This is a demo of Roland TB-303 Acid Sounds, a free collection of Roland TB-303 Bassline Synthesizer samples.

via LorDBassePL:

Acid Sounds from Roland TB-303 great for Hardcore/Rave/Hardstyle production.

TB-303 & Reason 4.0 – Using Reason to Generate DIN Sync

Using classic synth gear with music software has never been easier. This video demos synchronizing a Roland TB-303 with Propellerhead Reason by using CV/Pulse signals routed through a MOTU 896HD interface.

Clock and Control Signals are generated in Reason Devices and converted to audio signals. The audio is then passed through a converter cable that connects to any Roland DIN-Sync device like the 303, 606, 808, 909, etc.

via PeffTV

UK looping beatboxer Beardyman improvises a bit of 303 gabba.

via beardyman:

Be careful what you suggest, I suggest.

Beardyman improvises from suggestions from a small audience invited to bring their own props. Props.

Edit by mr_hopkinson

http://www.beardyman.co.uk

This video shows to program a Roland TB 303 and Roland TR 909 drum machine.

via klausito1970:

Another howto, this time for a Roland TB-303 Bassline and a TR-909 Rhythm Composer. For the 303 I used the pattern from Fatboy Slim’s song: “Everybody needs a 303″.

The 909 pattern is a quite simple Kick, Snare and Hihat pattern.Future Retro Mobius sequencer is master midi clock and the 303/909 follow as slaves. The 303 is connected via a Doepfer MSY2 converter.

This minimal techno jam features Roland TB-303, through a Ibanez AD202 (Delay), & Roland TR-909 through a Ibanez UE400 (compression).

via nvanzoeren

Analog Violence, via nvanzoeren:

Insane Analog Violence in this TB-303 vs TR-909 Battle.

303 gets processed by the Awfull Ibanez AD-202 while the 909 has backup from the Undefeated Ibanez UE-400.

Analog meets analog, who will win?

In my periodic Newsletter you can get a variety of examples (patterns). 
I have combined a lot of information about the following VST-Plugins. 
You can use our pattern in your Sequencer (Internal mode or via MIDI-Files). 

- TR-808 (AudioRealism DrumMachine and Nepheton) 
- TR-909 (Drumazon) 
- TB-303 (Phoscyon and AudioRealism BassLine2) 

- NEW! ReBirth RB-338 (ReBirth RB-338) 
- NEW! d-lusion Rubberduck (d-lusion Rubberduck) 
- NEW! Patterns in Standard Midi File Format!

via a comment on an earlier post

A little classic synth porn, via adalau – the Roland TB-303 Computer Controlled Bassline Synthesizer.

You can almost smell the acid….

repeatle created this bassline showdown – a comparison between the x0xb0x, TB-303 and ABL 2.10.

And guess what? They’re all good…..

A long demo of a Roland TB-303, with the Borg modifications by Analogue Solutions. Also in the mix is a TR-808, acting as the master, with a little reverb; the 303 is 100% dry.

via Matrix

This gets my vote for the coolest thing you’ll see this weekend.

It’s a live performance using the Hobnox AudioTool – the new browser-based virtual studio – using a MIDI controller and Percussa AudioCubes.

See the tutorial at the Hobnox site, too!

Joa Ebert & Kai-Phillip, via David

Probably no synth has been cloned more times, both in hardware and software, than the Roland TB303.

But while excellent hardware 303 clones (FR777) have been available for years, virtual versions have never been completely satisfying.

AudioRealism’s BassLine 2 changes that. It cranks out authentic 303 sounds, using a simple interface that will be familiar to 303 users

According to AudioRealism, “analog modeling techniques have been employed to create a DSP-algorithm that accurately emulates every aspect of the original Bass Line, from growling basses to hollow middles and beeping highs with metal rattling accents.”

While that may sound like typical marketing-speak, AudioRealism actually delivers.

Bass Line 2 creates all types of 303 sounds, it has a 303-like interface, it offers working techniques similar to the 303’s and it intelligently expands on the 303’s capabilities.

The only thing you’ll find missing is DIN-SYNC.

Enough blah, blah, blah, though.

Check out the samples below for a taste of what the BassLine 2 sounds like.

