0:24:51 – 0:25:01 Then from, I don't know how to pronounce this, X0XBX0.
0:25:01 – 0:25:03 The socks box, you mean?
0:25:03 – 0:25:09 The socks box, the unofficial replica, exactly, it is also available from various manufacturers.
0:25:09 – 0:25:15 That's, it's not an open source, but there are a lot of companies that use the socks box.
0:25:15 – 0:25:19 They have built several, only they have the MRI-Lessenz, exactly.
0:25:19 – 0:25:20 Yeah, that's right.
0:25:20 – 0:25:22 There are some.
0:25:22 – 0:25:25 Then from Behringer the TD3.
0:25:25 – 0:25:33 Exactly, that would be so hardware-technically the cheapest, the Behringer TD3.
0:25:33 – 0:25:40 Analog Logic or something like that, TT-303?
0:25:40 – 0:25:48 Cyclonic. TT-33 you mean, right?
0:25:48 – 0:25:49 Yeah, kind of like that.
0:25:49 – 0:25:54 This French manufacturer, and then the replica looks like a lunch box.
0:25:54 – 0:26:00 They did this for licensing reasons, because they had a kind of like Behringer.
0:26:00 – 0:26:05 such a format chosen as a case and then Roland intervened, said so "ne,
0:26:05 – 0:26:10 No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, He has a very good
0:26:10 – 0:26:17 Sequencer, which is different from the original, so better, easier to use, also has a
0:26:17 – 0:26:23 Good sound, is a bit more expensive than the Behringer. AssetLab has a baseline.
0:26:23 – 0:26:26 Yeah, but I don't think it's made anymore, do I?
0:26:26 – 0:26:32 I don't think so, no. But I don't know either.
0:26:32 – 0:26:41 And Roland, there's not even one, not two, no, three issues in one
0:26:41 – 0:26:46 modern digital form, i.e. digital is now a hardware form.
0:26:46 – 0:27:01 First was the Roland TB-3. This is from the Aira series with this green-black case,
0:27:01 – 0:27:11 with touch surface. Not only does it have the TB-303 sounds in it, it also has a few more.
0:27:11 – 0:27:19 more sounds, has an interesting sequencer, which with the touch surface, yes, okay, is just colorful,
0:27:19 – 0:27:31 is often used by, meanwhile very much, by the audio fungus, in all its small
0:27:31 – 0:27:36 Demo tracks. So he always has it at the start, somehow, so in every episode.
0:27:36 – 0:27:39 Yes, very often, yes.
0:27:39 – 0:27:45 I don't even know when this thing came out, this is one of the first Aira devices
0:27:45 – 0:27:52 I think it was in the 10's, 2010's, 2015's, somehow.
0:27:52 – 0:27:54 It's all about the shoot, or 2018.
0:27:54 – 0:28:03 Then they came out with the Roland TB 03.
0:28:03 – 0:28:14 This is, so to speak, the shrunken version as a boutique edition of the 303. She is also in
0:28:14 – 0:28:21 Silver and looks very similar, has more or less everything identical, but additionally has the
0:28:21 – 0:28:31 Possibility with an effect unit, with distortion and a delay, which can also be switched
0:28:31 – 0:28:36 Activate a reverb. It should also be noted that some of your
0:28:36 – 0:28:42 Hardware replicas stop here and there an effect has been built in or an extension
0:28:42 – 0:28:50 the sound processing possibilities. And to Behringer you have to say, now that you say,
0:28:50 – 0:28:58 several possibilities and sound processing. There is a modification, the original TB-303,
0:28:58 – 0:29:07 It's called Devilfish. Major changes were made by a small company.
0:29:07 – 0:29:17 in America. They took the TB-303 and modified it. It also means circuit.
0:29:17 – 0:29:22 Bending. We could do our own show about it, you know, about the subject.
0:29:22 – 0:29:26 You could do that.
0:29:26 – 0:29:32 This is an issue we haven't touched upon yet, in all of our aftermath.
