I forgot to mention that the opening audio of this vid is my recreation btw! Also, 3 weeks after I made this video, Ronan Fed released a free 303 vst that lets you control pulse width! Coincidence???
Respect. You nailed it. We spent WEEKS back in the day trying to emulate this. Being an Aussie I was sure for so long that it must have been one of the Devilfish mods (which came out of Aus), but started to run our 303 through a range of pedals when prepping for some studio time, and stumbled across the same. I can't say for sure it was a Tubescreamer that Josh used, but it felt like it. I ended up on the same tour as Josh a couple of times but never had the piece of mind to nerd out over it. Lovely guy with crazy talent, and what an artistic gift he's given us all. And you too now.
This is amazing. I’ve watched many a YT and none quite nail HSOC. You have! Never knew the 303 only had one oscillator that bent the saw into a square. Thanks. Liked and subscribed for more. Next stop piano house I’ve spotted.
I think a Boss SD-1 (which is a tube screamer circuit with asymmetrical clipping and more harmonics) would get you closer to the right sound without manually tweaking the waveform. But regardless, the thing I've seen several times from people claiming to be quoting Josh Wink is that he didn't use any FX. He used two TB-303s, and one of them he had disassembled and messed with the cutoff & resonance trim pots.
Wink had so many world class musicians and studios at his disposal from Philly its may be hard to actually pinpoint how he did it unless he explains it to you
A couple of points: 1: Barely any analog synths have a "square wave oscillator". They usually use some sort of comparator (in this case a transistor) to derive it from a ramp wave which is a completely legitimate way of doing it. In fact it is a lot simpler than doing it the opposite which would be to use a square wave to charge a capacitor but you would need to control the charging speed so it always charges in exactly the same amount of time as the square wave cycle at any pitch. Or if the ramp wave and square wave were generated separately then you would have 2 completely independent oscillators. 2. Are you sure that the "phase control" in your 303 software is the pulse width? It seems (and sounds) that it is more likely to be literally just the phase. In an analog synth with 2 oscillators layered in perfect unison (or a perfect octave) they will never be exactly in phase, they will never be exactly in tune and the pitch will drift over time as well. So what happens is the phase relationship changes chaotically over time with the oscillators adding when they line up in phase and subtracting when they are out of phase and the pattern at which they do this changes slightly as the oscillators drift further and closer together in tuning. This is one of the things that give analog synths a very fat sound and is one of the reasons (besides pure snobbery) that led purists to declare for many years that digital modelling or software synths cannot compete. The behavior of 2 analog oscillators naturally drifting in and out of tune was not modeled properly yet. But it seems like the phase knob aims to do something like this. It is indeed true that if you play 2 digital oscillators perfectly in tune and in phase they will sound nothing like a fat analog synth.
1. Ah I see I didn't know this was the common method of achieving a square. I just conflated that with the fact it was a cheap unit. Makes sense now you put it like that thanks. 2. No this Phenomena of Josh's sound is not explained by analog vs digital. You don't need to explain the differences , if I sound like I'm not aware it's because I'm heavily simplifying the concepts for the sake of keeping it concise for the video. I am not an electrician regarding the hardware , but I am an audio scientist I understand both digital and analog audio to high level. The adjustment I made to waveform there could be more described as "skew" in waveform period terms as opposed to pulse width, as pulse width leaves a portion at zero. Since this video I've been told Josh had circuit bent his 303. Which explains why no other 303 sounded like it. This sounds is far beyond being an analog behaviour trait. Regarding digital vs analog most analog modeling synths have modelled pitch drift, oscillator phase and envelope hysteresis etc for a long long time now, some better than others obviously. Vital is not an analog modeling synth FYI. But like I say it didn't need to be to explain this sound.
@@Bthelick Ahh ok. Well if as in point the key in unlocking this sound really was to do with the pulse width or the skew than it could actually have something to do with the fact that the method the 303 uses to create a square wave as in point 1 is not perfectly square. I still want to understand what is going on with that phase knob though. To me it sounds more like the difference of detuning one oscillator a bit than changing one of the waveforms. When I think of "skew" I think of something like morphing a wave from ramp to saw with triangle in the middle. Or if it's on a pulse wave I think of it like making the edges of the pulse more horizontal like a ramp/saw rather than straight up and down. Im not sure what "pulse width leaves a portion at zero" means either because since a pulse wave is always up and down then it is at zero by definition when it is in the down portion unless it is a bipolar wave then it switched between positive and negative without ever resting at zero. Very interesting about the circuit bent 303. Do you know what it does differently?
