TONEDB

bass synth from “like a prayer” by madonna | ToneDB

like a prayer

madonna

bass synth

90% ai confidence

Tone Profile

A punchy, round, and iconic 80s analog synth bass with a strong fundamental and a slightly percussive attack, driving the song's powerful groove.

Signal Chain

Instrument: Moog Minimoog Model D

Amp: Minimoog Model D oscillator, filter, and VCA sections (as synth engine)

Processing: Direct Box (DI) to mixing console, Mixing Console Preamp (e.g., SSL 4000 E Series or Neve 1073), Console EQ (e.g., SSL E-Channel), Console Compression (e.g., SSL Channel Dynamics or Urei 1176)

Other: Played by Patrick Leonard. The sound is relatively dry, powerful, and sits prominently in the mix.

Recording Notes

  • The album 'Like a Prayer' was co-produced by Madonna and Patrick Leonard.
  • Recorded in 1988, primarily at Johnny Yuma Recording and Ocean Way Recording.
  • The main synth bass part was performed by Patrick Leonard using a Minimoog Model D.
  • The signal was likely recorded directly into a high-end analog mixing console of the era, such as an SSL 4000 E Series or a Neve.
  • The bassline is a key melodic and rhythmic component of the song, providing a strong foundation.

Recreation Tips

  • Use an authentic Minimoog Model D or a high-quality emulation (e.g., Arturia Mini V, Moog Minitaur for a similar Moog character).
  • Start with two oscillators: typically a square wave and a sawtooth wave. Consider detuning them slightly for thickness.
  • Set Oscillator 2 an octave lower than Oscillator 1, or utilize a sub-oscillator if your synth has one, to reinforce the low end.
  • Employ a low-pass filter (24dB/octave slope if available, like the Minimoog's ladder filter) with a moderate amount of resonance to add punch and character.
  • Configure the filter envelope with a fast attack, quick decay, and low sustain to create a percussive pluck.
  • Set the amplifier envelope similarly: fast attack, moderate to quick decay, and sustain level adjusted to taste (often relatively low for a plucky bass).
  • Keep the filter cutoff relatively low, allowing the envelope to modulate it upwards on each note's attack.
  • Apply subtle EQ: boost low-mids (around 150-250 Hz) for warmth and body, and potentially a slight cut in the sub-bass (below 40Hz) or muddy low-mids (300-500Hz) if needed for clarity.
  • Use light compression to even out dynamics and add punch, mimicking console channel compression.
  • The original sound is fairly dry, but a very subtle touch of 80s-style chorus could be experimented with if desired, though it's not prominent on the original.

Sources