0:29:32 – 0:29:34 No, not at all.
0:29:34 – 0:29:40 That people take musical instruments and change them themselves, much like some people do with their guitars.
0:29:40 – 0:29:44 The same goes for synthesizers, of course.
0:29:44 – 0:29:48 Incorporate extra functions or extend existing functions.
0:29:48 – 0:29:52 this small company in the USA, such a one-man-clit, they stopped it,
0:29:52 – 0:30:01 or the, and have extended the TB-303, distortion and so on, and parameter changes,
0:30:01 – 0:30:08 Other transistors, that sounds a bit different. And what happened?
0:30:08 – 0:30:16 Behringer has not only cloned those with the TB-303, no, they also have successors
0:30:16 – 0:30:24 brought out. An extended version, that's the, help me, TB3MO.
0:30:24 – 0:30:27 MO, exactly, big M, small O.
0:30:27 – 0:30:34 Meaning, translated, stands for "Modded Out". So they tried to make all the changes,
0:30:34 – 0:30:38 who are in this Devilfish expansion, they have quasi tried to
0:30:38 – 0:30:44 cloning industrially. So a clone of the modding story and then have that
0:30:44 – 0:30:49 It's in your TB-303 clone.
0:30:49 – 0:30:58 Yes, the whole thing finds its crowning conclusion in the last product,
0:30:58 – 0:31:01 what I think only came to market two years ago,
0:31:01 – 0:31:09 by Roland, also digitally reproduced, in the form of the Roland T8.
0:31:09 – 0:31:19 This is such a small bread can of large handheld, synthesizer with built-in battery, where besides a
0:31:19 – 0:31:29 couple of 808, 909 and 606 sounds, four-voice I think the drum computer that is in it also stops
0:31:29 – 0:31:37 TB-303 as a digital emulation. You almost have the sound generation
0:31:37 – 0:31:43 Taken from the TB-03, she then scaled it down again and put it there in this small
0:31:43 – 0:31:47 Roland T8 with built-in. And this thing chirps neatly.
0:31:47 – 0:31:53 Yeah, I never had it. The concept has always reminded me a bit of
0:31:53 – 0:32:03 Propellerheads, Rebeat. There was also an 808, a 909 and twice a 303.
0:32:03 – 0:32:06 Exactly, you could say the T8 is the single release from the LP.
0:32:06 – 0:32:18 Yes, with touch, not just push virtual buttons and screwdrivers.
0:32:18 – 0:32:28 I think you like to use the TB-303 sounds in your music, don't you? Or have
0:32:28 – 0:32:30 Do you like to use it at least in the past?
0:32:30 – 0:32:45 Yeah, I did a lot of that. As I said, I had the one from MAM and the MB-33MK2 and the thing isn't a 1 to 1 copy of the sound now.
0:32:45 – 0:32:56 It's a bit softer, a bit, yes it's not as snappy as the 303, but it has a wonderful, really bassy sound.
0:32:56 – 0:33:03 with the sub-oscillator they installed, which then stops, I think one or two octaves lower.
0:33:03 – 0:33:14 Then you can adjust them from the sawtooth to the rectangle.
0:33:14 – 0:33:19 You can adjust the pulse width from the rectangle.
0:33:19 – 0:33:27 You can adjust the control voltage needed to build up the vibration,
0:33:27 – 0:33:32 So it's about to collapse. So you can hit exactly the point,
0:33:32 – 0:33:40 And then that sound disappears. So turned a little too far, then you don't have any
0:33:40 – 0:33:45 Sound back a bit more and again, then you're at this point. And then there's
0:33:45 – 0:33:51 A distortion unit that is just a nice cleanse. But that's what stops this thing
0:33:51 – 0:33:59 so versatile that you can handle everything from normal bass runs to asset-typical elements
0:33:59 – 0:34:12 can use. Yes, I can still remember when I heard my first asset track,
0:34:12 – 0:34:17 Back then, back in the 80s.
0:34:17 – 0:34:20 Hamburg cellar with large coblight.