Yeah lots to unpack here. So just to clarify, regarding the phase knob. In vital (and other wavetable based synths like massive/serum) it depends on the mode selected. It's not always phase related in truth. In the "bend" mode I use here it is adjusting the time 'centre' point of the wave phase. Changing it's duty cycle. Any change in phase is a change in time. If this is moved over time you will indeed hear detuning as a result of something known as the "Doppler effect". When sound waves move further away, even a portion of them, we receive pitch change. Just as the passing ambulance siren drops in pitch to our ears. Exactly in the same way a chorus creates detuning by adjusting delay time. Any phase distortion, like pulse width, skew, sync, squeeze etc will sound like pitch changes if they change over real time Btw the reason I attempted to distinguish "skew" vs pulse width is that the mode labeled pulse width in vital leaves some wave at zero, indeed in the bipolar sense, as opposed to -1 / +1. Which, like you say, is not how pulse width behaves in some other synths, especially analog. As for the circuit bending we have no information. In case you didn't know circuit bending just refers to messing with the circuit in general. Wink either said it to show off, or doesn't remember, or doesn't want to tell. As you may know, all sorts of changes could effect the duty cycle of the output, on a unit this simple maybe even a faulty power supply! There is a section in the schematic labeled "tm5 width" which is near the oscillator tuning calibration circuit. A simple resistor swap (or delete) there would be my first guess.
@@Bthelick Thanks for the clarifications Yep, I absolutely get how pulse width can create a detuning effect because modulating a pulse width with a periodic waveform produces a sound that is similar to two detuned oscillators. So the phase knob is also applying some periodic modulation?
@neandrewthal oh, are you meaning that you can hear the detune in my example here? I thought you were talking about playing with the phase modes in general. The example in the video is a static, there is no periodic modulation happening here. If you can hear pitch effects in this example then it must be from the extra harmonics added as a result of a non-symmetrical wave . As I say In the video I hear it more like an octave interaction. To my ears the wave 'skew' here is sounds a bit like ring or frequency modulation interference from a lower a octave wave. But not 'detuned' if that makes sense
Cool…sick vid…Josh really turned the EDM scape on its head with this one…you would hear this tune at every party, club, rave, multiple times a night…I’ve actually never heard any tune played that much in that many different venues…maybe eat sleep rave repeat…maybe satisfaction…cheers n good times 😎🖤🙌🐘🍭
interesting that you say that. Personally I'd put Hardfloor way ahead of this, both their tracks and in history. Loads of 303 tracks predate this by many years. I agree it's a good track, but IMO definitely not groundbreaking.
@@jameswebb9033 no doubt, you’ve noted some other greats and this wasn’t the first acid/302 tune by far. Respect to them. Basis for my comment was, for what was essentially a minimal breakbeat song, going cross-genre ballistic like this did, while catapulting Josh to be picked up by a major label and pushed to be one of the most sought after international artists for years on end definitely had a profound impact on the sound and styling for years to come. Very similar to deep dish with flash dance, and fat boy slim with funk soul brother from the same era. All of these popped out of the underground into the mainstream in ways that hadn’t happened much before. Hence, building on the pioneers and shaping the early EDM landscape.
Why oh why is this video not smashed to buggery via the Like button! Honestly, kids these days!!! I was ALWAYS a wide eyed groover, LOVED some full on groove, girlie vocals house beats whilst expanding 'pon da discothèque! But who the hell doesn't love some screaming 303? Beautifully done, as per, Sir! Will 100% be getting my acid on via your generously shared patch. Now, where'd I leave me headscarf, smilie t-shirt and NafNaf joggers? 🙂
Your tutorial are just the most interestin ones on production! You are so good mate! I downloaded your Vital patch but I can't upload it in Vital, could it be because i only have a free version?