Other features:

In addition to the great-sounding 303 emulation, BassLIne 2 has a few other tricks up its sleeve, including:

• Standard or Analog-style tuning
• Three styles of filter: 24dB, 18dB (303) &18dB Pure
• A pattern analyzer that lets you read in audio bassline patterns and convert them to a BassLine 2 sequence.
• A massive pattern library

My favorite extra is the Random function, which offers several options for randomizing your sequences. Hit the Random options a couple of times and you’re sure to come up with something strange.

If I could change anything on the Bass Line 2, it would be to provide more options for taking the synths’ sounds beyond the capabilities of the original TB303. For example – it would be nice to have the option to increase the range for the filter cutoff, or to have other types of distortion.

In other words, I’d like to see AudioRealism worry less about making this a faithful recreation of the 303, and more about making it an Uber-303.

That said – AudioRealism promises a faithful 303 emulation, and it delivers. This is the best virtual TB303 yet.

It’s available for 95 Eur, for Windows and Mac, VST & AU.

x0xb0x is a very cool DIY project that recreates the classic Roland TB303.

emerography via AudioLemon

This is a demo video of the Boss Bass Synth Pedal SYB3.

via stalag3333:

I made this video for people who might want to use this pedal to do cheap acid stuff or other electronic music.

I am not interested in answering questions from bass players. getting into philosophical discussions about techniques or what ever.

If you don’t like this video move along.

The audio demo starts about five minutes in.

Here are the details about each collection:

Rebirth Tb303 Basslines Collection – 640 Techno/Trance/Dance Basslines which can be used with AudioRealism’s Bassline 2, Bassline Pro and Semi Modular software synths and Rebirth. Pattern tempos range from 120 bpm to 180 bpm.

Rebirth Tb303 Sequences Collection – 640 Techno/Trance/Dance Sequences & Riffs which can be used with AudioRealism’s Bassline 2, Bassline Pro and Semi Modular software synths and Rebirth. Pattern tempos range from 120 bpm to 180 bpm.

Once purchased, all the patterns can be used without payment of royalties. The current price of each collection is £9.95 each. Any AudioRealism Bassline 2/Bassline Pro/Semi Modular software synth user or Rebirth user interested in purchasing these collections can download 64 demo patterns ( 32 patterns taken from each collection) for free at MigMusic.com.

The Rebirth Dance Collections can be ordered online using Visa, Mastercard, Paypal, American Express, Maestro, Solo, Switch, Electron or Delta from MigMusic.com. Customers can pay in either UK pounds sterling, US Dollars or Euros and then the collections will be emailed to them within 24 hours.

Registered Massive customers receive the update for free. For everyone else a new demo version for Mac and PC is available for download.

New Features:

• 140 brand-new sounds and additional wavetable content
• New Virtual Analog Oscillator Modes
• New ‘Acid’ Filter
• New ‘Hardclipper’ insert effect
• Many usability improvements

New Features in Detail:

New Sounds and Wave Table Content

MASSIVE now features more than 600 presets, with the addition of 140 new sounds in version 1.1. The added sounds in this version take advantage of the new features – in particular the Virtual Analog Oscillator Modes. The focus is on producers looking for expressive playability and dynamic sounds.

Beyond that, three new noise sounds for the noise generator and three additional wavetables for the oscillators have been integrated, extending the sonic possibilities even further.

Virtual Analog Oscillator

A brand new feature has been added to the oscillator section which opens up the spectrum of pulse width modulation and sync sounds, added even richer and more organic sonic options to MASSIVE’s arsenal.

Acid Filter

A new filter called “Acid” has been added to the filter section. This particular filter was modeled after a famous little silver groovebox. The total number of filter types is now 12!

Hardclipper effect

This new feature clips the signal at the selected threshold (defined by the drive knob), producing a radical distortion effect, even more devastating than the Parabolic or Sinus effects in Massive 1.0.

Audio Engine Quality Selector

The settings for audio engine quality (Ultra, High and Economy) are now easy accessible and are located directly in the header view.
Usability improvements

• reworked randomize section
• random function for performer and stepper curves
• editable envelope curve
• flexible number of break points on keytracking curves
• database activity display

As Fatboy Slim once said, “Everybody Needs a 303“.

Unfortunately, this means that getting a used Roland TB303 is usually expensive or impossible.