0:34:20 – 0:34:29 In 1989, it wasn't even, I don't even know where exactly I heard it, but in any case, I was totally flashed.
0:34:29 – 0:34:35 I thought, dude, what's that? What kind of sound is that? What is this?
0:34:35 – 0:34:44 That must have been the case with me, around 90, 1990, in Holland on the dune.
0:34:44 – 0:35:01 Then an acquaintance gave me a cassette of a, I think, Amsterdamer, really disco.
0:35:01 – 0:35:03 And there were things like that.
0:35:03 – 0:35:09 And then I listened to that so lying in the dune looking at the starry sky and just thought grad,
0:35:09 – 0:35:11 What kind of shit is that?
0:35:11 – 0:35:17 It really burned into my brain, it turned it into a sauce.
0:35:17 – 0:35:21 Yeah, that's kind of special about this machine, isn't it?
0:35:21 – 0:35:26 That this sound that comes out of there, of course, they also worked with effects and so on,
0:35:26 – 0:35:28 We've already done it,
0:35:28 – 0:35:33 But what comes out of it …
0:35:33 – 0:35:41 But it is always only the connection with the 808 or 909 as a drum computer.
0:35:41 – 0:35:49 And then stop this extremely monotonous, because great, so if you don't change the patterns like wild,
0:35:49 – 0:35:55 You always have the same sequence of notes over 16 notes.
0:35:55 – 0:35:58 But by turning you into the sprinkler,
0:35:58 – 0:36:02 and then with the reverb and the echo effect,
0:36:02 – 0:36:05 Hall and reverb and delay,
0:36:05 – 0:36:08 That makes it so sweet.
0:36:08 – 0:36:09 Definitely, yes.
0:36:09 – 0:36:10 And I've always said, I think,
0:36:10 – 0:36:12 Listen to music that stops
0:36:12 – 0:36:13 My brain melts,
0:36:13 – 0:36:15 It's a sauce for the brain.
0:36:15 – 0:36:21 Appropriate to this,
0:36:21 – 0:36:23 The cinematic film,
0:36:23 – 0:36:37 There is a movie in which the 303 was used very prominently as, yes, I say as film-accompanying material.
0:36:37 – 0:36:39 Do you know which movie I want to go to?
0:36:39 – 0:36:48 So actually, there's only one horny track and that's in Blade, the Blood Rave.
0:36:48 – 0:36:52 In 1998, there was a horror action film.
0:36:52 – 0:36:59 This is basically a Marvel comic film.
0:36:59 – 0:37:01 It's about Blade.
0:37:01 – 0:37:06 Exactly. And there is the so-called Blood-Scene at the very beginning.
0:37:06 – 0:37:08 With the Blood-Rave.
0:37:08 – 0:37:13 And there's a play being played, which...
0:37:13 – 0:37:18 Wait, does that have a specific name? Is it Blood Rave?
0:37:18 – 0:37:19 Yeah, it's...
0:37:19 – 0:37:20 Is it Blood Rave?
0:37:20 – 0:37:21 No, it's not called Blood Rave.
0:37:21 – 0:37:22 The scene is Blood Rave.
0:37:22 – 0:37:27 Yes, but it's called Blood Rave, so everyone knows right away, it's from the movie.
0:37:27 – 0:37:32 And it's just this scene where they're all dancing and then the blood comes full up.
0:37:32 – 0:37:35 Yeah, that's right.
0:37:35 – 0:37:37 Ah, what's that name?
0:37:37 – 0:37:41 The track is called ….
0:37:41 – 0:37:47 What's his name?
0:37:47 – 0:37:49 We are poorly prepared.
0:37:49 – 0:37:54 We're badly prepared because that's the classic.
0:37:54 – 0:37:57 Is that from New Order?
0:37:57 – 0:38:02 Yes, that's from New Order. That's right. Confusion.
0:38:04 – 0:38:09 Yeah, that's right. Unfortunately, we can not play here at this point.
0:38:09 – 0:38:12 No, I'm using Spotify.
0:38:12 – 0:38:19 Okay, otherwise every listener just throw up his search engine and quickly after
0:38:19 – 0:38:22 Yes, you can find it on soundtrack, BloodRay, you can find it on YouTube.
0:38:22 – 0:38:29 And then turn on really loud and yes, the pasta goes.
0:38:29 – 0:38:36 So the subwoofer must have at least 20 inches and then turn up really nice.