OK, now that I have understand that, does anyone here use Logic Pro and can tell me, which of the included Distortion Pedals, is the right for the Ibanez Sound or even the R.A.T. one? Is there a Plug in, I can buy from Somewhere? I bought myself the Abl3 from Audiorealism and did notice really fast, the Distortion is essentiell to have the right Sound. The built in one, is not satysfying at all. Thanks in Advance!
So wait .... Are you saying that Josh Wink WAS NOT using the two 303s an octave apart? That he got the sound with just one 303 and distortion? (Thanks by the way, I really enjoyed this. Subscribed.)
Yes, I think it's 1 303 with a wonky square output, and also because there are actually 2 303 lines in the song, not just the main melody. So when he said he used 2 I think I meant 1 for each line.
@@BthelickHey Bthelick, thanks for the reply. I ask because I have a Roland TB-03, and I've run it through every type of distortion effect I've got, plus combinations of fuzz, distortion and tube drive and I STILL can't get "the sound." So I guess I need to find a way to "wonkify" my TB-03's one oscillator.
@@Bthelick The TB-03 is a remake. Behringer has a 303 clone that's under $200 bucks. But even so ... I wouldn't know where to begin. So for now ... for me ... "the sound" remains a mystery. You nailed it on a software synth though, so nice work.
@@ThinkerThunkerThere is also the fact that no original TB303 sounds like any other original TB303. They were all slightly different - probably due to component tolerances. A lot of the software clones tend to model this in their plugins.
@@xyrius I don't understand , its just one loop plus drum samples. if you pause at 1:42 that's the synth loop. that's basically all you need to know! (bear in mind that first high note is dependant on the 'glide' of the synth used though, that's what I used to make mine work. but its just G and B) there is a second acid part underneath just playing a short G on /////////G//G/// (on a 16 grid) and a string holding a hi G, that's everything I think. no ones made the midi probably because its just a couple of 1 bar loops (as per a 303 would indeed be) Either that or they didn't want to get into publishing copyright trouble.
You are the greatest. Unfortunately I bought FL Studio instead of Ableton. But Plugins behave good in there. So i could not understand everything you do there in Ableton. Hope to see some Aztec Mystic - Jaguar Stuff from you, when it comes to Arps again. The "A houndred Birds" - Interpretation of Jaguar reminded me to the good old Techno Vibes of ´97 good days for Techno since ....... I constantly fail on recreate Jeff Mills - Chains of Babylon u got some Tips for a Fl Studio user maybe? Got to spent you some Tea .... for real.
Hey, buying FL studio is not Unfortunate! it's a great daw. I try to teach principles that are independent of software you'll get there don't worry 👊. For tracks like Babylon you want a 909 on drums, and some kind of mallet sample (marimba maybe?) Or mallet like synth preset. Musically it's a broken chord. Normal minor Triad root note first then the other 2 notes on a syncopated rhythm. Jaguar uses a lot of principles from the what I call the "1 chord trick" . I made a video called that, check it out. Then just split the chord up instead of playing it as one block give it a go. 👊👍🤟
Unfortunately? You do know that FL Studio has Transistor Bass - their own take on the venerable TB303? It would not be difficult to do this in FL Studio. Also, unlike Ableton it is free updates for life!
If I am not wrong I saw a MASCHINE and if this was a MASCHINE it is the first time ever I saw someone actually using it for real producing not like just advertising it. I was always affraid that MASCHINE is simply a blinky-shiny MPD218 :)))) but this was outstanding example... So - I"ll get one. Peace and Respect!
There is a story / myth. Which explains why no one has ever been able to accurately replicate Josh Winks classic acid. And the story goes, Josh Wink actually opened up his hardware and manually tweeked, and physically modifed the resonance filter. In order to give it extra squelch, and oomph. There was only ever one piece of hardware that made that sound. And that synth was owned by and was deliberately modified to suit his own unique sound preference. That's why its never been replicated, and never will either. Because you would need that exact piece of hardware. You can't even by a pre-owned version. Because Josh Winks kit was not of factory settings. He broke the kit deliberately. Making that song, and that sound, un replicatable. Genius, artistic manoeuvre, he produced his very own sound, and claimed it forever. Legend
Very possible, something was circuit bent for sure, in purpose or through a fault. given I got so close in the intro there I think it was the oscillator circuit that was bent, but given that the filter was a diode circuit it's possible bending that could change the clipping behavior of the waveform. Asymmetrical waveforms can even be achieved by messing with the power supply too. Lots of possibilities.