If you’re a DIY’er, though, Oakley Sound has announced the TM3030, a MIDI-controlled Roland TB303 bassline clone designed to sound good, be easy to build and use no really difficult to get parts. The design has the same controls as a 303 (tune, waveshape, cut-off, resonance, envelope sweep, decay time, accent and volume) but not the sequencer functions. Check out the X0XB0X for a clone with sequencer.

Tony Allgood is the designer behind the TM3030, and it’s an evolution of the Oakley TB3030, a previous clone that many consider virtually indistinguishable from a real TB303 (check out the sound sample, below).

The TM3030 adds a MIDI interface designed by Sequentix, the creators of the P3 Sequencer. By careful analysis of the original unit, Sequentix created a MIDI interface that allows the TM3030 to behave as a real unit would do if you could feed it MIDI messages. The all-important acid slides and accents are faithfully reproduced.

This unit contains no internal sequencer. However, you can use any computer or hardware sequencer to can create acid lines. Sounds like a great job for a FR Mobius.
This looks like it will be an awesome project for DIY’ers. I’ve built several of Tony’s MOTM-format synth modules, and they were uniformly excellent. In fact, it would be great to see an MOTM-format build option for the 3030, with CV inputs. Tony?

Boards and chips will be available for order in late February 2007. Details at the Oakley Sound site.

If you’re not familiar with the x0xb0x, it’s a circuit-accurate recreation of the electronics of the popular TB-303 bassline synth, with an updated sequencer and some goodies like MIDI and USB connectivity.

The blog takes you from starting with a box, through this:

All the way through the completion of x0xb0x #121.

Interesting for synth lovers and acid freaks alike. If you have any doubts about the authenticity of the x0xb0x electronics, check out acid sounds of SubAtomicGlues’s x0x jam session.

Propellerhead Software

Registered ReBirth users can upgrade to Reason 3 at a very attractive price. In addition, the free ReBirth RB388 ReFill is available for download for all Reason users. This ReFill comes with Combinator patches that recreate the 808 and 909 drum machines in ReBirth, including the most popular mods.

“ReBirth was the first successful software synthesizer and it pioneered and shaped a lot of what we now take for granted in software synthesizer products. However, it was designed almost ten years ago. Musical styles and music technology have both changed dramatically since then, and we decided that the foundation for the product just wasn’t valid anymore”, commented Propellerhead CEO Ernst Nathorst Böös. “We’re a small company with limited development resources and we think it makes much more sense for everybody involved – even ReBirth users – that we concentrate our efforts on our more current products and on future projects.”

The Revolution is Future-Retro’s latest “concept synthesizer”. Future-Retro is best known for its killer 777 synthesizer.

According to FR’s Jered Flickinger, The Revolution provides “an intuitive interface which we feel most accurately represents the principles of time and music. From ancient sundials to modern day analog clocks, time has been represented as the circle, a cycle which never ends. For time itself is nothing more than our perception of the revolution of planets as they journey through their celestial orbit. It is this motion we call time which can be measured, divided, and arranged to provide the foundation of music. This circular cyclic theme can furthermore be found throughout music in everything from song structure, and repeating rhythms, to the fundamentals of sound itself, being the sin wave. With this understanding we must conclude that music is cyclic, and should so be represented in its natural form.”

Flickinger had more to say about the new synth in his recent interview with Synthtopia.

“I had been studying the natural patterns which occur in numbers, and the ways in which patterns can affect patterns to generate more patterns. I adapted this process to create the Remix feature found in the Revolution which will provide 256 variations for each pattern a user creates. Interestingly enough, the selection of steps generated by each remix creates symmetrical geometric patterns when the circular layout is used.”

The Revolution

A true analog monophonic synthesizer with an easy to use step-based digital sequencer, analog and DSP effects processing, and various interfacing for controlling MIDI, CV/Gate, and Din Sync devices.

The unit is housed in a rugged aluminum chassis, with aircraft grade aluminum side panels, white UV finish for superior viewing of controls in black-light environments, and bright blue LEDs all around.

The Sequencer

The sequencers interface is circular, which has several benefits over the traditional linear style step sequencers. Visually it is easier to divide a measure of music into equal parts. It also provides a more intuitive way of displaying patterns playing as cyclic loops, either forwards or reverse, and will help you better understand the underlying geometric symmetries used throughout the Revolution’s Remixing process. This design also allows the user to carry out all sequencing functions with a single hand.