0:38:36 – 0:38:39 But good headphones are also enough.
0:38:39 – 0:38:41 Yeah, but the neighbors have to have some of that, too.
0:38:41 – 0:38:53 Yes, there is otherwise … you can not really say much about this machine.
0:38:53 – 0:38:57 Like I said, it's boring in and of itself.
0:38:57 – 0:39:00 Yeah, actually, it's totally boring.
0:39:00 – 0:39:06 So if you have something like that at home, whether it's software or hardware,
0:39:06 – 0:39:12 and you don't have any effects devices on the back, that's so boring.
0:39:12 – 0:39:16 You've heard it, I mean, it's been very monotonous.
0:39:16 – 0:39:20 But as long as nothing happens and there are no effects devices behind it.
0:39:20 – 0:39:24 Yes, it came to life only at the moment when I had effects in it
0:39:24 – 0:39:28 And then I started to turn a knob, that's what you heard at the end.
0:39:28 – 0:39:32 Not much happened before because it's static.
0:39:32 – 0:39:41 How does it all work in a musical context?
0:39:41 – 0:39:43 We have already given a game tip.
0:39:43 – 0:39:47 What do we want to start with? With mine or yours?
0:39:47 – 0:39:48 Let's start with mine.
0:39:48 – 0:39:50 Okay, let's start with yours.
0:39:50 – 0:39:52 'Cause I think you're getting a little bit more on your ears.
0:39:52 – 0:39:57 Yes, but they are relatively short, they only go for a minute, 10 or 15.
0:39:57 – 0:39:59 But we'll make yours first.
0:39:59 – 0:40:06 Two minutes with me. Let's play in my track so you can hear what you do with several tracks, 303,
0:40:06 – 0:40:18 in this case software plugins and also a Casio VZ from Atohia as a plugin again in it,
0:40:18 – 0:40:25 and from Microtone come the drums, so you can hear what you can do with A303.
0:40:25 – 0:40:27 [Music]
0:40:27 – 0:40:30 [Music]
0:40:30 – 0:40:33 [Music]
0:40:33 – 0:40:39 [Music]
0:40:39 – 0:40:45 [Music]
0:40:45 – 0:40:51 [Music]
0:40:51 – 0:40:57 [Music]
0:40:57 – 0:41:00 [Music]
0:41:00 – 0:41:06 [Music]
0:41:06 – 0:41:12 [Music]
0:41:12 – 0:41:18 [Music]
0:41:18 – 0:41:24 [Music]
0:41:24 – 0:41:27 [Music]
0:41:27 – 0:41:33 [Music]
0:41:33 – 0:41:39 [Music]
0:41:39 – 0:41:45 [Music]
0:41:45 – 0:41:51 [Music]
0:41:51 – 0:42:14 [Music]
0:42:14 – 0:42:34 [Music]
0:42:34 – 0:42:37 Yes, that could have been expanded even further.
0:42:37 – 0:42:39 It should be a demo track.
0:42:39 – 0:42:41 It should be a demo track.
0:42:43 – 0:42:47 It took me three days of work.
0:42:47 – 0:42:54 Yeah, but it's nice and quiet. This reminds me of the times when Rebase, Profilerherz, Rebase
0:42:54 – 0:43:01 And then there was this free community, where people uploaded pieces and you could download them.
0:43:01 – 0:43:04 Then see for yourself how they did it.
0:43:04 – 0:43:08 You have to imagine that, folks, that was the beginning of the Internet.
0:43:08 – 0:43:12 We have only just begun to discover the possibilities of the Internet.
0:43:12 – 0:43:15 It was then that Rebirth came onto the market.
0:43:15 – 0:43:18 And then people started, actually over the internet
0:43:18 – 0:43:25 Exchange sound patches for Rebirth with each other.
0:43:25 – 0:43:29 And Propellerheadz, the manufacturer, of course, offered this as an opportunity to
0:43:29 – 0:43:31 You could do that through your website.
0:43:31 – 0:43:40 You could upload entire tracks and then download them and play them in your software.
0:43:40 – 0:43:41 That's right.
0:43:41 – 0:43:44 And then look at how they did it and what became of it, how it worked.
0:43:44 – 0:43:47 Because that thing had a song mode.
0:43:47 – 0:43:53 And that was right, really smart of Propellerheads to offer that, because a lot of people used that.