@@Bthelick Yeah. I gotta say, your attempt was the closest I've heard thus far. Messing around with the pulse width definitely helps. Its the final chorus, where the song goes nuts, that's the legendary bit, that's so hard to match. I think the point is, back in the day it was all hardware, and no DAWs. Not even Laptops. They were sequencing with Akai, and computers like Atari. And some of the hardware, had some quirky behaviour, and if some clever innovative musicians, such as Josh Wink, and the hero Aphex Twin (who loved modifying his analogues). Took it upon themselves to open up the hood, and mess around with the electronics, they could achieve sounds that no other musicians had done before. It was like sound pioneers going where no man had gone before. Its a testament to their talent and experimental journeys. That 30-40 years later people are still trying to emanate particular sounds and tunes with modern DAWs and VSTs. And whilst it might come close. The original sound came from raw experimentation, and a quest to create a sound that no one had heard before. So the recreation always ends up with the feel of an historical re-enactment of a famous battle. Whilst historically accurate, its not quite the same as the original battle. Its that whole Raw Vs Copy thing again. The copy never has the same energy. Not for a want of trying though. Your version is a very good match.
I read a post tonight about somebody opening up a Behringer TD-3 to mess with the filter to get unique sounds. As far as his sound being unique. The track Access by DJ Misjah and Tim gets very close at the peak and equally destroyed dance floors. Apparently, there was up to a 10% difference in TB-303's sound with 'magic' ones out there that sound way better than others. I had heard some terrible OG-303's on YT, barely any high resonance.
Hey Guyu does good work, but yeah he struggled on that one, but so did everybody else I've seen try! I had never got it either for all these years until I was watching him and I suddenly got this idea!
the fact that you actually figured out what is going on here is super wild haha. Nice job man! love the vids
😉 thanks Kv 🤟🙌👊❤️
I forgot to mention that the opening audio of this vid is my recreation btw!
Also, 3 weeks after I made this video, Ronan Fed released a free 303 vst that lets you control pulse width! Coincidence???
Ooooooh, the cheeky rascal, should surely be at least a mention for the genius behind the release.
Respect. You nailed it. We spent WEEKS back in the day trying to emulate this. Being an Aussie I was sure for so long that it must have been one of the Devilfish mods (which came out of Aus), but started to run our 303 through a range of pedals when prepping for some studio time, and stumbled across the same. I can't say for sure it was a Tubescreamer that Josh used, but it felt like it. I ended up on the same tour as Josh a couple of times but never had the piece of mind to nerd out over it. Lovely guy with crazy talent, and what an artistic gift he's given us all. And you too now.
This is genius. Can’t understand why it doesn’t have more views
probably because I'm music guy first and a youtuber last haha. i'm not very good at the video bit!
@@Bthelick you’ve got the TH-cam thing nailed though mate. Love your videos, great content. Thank you
Loved watching this sooooo much. Incredible nostalgia. I love that you don’t give up until you get the sound you want. Very well done 👍🏼🙏🏻
Oh
My
Fkn
God!!!!!!!
You just earned a lifetime subscriber!!!! 🙏🏻🙏🏻🙏🏻🙏🏻
Love it mate, occasionally a bit of metal knowledge comes in useful!
it certainly does! I lied a bit actually I said "used to be a rock guy" but I've been to metal concerts this yeah haha.
I am actually mind blown from this channel!
You are brilliant 👏
Lovin’ your work. It blows my mind, same for Gye Beats. You both have so much talent and your recreation is amazing-balls!
Thanks, yeah gyu beats is great.
Mate you are on another level! ❤
You did it! That is incredible.