There are 256 recordable patterns available. Each recording note duration, pitch, accent , glide, loop point, time signature, and swing amount. Pattern editing features include copy/paste, pattern shifting, pattern transposing, multiple pattern cueing for chaining patterns together live, and LED chase. In addition, all pattern editing and recording can be done while the sequencer is running, and it will automatically save all your edits so you don’t have to stop creating.

The Revolution also provides the ability to play patterns forwards or backwards, and remotely select patterns to play using MIDI program change messages.

There are 16 songs to arrange the patterns in, each recording its tempo, the bank/pattern for each step, the transposition of each step, and the song’s loop point. Each of the 16 songs contains up to 3580 measures, and multiple songs may be chained together so they play sequentially.

In addition, the Revolution provides a unique Remix feature which provides 256 variations for every pattern and song, for more than 65,000 possible patterns right out of the box.

The analog section…

The Revolution uses true analog synthesis throughout its entire sound engine. Only the DSP effects are digital, and if these are bypassed the signal remains true analog through every stage right to the output. According to Future-Retro, the Revolution is fully capable of the most accurate replication of the original TB303’s sound, and in many ways surpasses its signature liquid tones and capabilities.

The Revolution has a new oscillator design which provides superior note tracking and temperature stability, as well as providing the exact same waveforms found in the original TB303. The revolution also provides the correct 3 pole filter design, gated amplifer, accent and glide circuits which are all crucial to the TB303’s sound. In addition to the original controls of the TB303, the Revolution also has a CV Modulation amount control which allows the filter’s cutoff frequency to track either the internal control voltages generated by the Revolution’s sequencer, or external control voltages may also be applied to modulate the filter.

There is an Accent Decay time control for varying the duration of filter and amplifier modulations by the accent circuit. This control provides everything from tight zap-like accents to much longer sweeps of the filter resulting in a very funky sound. All in all it’s one tricked out acid machine for creating everything from warm deep basses, silky smooth liquid chirps and bleeps, to the more aggressive ripping overdriven lead sounds.

The effects…

The Revolution uses both analog and digital effects to process its sound. The overdrive stage is true analog and can be activated by a switch on the rear panel. The overdrive stage is a dynamic process related directly to the filter’s resonance amount, so that as the resonance is increased, so is the overall gain of the overdrive section. This preserves the shape of the oscillator’s waveform at lower resonance levels instead of just clipping them into a square waveform as a typical distortion stage would. This also provides a much smoother transition from the original bubbly liquid sound, into those ripping lead sounds more common in todays electronic music.

The DSP section provides true 24 bit stereo effects processing, arranged as 16 preset effect which include: chorus/room1 and 2, delay 1 and 2, chorus, flange, plates 1, 2 and 3, rooms 1, 2, and 3, halls 1 and 2, rotary speaker, and a low pass muffler. In addition, wet/dry controls are provided for both left and right output channels. These controls can be used to help place the sound within the stereo field, or create two different mixes of wet/dry amount.

Interfacing…

Though the Revolution’s analog signal is mono, the DSP effects provide movement through the stereo sound field, and there is a stereo master output, as well as a stereo headphone output using standard 1/4″ jacks.

Also provided are separate 1/4″ jacks for both CV out (1v/oct standard), and Gate out (positive type, 0 to +12v) for playing other analog equipment using the Revolution’s sequencer. Or if you prefer, the Revolution can act as a MIDI to CV converter when it is not playing its internal patterns.

1/4″ jacks are also provided for CV in to modulate the filter’s cutoff frequency with external control voltages, and Audio in for processing external sounds through the Revolutions filter, amplifier, overdrive and DSP effects sections. The Audio in jack can sum the external signal with the internal oscillators, or completely override the oscillator signal so that just the external sound is processed.

Here’s where things get even more interesting… by connecting these outputs and inputs in various ways other sounds are possible without any additional equipment. For instance you can route the signal from the headphone output back to modulate the filter’s cutoff for some unusual self modulation effects. Or route the output back into the Audio input, which can produce everything from self resonant sounds, to bizarre feedback loops, and remember the effects section are included in this processing chain.

MIDI In/Thru/Out are all provided for syncing playback with external sequencers, playing MIDI sound modules, or having external sequencers or MIDI keyboard controllers play the Revolution’s analog section.

Din Sync out is included for syncing up the playback of the early Roland TR and TB type devices to todays MIDI sequencers.

The Revolution has a list price of $650, and is available through the Future-Retro site.