0:43:53 – 0:43:58 You did it later in Reason.
0:43:58 – 0:43:59 Yes, yes.
0:43:59 – 0:44:05 Unfortunately, this has all been shut down somehow, but in the early years it was still.
0:44:05 – 0:44:14 Yes and yes, Propellerheadz was, Rebirth was driving-breaking. So good sounding
0:44:14 – 0:44:19 Hopfeld synthesizers did not exist at that time and not so many. That was a small one,
0:44:19 – 0:44:22 It was very innovative and it was a small revolution.
0:44:22 – 0:44:25 First of all, it was self-contained. You were able to complete
0:44:25 – 0:44:30 Make tracks, but then you could do it with the, what's the name of that again with the possibility,
0:44:30 – 0:44:39 who then bring in another DAW, is still there today the possibility,
0:44:39 – 0:44:42 But no one would have to do that anymore. ReWire?
0:44:42 – 0:44:44 Right, with ReWire.
0:44:44 – 0:44:48 With ReWire, you could then circumnavigate the audio output into your DAW.
0:44:48 – 0:44:52 And the sync, so the start button presses that.
0:44:52 – 0:45:00 And then they had later, exactly, in higher versions they had also built in a possibility,
0:45:00 – 0:45:04 That you could build your own samples and your own skins.
0:45:04 – 0:45:06 Yes, there were mod packages as well.
0:45:06 – 0:45:08 Thousands, thousands.
0:45:08 – 0:45:13 And then stop at the drum computers, the drum sounds were exchanged and so on.
0:45:13 – 0:45:15 And other surfaces.
0:45:15 – 0:45:17 Yeah, awesome.
0:45:17 – 0:45:19 Yes, yes.
0:45:19 – 0:45:21 Those were still times.
0:45:21 – 0:45:23 Yeah, that was still time.
0:45:23 – 0:45:25 So, I'm going to play the first one of mine.
0:45:25 – 0:45:27 You have to say it's hardware, right?
0:45:27 – 0:45:31 It's not software, it's hardware.
0:45:31 – 0:45:37 So the sequencer is from Yamaha, the RM1X.
0:45:37 – 0:45:45 And then MAM, MB33, MK2 is the asset part.
0:45:45 – 0:45:47 What the hell?
0:45:47 – 0:45:50 I'm completely in the box and you're completely out of the box.
0:45:50 – 0:45:57 Exactly, and because some sounds are of course a bit musty and old-fashioned with the RM-1X,
0:45:57 – 0:46:05 I put the MicroKorg X on it, because the sounds are just a bit fresher.
0:46:05 – 0:46:11 Well, then I'll do the first one. I just wanted to say, you hear,
0:46:11 – 0:46:18 how I then use these extended options for setting asset sounds.
0:46:18 – 0:46:20 isn't it?
0:46:20 – 0:46:23 [Music]
0:46:23 – 0:46:52 [Music]
0:46:52 – 0:46:55 [Music]
0:46:55 – 0:47:01 [Music]
0:47:01 – 0:47:07 [Music]
0:47:07 – 0:47:13 [Music]
0:47:13 – 0:47:20 [Music]
0:47:20 – 0:47:39 Case for the 12th.
0:47:39 – 0:47:41 Yeah, it's a bit more classic.
0:47:41 – 0:47:43 90s techno, horny.
0:47:43 – 0:47:50 But there you can hear how versatile you can find such a TB-303, i.e. a clone,
0:47:50 – 0:47:56 can be used accordingly. I haven't heard anything 303 like that.
0:47:56 – 0:48:04 Exactly, except for this "dö dö dö dö dö dö dö". It's inspired by the sound,
0:48:04 – 0:48:16 a passage from the included demo tracks at Propellerheads Rebirth. There is this
0:48:16 – 0:48:25 TG Virus Kilo-Mix and I also pack the video in the show notes. You can see them once
0:48:25 – 0:48:31 Software and then you can listen to the whole track and there are certain places,
0:48:31 – 0:48:38 where the patterns have always been so pleasing. That's what I did and then I'm
0:48:38 – 0:48:43 I went there and downplayed it a bit. This is now with the
0:48:43 – 0:48:50 second tracks a bit more, with the possibility more tickled out.
0:48:50 – 0:48:51 into the heart.
0:48:51 – 0:48:53 Baram, energy!
0:48:53 – 0:48:56 [Music]