Thank You SOOOO Much. 👍🏽👍🏽👍🏽👍🏽👍🏽👍🏽👍🏽👍🏽👍🏽👍🏽👍🏽
Awesome. I feel like I am back in my 20s
BEST VID YET BRO 🔥🔥🔥🔥🔥💯💯💯💯💯💯
Blimey, that’s amazing 🎉
By far. this is the closest to the original. Awesome man!! Subscribe!
“Jackpot” indeed! Well done sir.
This is amazing. I’ve watched many a YT and none quite nail HSOC. You have! Never knew the 303 only had one oscillator that bent the saw into a square. Thanks. Liked and subscribed for more. Next stop piano house I’ve spotted.
Impressive work!
I think a Boss SD-1 (which is a tube screamer circuit with asymmetrical clipping and more harmonics) would get you closer to the right sound without manually tweaking the waveform. But regardless, the thing I've seen several times from people claiming to be quoting Josh Wink is that he didn't use any FX. He used two TB-303s, and one of them he had disassembled and messed with the cutoff & resonance trim pots.
Oh interesting. Thanks for the insight.
Who uses a 303 raw though?? Haha.
Wink had so many world class musicians and studios at his disposal from Philly its may be hard to actually pinpoint how he did it unless he explains it to you
Love the instrument history lessons in your content
The education you are giving is amazing thank you.
Mate... very impressive. Well done
Thank you so much for breaking this sound down. So thorough and satisfying 🙌🏻
This is brilliant!!!
Legend!
Absolutely amazing
Love it. I saw the gyu beats video and you've absolutely nailed this one. 👌
Thanks! pass it on, It's one of those that's always eluded me and many I know, feels like a weight lifted to finally figure it out!
Great video of this great 303 sound. Pump panel also used this sound earlier on their 1995 remix of new order’s : confusion 😊
It is very similar yes
@@Bthelick 👍
Could you try the lead sound from lost in love by Legend B original.
Absolutely nailed it!
Thanks Tom \m/
Well put together
Wow, great job, subbed!
A couple of points:
1: Barely any analog synths have a "square wave oscillator". They usually use some sort of comparator (in this case a transistor) to derive it from a ramp wave which is a completely legitimate way of doing it. In fact it is a lot simpler than doing it the opposite which would be to use a square wave to charge a capacitor but you would need to control the charging speed so it always charges in exactly the same amount of time as the square wave cycle at any pitch. Or if the ramp wave and square wave were generated separately then you would have 2 completely independent oscillators.
2. Are you sure that the "phase control" in your 303 software is the pulse width? It seems (and sounds) that it is more likely to be literally just the phase. In an analog synth with 2 oscillators layered in perfect unison (or a perfect octave) they will never be exactly in phase, they will never be exactly in tune and the pitch will drift over time as well. So what happens is the phase relationship changes chaotically over time with the oscillators adding when they line up in phase and subtracting when they are out of phase and the pattern at which they do this changes slightly as the oscillators drift further and closer together in tuning.
This is one of the things that give analog synths a very fat sound and is one of the reasons (besides pure snobbery) that led purists to declare for many years that digital modelling or software synths cannot compete. The behavior of 2 analog oscillators naturally drifting in and out of tune was not modeled properly yet. But it seems like the phase knob aims to do something like this. It is indeed true that if you play 2 digital oscillators perfectly in tune and in phase they will sound nothing like a fat analog synth.
1. Ah I see I didn't know this was the common method of achieving a square. I just conflated that with the fact it was a cheap unit.
Makes sense now you put it like that thanks.
2. No this Phenomena of Josh's sound is not explained by analog vs digital.
You don't need to explain the differences , if I sound like I'm not aware it's because I'm heavily simplifying the concepts for the sake of keeping it concise for the video.
I am not an electrician regarding the hardware , but I am an audio scientist I understand both digital and analog audio to high level.
The adjustment I made to waveform there could be more described as "skew" in waveform period terms as opposed to pulse width, as pulse width leaves a portion at zero.
Since this video I've been told Josh had circuit bent his 303. Which explains why no other 303 sounded like it. This sounds is far beyond being an analog behaviour trait.
Regarding digital vs analog most analog modeling synths have modelled pitch drift, oscillator phase and envelope hysteresis etc for a long long time now, some better than others obviously.
