Lady Gaga has taken the pop world by storm over the past few years. Learn how to re-create (in Logic or your DAW or synth of choice) the bass synth from her hit single "Edge of Glory".
First, the Sub oscillator is set to a staircase wave, which is a little richer than a sawtooth.
We're using a straight sawtooth for the primary wave, which plays an octave higher than the Sub oscillator.
Note that the Oscillator Mix slider is set so that we hear a bit more of the Sub than the Primary.
Next, Drive is all the way up, to add a little more edge to the sound.
The Filter is set to 24 dB, with no Resonance.
The Cutoff to about 11 o'clock or so, to darken up the sound.
Key is set to zero, so the filter stays at the same level throughout the keyboard range, and...
Amplifier is set to Full to give us the maximum level. All the other modulation settings are set to zero, as we don't want any vibrato or tremolo in this sound.
For the same reason, the Mod Envelope is set to zero.
Next, note that the ADSR is set to a short Attack and Release, although neither are set to zero, which would add too much "snap" to the sound.
The Decay is also fairly short, while the Sustain is set to its maximum, so the sound level doesn't drop off after the attack.
Below that, Analog is set to 100% to add a little richness to the bass, and
Voices are set to Legato, so to be sure that there are no gaps in the sounds when it's played.
We've also added a little Chorus to add just a little motion to the sound.
Richard Lainhart is an award-winning composer, filmmaker, and author. His compositions have been performed in the US, Europe Asia, and Australia, and recordings of his music have appeared on the Periodic Music, Vacant Lot, XI Records, Airglow Music, Tobira Records, Infrequency, VICMOD, and ExOvo labels. His animations and short films have been shown in festivals in the US, Europe, and Asia, and online at ResFest, The New Venue, The Bitscreen, and Streaming Cinema 2.0. He has authored over a dozen technical manuals for music and video hardware and software, served as Contributing Editor for Interactivity and 3D Design Magazines, and contributed to books on digital media production published by IDG, Peachpit Press, McGraw Hill, and Miller Freeman Books. Previously an Adobe Certified Expert in After Effects and Premiere, a demo artist for Adobe Systems, and co-founder of the official New York City After Effects User Group, he was, from 2000-2009, Technical Director for Total Training Productions, an innovative digital media training company based in New York and California.
Thank you for this great tutorial! Beside the way that it shows that the ES1 still can generate modern sounds its also good to see that the professionals also work with simple sounds and not every patch needs to be overloaded with modulations, fx or anything else.
You must be logged in to comment.