0:48:56 – 0:48:59 [Music]
0:48:59 – 0:49:02 [Music]
0:49:02 – 0:49:08 [Music]
0:49:08 – 0:49:14 [Music]
0:49:14 – 0:49:20 [Music]
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0:49:26 – 0:49:29 [Music]
0:49:29 – 0:49:35 [Music]
0:49:35 – 0:49:41 [Music]
0:49:41 – 0:49:47 [Music]
0:49:47 – 0:49:54 [Music]
0:49:54 – 0:50:11 Yes, I hope you've heard how I played around with the parameters,
0:50:11 – 0:50:19 which controlled the voltage on the oscillators. Definitely. And the great thing is,
0:50:19 – 0:50:26 These parameters are completely midi-controllable in clones. So you can then move
0:50:26 – 0:50:36 Record or paint into the sequencer and then you can replicate it all the time. This
0:50:36 – 0:50:40 It's really good. So not all clones have that, nor does it have the original.
0:50:40 – 0:50:45 The MB-33 on the K2.
0:50:45 – 0:50:49 Yeah, he's got that. It is completely midi-controllable.
0:50:49 – 0:50:51 Really? Does he have midi control? Okay.
0:50:51 – 0:50:54 He had only one peculiarity. If you want these slides,
0:50:54 – 0:50:57 You had to send two notes at the same time.
0:50:57 – 0:51:01 So you held one and then triggered the next one.
0:51:01 – 0:51:03 Then he made the slide.
0:51:03 – 0:51:05 And you had to do the Ascent over the volume.
0:51:05 – 0:51:07 Except if you're over 120 …
0:51:07 – 0:51:09 About Velocity.
0:51:09 – 0:51:11 about the volume, about the velocity.
0:51:11 – 0:51:15 If you are over 120, you have almost automatically triggered the SZ.
0:51:15 – 0:51:19 Have you programmed the whole track in the RM1X now?
0:51:19 – 0:51:21 Yes, yes.
0:51:21 – 0:51:22 respect.
0:51:22 – 0:51:24 It's got the running light programming, right?
0:51:24 – 0:51:27 Yeah, but anyway.
0:51:27 – 0:51:31 It is also an art,
0:51:31 – 0:51:35 To be able to program something like that.
0:51:35 – 0:51:38 Yeah, that's the old craftsmanship, isn't it?
0:51:41 – 0:51:46 I have the advantage, no, analog childhood, digital youth.
0:51:46 – 0:51:51 So you only listen to current tracks from young people.
0:51:51 – 0:51:54 So... (Räuspern)
0:51:54 – 0:51:57 Yes, squeak, squeak. - Yes.
0:51:57 – 0:52:00 Isn't that anymore... It's not so...
0:52:00 – 0:52:03 It's not at all like it used to be.
0:52:03 – 0:52:06 Yes, but the funny thing had been, it was really, no,
0:52:06 – 0:52:08 Cellar, stroboscope and someone,
0:52:08 – 0:52:16 And someone who either had a few boxes there, or put on a few records and the people left, for nothing.
0:52:16 – 0:52:23 I think that's what makes this Roland T8 so appealing, because you can just get started with it.
0:52:23 – 0:52:31 This thing has a random function. You can't do much with the sounds.
0:52:31 – 0:52:38 I mean, here such a simple techno pattern is quickly created.
0:52:38 – 0:52:44 Then you press "Random" once and then the 303 chucks in front of you.
0:52:44 – 0:52:48 From time to time you do "random" again and have a different sequence.
0:52:48 – 0:52:55 This randomize function was also available in the original TB-303.
0:52:55 – 0:52:56 Really?
0:52:56 – 0:53:00 Yes, if you have taken the battery out for a short time and put it back in very quickly.
0:53:00 – 0:53:09 then the memory was stored with random values, filled. And so are some patterns,
0:53:09 – 0:53:15 so these sequences of notes of well-known acid hits arose by the people then
0:53:15 – 0:53:19 I've been trying to do this forever. Look, that sounds cool, that sounds cool.
0:53:19 – 0:53:19 It's insane.
0:53:19 – 0:53:26 And above all, there was nothing to store and so on, of all the slider movements. This
0:53:26 – 0:53:31 Everything was done once and then never reproducible again.