Vital is not an analog modeling synth FYI. But like I say it didn't need to be to explain this sound.
@@Bthelick Ahh ok. Well if as in point the key in unlocking this sound really was to do with the pulse width or the skew than it could actually have something to do with the fact that the method the 303 uses to create a square wave as in point 1 is not perfectly square.
I still want to understand what is going on with that phase knob though. To me it sounds more like the difference of detuning one oscillator a bit than changing one of the waveforms. When I think of "skew" I think of something like morphing a wave from ramp to saw with triangle in the middle. Or if it's on a pulse wave I think of it like making the edges of the pulse more horizontal like a ramp/saw rather than straight up and down. Im not sure what "pulse width leaves a portion at zero" means either because since a pulse wave is always up and down then it is at zero by definition when it is in the down portion unless it is a bipolar wave then it switched between positive and negative without ever resting at zero.
Very interesting about the circuit bent 303. Do you know what it does differently?
Yeah lots to unpack here.
So just to clarify, regarding the phase knob. In vital (and other wavetable based synths like massive/serum) it depends on the mode selected. It's not always phase related in truth.
In the "bend" mode I use here it is adjusting the time 'centre' point of the wave phase. Changing it's duty cycle.
Any change in phase is a change in time. If this is moved over time you will indeed hear detuning as a result of something known as the "Doppler effect".
When sound waves move further away, even a portion of them, we receive pitch change. Just as the passing ambulance siren drops in pitch to our ears.
Exactly in the same way a chorus creates detuning by adjusting delay time.
Any phase distortion, like pulse width, skew, sync, squeeze etc will sound like pitch changes if they change over real time
Btw the reason I attempted to distinguish "skew" vs pulse width is that the mode labeled pulse width in vital leaves some wave at zero, indeed in the bipolar sense, as opposed to -1 / +1. Which, like you say, is not how pulse width behaves in some other synths, especially analog.
As for the circuit bending we have no information. In case you didn't know circuit bending just refers to messing with the circuit in general.
Wink either said it to show off, or doesn't remember, or doesn't want to tell.
As you may know, all sorts of changes could effect the duty cycle of the output, on a unit this simple maybe even a faulty power supply!
There is a section in the schematic labeled "tm5 width" which is near the oscillator tuning calibration circuit. A simple resistor swap (or delete) there would be my first guess.
@@Bthelick Thanks for the clarifications
Yep, I absolutely get how pulse width can create a detuning effect because modulating a pulse width with a periodic waveform produces a sound that is similar to two detuned oscillators.
So the phase knob is also applying some periodic modulation?
@neandrewthal oh, are you meaning that you can hear the detune in my example here?
I thought you were talking about playing with the phase modes in general.
The example in the video is a static, there is no periodic modulation happening here.
If you can hear pitch effects in this example then it must be from the extra harmonics added as a result of a non-symmetrical wave .
As I say In the video I hear it more like an octave interaction. To my ears the wave 'skew' here is sounds a bit like ring or frequency modulation interference from a lower a octave wave. But not 'detuned' if that makes sense
Excellent
WOW! AMAZING.
Cool…sick vid…Josh really turned the EDM scape on its head with this one…you would hear this tune at every party, club, rave, multiple times a night…I’ve actually never heard any tune played that much in that many different venues…maybe eat sleep rave repeat…maybe satisfaction…cheers n good times 😎🖤🙌🐘🍭
interesting that you say that. Personally I'd put Hardfloor way ahead of this, both their tracks and in history. Loads of 303 tracks predate this by many years. I agree it's a good track, but IMO definitely not groundbreaking.
@@jameswebb9033 no doubt, you’ve noted some other greats and this wasn’t the first acid/302 tune by far. Respect to them.
Basis for my comment was, for what was essentially a minimal breakbeat song, going cross-genre ballistic like this did, while catapulting Josh to be picked up by a major label and pushed to be one of the most sought after international artists for years on end definitely had a profound impact on the sound and styling for years to come. Very similar to deep dish with flash dance, and fat boy slim with funk soul brother from the same era. All of these popped out of the underground into the mainstream in ways that hadn’t happened much before. Hence, building on the pioneers and shaping the early EDM landscape.
