TONEDB

bass synth from “electric feel” by mgmt | ToneDB

electric feel

mgmt

bass synth

92% ai confidence

Tone Profile

A punchy, round, and slightly gritty analog monosynth bass with a prominent filter envelope, providing a funky and driving low-end foundation.

Signal Chain

Instrument: Korg MS-20

Amp: Langevin Dual Vocal Combo (DI/Preamp section)

Processing: Langevin Dual Vocal Combo (EQ and Optical Compressor sections utilized), Collins 26U Tube Limiter

Other: Korg MS-20 settings: Likely VCO1 (sawtooth or pulse) + VCO2 (square, possibly detuned or an octave lower) mixed into the Low Pass Filter. Filter cutoff modulated by EG2 with a quick attack and moderate decay to create the characteristic 'womp'. VCA controlled by EG1 for a plucky, percussive sound.

Recording Notes

  • The bassline was played by Ben Goldwasser on a Korg MS-20.
  • Producer Dave Fridmann routed the MS-20 through a Langevin Dual Vocal Combo (DI, preamp, EQ, compressor) and then a Collins 26U tube limiter.
  • The sound is monophonic, warm, and full, with a distinctive analog filter character.
  • It sits prominently in the mix, driving the song's groove without being overly sub-heavy.

Recreation Tips

  • Use an analog monosynth or a faithful emulation (like Korg MS-20 VST). Start with a sawtooth wave on VCO1 and a square wave on VCO2. Detune VCO2 slightly or set it an octave lower than VCO1.
  • Blend the oscillators and feed them into a resonant low-pass filter. The MS-20's filter has a distinctive aggressive character.
  • The filter envelope (EG2 on MS-20) is crucial: set a quick attack, moderate decay, low to zero sustain, and a moderate envelope modulation amount on the filter cutoff. Adjust the filter's initial cutoff frequency and resonance (Peak) to achieve the desired 'talking' or 'womp' quality.
  • The VCA envelope (EG1 on MS-20) should be plucky: quick attack, moderate decay, low sustain, and a quick release.
  • Emulate the Langevin DVC with a quality channel strip plugin: use the preamp section for color, gentle EQ to shape (e.g., cut mud, add presence), and light optical compression for smoothness.
  • Follow with a tube limiter plugin (emulating something like a Fairchild 670 or an LA-2A if a Collins 26U model isn't available) for further dynamic control and saturation, adding warmth and glue.
  • Don't over-process; the core MS-20 sound is strong. The external gear enhances its character and helps it sit in the mix.

Sources