0:53:31 – 0:53:43 Yeah, what did I want to say? Dear people, today, so tomorrow, so this morning,
0:53:43 – 0:53:54 never tomorrow, today, when you listen to this here on March 3rd, then invite yourself a TB-303 emulation
0:53:54 – 0:54:01 There are several, there are even some as freeware. I think it used to be on Google,
0:54:01 – 0:54:09 I think there was a plugin, right? Such a website from Google itself? Or was it Moog?
0:54:09 – 0:54:16 No, that was with Moog. There are definitely opportunities everywhere to tune in to 303 sounds
0:54:16 – 0:54:22 Go ahead and build some lines, build some asset sound. You can also
0:54:22 – 0:54:29 Take standard synthesizers that you have in the arsenal, you don't necessarily have to take a 303,
0:54:29 – 0:54:36 You just have to pay attention to the ingredients. One oscillator, 18 dB or 24 dB filter,
0:54:36 – 0:54:47 simple hollow curve, yes and then make sure that the filter is capable of resonance. Then you can
0:54:47 – 0:54:50 It's also a three-way thing for us to do.
0:54:50 – 0:54:57 For most manufacturers, you have 30 days of testing
0:54:57 – 0:55:08 And then you can also use the plugins of the people who have money for it, want.
0:55:08 – 0:55:17 So my personal recommendation when it comes to software is all plugins from the D16 group.
0:55:17 – 0:55:27 There are all the replicas, as far as 303, 808, 909 is concerned, are wonderful.
0:55:27 – 0:55:32 And stop at Arturia's Virus V.
0:55:36 – 0:55:38 What do you mean by Asset V?
0:55:38 – 0:55:40 Yes, Asset V, exactly, Asset V.
0:55:40 – 0:55:42 Asset V, yes.
0:55:42 – 0:55:44 It's also a great thing and
0:55:44 – 0:55:46 There are a few more.
0:55:46 – 0:55:48 There are from
0:55:48 – 0:55:50 Audio Blast, Asset Box,
0:55:50 – 0:55:52 there is from AAS,
0:55:52 – 0:55:54 Ultra, Analog Session,
0:55:54 – 0:55:56 Uh, um,
0:55:56 – 0:55:58 Yes, a few more.
0:55:58 – 0:56:00 So, there's a lot.
0:56:00 – 0:56:02 I was just thinking about the ones you could buy.
0:56:02 – 0:56:04 Exactly.
0:56:04 – 0:56:10 Then I would say, let's make a big hook on the subject.
0:56:10 – 0:56:11 That's done, yeah.
0:56:11 – 0:56:15 Exactly, and then sometime soon we'll do circuit bending.
0:56:15 – 0:56:17 Have you ever done this before?
0:56:17 – 0:56:20 No, never before.
0:56:20 – 0:56:24 I did this experimentally with a Casio keyboard.
0:56:24 – 0:56:25 So what?
0:56:25 – 0:56:28 Yeah, you're picking up the bell.
0:56:28 – 0:56:29 It doesn't work anymore, does it?
0:56:29 – 0:56:41 So fine crocodile clamps and then you walk along the processor and look where what is and then you try it out. You're breaking new ground in signalling.
0:56:41 – 0:56:53 There is a Russian manufacturer who has elevated this principle of circuit bending to the principle and offers many instruments where you are almost asked to
0:56:53 – 0:57:01 work with the electronics and pull the sound with cable and so on.
0:57:01 – 0:57:05 We have also laid the connections to the outside with metal pins,
0:57:05 – 0:57:08 That you can make such a crocodile clamp on it and so on.
0:57:08 – 0:57:17 Let's do a show.
0:57:17 – 0:57:20 As long as there is no short-circuit construction, everything goes.
0:57:20 – 0:57:31 In this sense, otherwise I say with corrosive greetings, have fun, make music.
0:57:31 – 0:57:32 See you then.
0:57:32 – 0:57:33 Bye bye.
0:57:33 – 0:57:34 Bye bye.
0:57:34 – 0:57:35 Farewell to you!
0:57:35 – 0:57:38 [Music]
0:57:38 – 0:57:44 [Music]
0:57:44 – 0:57:50 [Music]
0:57:50 – 0:57:56 [Music]
0:57:56 – 0:58:03 [Music]
0:58:03 – 0:58:10 [Music]
0:58:10 – 0:58:17 [Music]
0:58:17 – 0:58:20 [Music]