Amazing 👏
That is very interesting. Thanks 👍
Well done.
this is super cool
Why oh why is this video not smashed to buggery via the Like button!
Honestly, kids these days!!!
I was ALWAYS a wide eyed groover, LOVED some full on groove, girlie vocals house beats whilst expanding 'pon da discothèque! But who the hell doesn't love some screaming 303?
Beautifully done, as per, Sir! Will 100% be getting my acid on via your generously shared patch. Now, where'd I leave me headscarf, smilie t-shirt and NafNaf joggers? 🙂
NafNaf lol. Classic! ❤️
Loved it. Subbed.
Chapeau!
Is this a word I need to learn?
@@Bthelick It means „I take my hat off to you.“
Great detective work on the 303 sound design
@@aqrs269 ah thank you 🙏
good vibes ⚡✨🔥💯🔥
thanks Takii! 🙏🤟🙌
Yessir
Nembrini do freeware versions of both the rat and the screamer and they sound pretty f good (I owned the tube screamer, never had the rat tho)
Your tutorial are just the most interestin ones on production! You are so good mate! I downloaded your Vital patch but I can't upload it in Vital, could it be because i only have a free version?
I only have the free version. (The only difference is included presets anyway)
Get the latest beta version, not the stable. 👊
OK, now that I have understand that, does anyone here use Logic Pro and can tell me, which of the included Distortion Pedals, is the right for the Ibanez Sound or even the R.A.T. one? Is there a Plug in, I can buy from Somewhere? I bought myself the Abl3 from Audiorealism and did notice really fast, the Distortion is essentiell to have the right Sound. The built in one, is not satysfying at all. Thanks in Advance!
This plugin is free just download it. All the plugins in this video are
So wait .... Are you saying that Josh Wink WAS NOT using the two 303s an octave apart? That he got the sound with just one 303 and distortion? (Thanks by the way, I really enjoyed this. Subscribed.)
Yes, I think it's 1 303 with a wonky square output, and also because there are actually 2 303 lines in the song, not just the main melody. So when he said he used 2 I think I meant 1 for each line.
@@BthelickHey Bthelick, thanks for the reply. I ask because I have a Roland TB-03, and I've run it through every type of distortion effect I've got, plus combinations of fuzz, distortion and tube drive and I STILL can't get "the sound." So I guess I need to find a way to "wonkify" my TB-03's one oscillator.
Yeah that's a tough one, maybe there's a way of circuit bending it but aren't they valuable?
@@Bthelick The TB-03 is a remake. Behringer has a 303 clone that's under $200 bucks. But even so ... I wouldn't know where to begin. So for now ... for me ... "the sound" remains a mystery. You nailed it on a software synth though, so nice work.
@@ThinkerThunkerThere is also the fact that no original TB303 sounds like any other original TB303. They were all slightly different - probably due to component tolerances. A lot of the software clones tend to model this in their plugins.
you can achieve this with the pedal plugin in ableton?
Maybe, I didn't try tbh. I try not to teach Ableton specific solutions
Awsome! The midi file available anywhere?
For which? The original riff?
@@Bthelick The whole song. I'm searching for it for a couple of years.
@@xyrius I don't understand , its just one loop plus drum samples. if you pause at 1:42 that's the synth loop. that's basically all you need to know!
(bear in mind that first high note is dependant on the 'glide' of the synth used though, that's what I used to make mine work. but its just G and B)
there is a second acid part underneath just playing a short G on /////////G//G/// (on a 16 grid) and a string holding a hi G, that's everything I think.
no ones made the midi probably because its just a couple of 1 bar loops (as per a 303 would indeed be)
Either that or they didn't want to get into publishing copyright trouble.
You are the greatest. Unfortunately I bought FL Studio instead of Ableton. But Plugins behave good in there. So i could not understand everything you do there in Ableton. Hope to see some Aztec Mystic - Jaguar Stuff from you, when it comes to Arps again. The "A houndred Birds" - Interpretation of Jaguar reminded me to the good old Techno Vibes of ´97 good days for Techno since ....... I constantly fail on recreate Jeff Mills - Chains of Babylon u got some Tips for a Fl Studio user maybe?
