Recreate TB-303 on any synth?
- Thread starter Gregory Blakeborough
- Start date
timprebble
Sound designer, Composer, Sound library developer
Bit of discussion here, identifying specific elements & recreating it with modular....
Maybe try with VCV?
And some valuable info from DevilFish TB303 mods:
Maybe try with VCV?
And some valuable info from DevilFish TB303 mods:
wing
Active Member
In many ways it shouldn't be that hard if your synth can produce a sawtooth or square wave and you dial the settings in.
However with subtractive synths, I would argue that most of what creates their notable sonic characteristics are the filters more than the VCOs. Most subtractive synths can create a sawtooth or square, but the filter is what shapes it into the timbral quality each synth is known for (that along with unique design characteristics of a synth's voltage-controlled envelopes, VCAs, etc).
In the case of the 303, it is the way the resonant filter reacts to soundwaves with such a particular squealchy, bandpassy, distorted quality that gives it so much of that "acid" sound. Not all synth filters will give this same kind of acidic resonant peak in a satisfying way. But some totally can – that all just depends what you're working with. Just something to think about when you explore, hope that helps.
However with subtractive synths, I would argue that most of what creates their notable sonic characteristics are the filters more than the VCOs. Most subtractive synths can create a sawtooth or square, but the filter is what shapes it into the timbral quality each synth is known for (that along with unique design characteristics of a synth's voltage-controlled envelopes, VCAs, etc).
In the case of the 303, it is the way the resonant filter reacts to soundwaves with such a particular squealchy, bandpassy, distorted quality that gives it so much of that "acid" sound. Not all synth filters will give this same kind of acidic resonant peak in a satisfying way. But some totally can – that all just depends what you're working with. Just something to think about when you explore, hope that helps.
Pier
Senior Member
This absolutely.
Other that the sequencing itself with octaves and glides, what gives the juicy 303 sound is really the combination of the resonant 18db filter and a diode overdrive or distortion.
I've been playing with a Taiga these past days and it can nail that type of sound. I'm waiting for a cable to be able to record it but you can hear the tone in this demo when he cranks the overdrive over a saw wave:
I've used YouTube in the past to help me understand the principles of iconic synth sounds. If you search for 'mysynth 303' or 'mysynth acid', you'll probably find several useful tutorials. Also, the 'Shorts' section often has 30-60 second tutorials if you're just looking for that particular sound.
If you need more help, SynthRecipes is a good place to ask.
They also have a cookbook explaining terms and many iconic patches.
In general - yes. Most synths that aren't completely basic are capable of recreating something very similar to the 303 sound. The more imperfect your filters, waveforms and distortions, the better. If your synth supports wavetables, you might want to grab a pack of 303 captures and use those.
If you need more help, SynthRecipes is a good place to ask.
They also have a cookbook explaining terms and many iconic patches.
In general - yes. Most synths that aren't completely basic are capable of recreating something very similar to the 303 sound. The more imperfect your filters, waveforms and distortions, the better. If your synth supports wavetables, you might want to grab a pack of 303 captures and use those.
OP
OP
Gregory Blakeborough
Larry Beethbrof
Some awesome replies here, thank you all!
I'm really at the starting point of my sound design journey with synths, have been a pianist all my life, and have used synths but mainly just fiddling with the presets. Now I want to get deeper into the game and just got UAD Polymax for Xmas, so I want to take it through its paces while learning the basics.
I'm really at the starting point of my sound design journey with synths, have been a pianist all my life, and have used synths but mainly just fiddling with the presets. Now I want to get deeper into the game and just got UAD Polymax for Xmas, so I want to take it through its paces while learning the basics.
wing
Active Member
There's a book which took me from 0 to 100 in a few months with synth knowledge and I highly recommend it – Refining Sound by Brian Shepard.
Also this YouTube curated playlist on synth tutorials is great -
The first three, NY School of Synthesis, is absolutely fantastic. Even though it was filmed in the 80s, the principles of synthesis which he explores is the same today, so everything he teaches there can apply toward modern synths and plugins too. Plus he's rather entertaining to watch.
Good luck on your new synth journey!
Ned Bouhalassa
Senior Member
- First you need an 18dB low-pass filter. Most filters are 24dB or 12dB per octave. Also, the filter on a 303 doesn’t self-oscillate, which is why the resonance is so often set to max on these boxes.
- Then, a great-sounding square wave is a must. One may think that all square waves are the same, but on different synths, you’ll find different-sounding square/pulse waves.
- 2 envelopes with variable decay, one with a very sharp attack for the filter.
- Some macro to make Accent changes: this raises the amount of effect of the envelopes on both the amplitude and the filter cutoff, making the sound momentarily louder and brighter.
- a good dose of ‘liquid magic’; Something greater in the sum of the parts. Don’t ask me what it is, I only know it when I hear comparisons with clones.
- Then, a great-sounding square wave is a must. One may think that all square waves are the same, but on different synths, you’ll find different-sounding square/pulse waves.
- 2 envelopes with variable decay, one with a very sharp attack for the filter.
- Some macro to make Accent changes: this raises the amount of effect of the envelopes on both the amplitude and the filter cutoff, making the sound momentarily louder and brighter.
- a good dose of ‘liquid magic’; Something greater in the sum of the parts. Don’t ask me what it is, I only know it when I hear comparisons with clones.