Description:

In this bonus episode of the rehearsal podcast, we dive deep into the world of one of the most legendary bass machines: the Roland TB-303. Originally intended as an accompaniment for guitarists, the inconspicuous box developed into the heart of the Acid Sounds He has written music history.

How did an unloved synth suddenly reach cult status? Why do collectors today pay a small fortune for a plastic box from the 80s? And most importantly: What does this thing really sound like?

We take you on a journey through iconic sounds, whimsical background stories and modern clones. Of course, there are also exclusive sound examples – from software to hardware, from vintage to the future.

So: Make loud, feel bass and dive into the hypnotic acid groove!

Here is the accompanying Blog post.

Roland model TB-303 Bass synthesizer with sequencer by Roland Corporation is licensed under CC-BY-NC-SA 4.0

Cyclone Analogic TT-303 Bass Bot Space Black
Read 13 reviews
275 €Buy now
D16 Group Phoscyon 2
Read 25 reviews
119 €Buy now
Roland Cloud TB-303
Read 4 reviews
166 €Buy now

Topics Outline:

1 ️⃣ Intro & Announcement of bonus sequence
– Welcome to the listeners
– Why a bonus sequence? (Date 3.03. as TB-303 day)

2 ️⃣ What is the TB-303?
– Technical basis: Transistor Bassline, origin & concept
– What was the device originally intended for?

3 ️⃣ The unexpected development into a cult machine
– Why the device was initially a flop
– How DJs and musicians rediscovered it in Chicago
– The first acid house tracks

4 ️⃣ How does the TB-303 work?
– Oscillators, filters & sound character
– Programming & typical modulations (Accent & Slide)
– First sound demos

5 ️⃣ Why is the 303 sound so special?
– Technical characteristics that characterise the acid sound
– Influence of effects such as delay & distortion

6 ️⃣ Replicas & modern alternatives
– Hardware clones: Behringer TD-3, Cyclone TT-303, MAM MB-33
– Software emulations: D16 Phoscyon, Arturia Acid V, Propellerhead Rebirth
– Digital versions of Roland (TB-3, TB-03, T-8)

7 ️⃣ The 303 Sound in Music History
– Influence on House & Techno
– Well-known tracks & artists (e.g. DJ Pierre, New Order – Confusion)
– Legendary film scene: Blood Rave in Blade

8 ️⃣ Own musical examples & experiences
– Sound demos from the hosts
– Hardware vs. software – what do you personally use?

9 ️⃣ Creative use & Tips for own 303 sounds
– How to recreate the 303 sound with other synths
– Modulation & Effect chains for more variations

🔟 Outro & View
– Conclusion: Why does the TB-303 fascinate to this day?
– Invitation to listeners to make their own acid tracks
– Reference to further information (Blog articles, show notes)