Got to spent you some Tea .... for real.
Hey, buying FL studio is not Unfortunate! it's a great daw. I try to teach principles that are independent of software you'll get there don't worry 👊.
For tracks like Babylon you want a 909 on drums, and some kind of mallet sample (marimba maybe?) Or mallet like synth preset.
Musically it's a broken chord. Normal minor Triad root note first then the other 2 notes on a syncopated rhythm.
Jaguar uses a lot of principles from the what I call the "1 chord trick" . I made a video called that, check it out. Then just split the chord up instead of playing it as one block give it a go. 👊👍🤟
Unfortunately? You do know that FL Studio has Transistor Bass - their own take on the venerable TB303? It would not be difficult to do this in FL Studio. Also, unlike Ableton it is free updates for life!
If I am not wrong I saw a MASCHINE and if this was a MASCHINE it is the first time ever I saw someone actually using it for real producing not like just advertising it. I was always affraid that MASCHINE is simply a blinky-shiny MPD218 :)))) but this was outstanding example... So - I"ll get one. Peace and Respect!
I'm sorry to say it was a Push but Maschine.
But if you want one get one, there are no rules for fun!
Wanted to like the video but it's at 303 likes, what to do, what to do..
There is a story / myth. Which explains why no one has ever been able to accurately replicate Josh Winks classic acid.
And the story goes, Josh Wink actually opened up his hardware and manually tweeked, and physically modifed the resonance filter. In order to give it extra squelch, and oomph.
There was only ever one piece of hardware that made that sound. And that synth was owned by and was deliberately modified to suit his own unique sound preference.
That's why its never been replicated, and never will either. Because you would need that exact piece of hardware. You can't even by a pre-owned version. Because Josh Winks kit was not of factory settings. He broke the kit deliberately.
Making that song, and that sound, un replicatable. Genius, artistic manoeuvre, he produced his very own sound, and claimed it forever. Legend
Very possible, something was circuit bent for sure, in purpose or through a fault. given I got so close in the intro there I think it was the oscillator circuit that was bent, but given that the filter was a diode circuit it's possible bending that could change the clipping behavior of the waveform. Asymmetrical waveforms can even be achieved by messing with the power supply too. Lots of possibilities.
@@Bthelick Yeah. I gotta say, your attempt was the closest I've heard thus far. Messing around with the pulse width definitely helps. Its the final chorus, where the song goes nuts, that's the legendary bit, that's so hard to match.
I think the point is, back in the day it was all hardware, and no DAWs. Not even Laptops. They were sequencing with Akai, and computers like Atari. And some of the hardware, had some quirky behaviour, and if some clever innovative musicians, such as Josh Wink, and the hero Aphex Twin (who loved modifying his analogues). Took it upon themselves to open up the hood, and mess around with the electronics, they could achieve sounds that no other musicians had done before. It was like sound pioneers going where no man had gone before.
Its a testament to their talent and experimental journeys. That 30-40 years later people are still trying to emanate particular sounds and tunes with modern DAWs and VSTs.
And whilst it might come close. The original sound came from raw experimentation, and a quest to create a sound that no one had heard before. So the recreation always ends up with the feel of an historical re-enactment of a famous battle. Whilst historically accurate, its not quite the same as the original battle.
Its that whole Raw Vs Copy thing again. The copy never has the same energy.
Not for a want of trying though.
Your version is a very good match.
I read a post tonight about somebody opening up a Behringer TD-3 to mess with the filter to get unique sounds. As far as his sound being unique. The track Access by DJ Misjah and Tim gets very close at the peak and equally destroyed dance floors. Apparently, there was up to a 10% difference in TB-303's sound with 'magic' ones out there that sound way better than others. I had heard some terrible OG-303's on YT, barely any high resonance.
What about the drums he used? Bec everybody knows that's a 303 but what about the drums tho
c1685 bc 547B
Is this a comment for the algorithm? 🤔
Oooof! Well done - the other guys video was well off the mark
Hey Guyu does good work, but yeah he struggled on that one, but so did everybody else I've seen try! I had never got it either for all these years until I was watching him and I suddenly got this idea!
You have his # you could have just called him.😂