TONEDB

bass synth from “billie jean” by michael jackson | ToneDB

billie jean

michael jackson

bass synth

90% ai confidence

Tone Profile

A punchy, round, and iconic analog synth bass with a distinct percussive attack and a slight growl, driving the song's unforgettable groove.

Signal Chain

Instrument: Minimoog Model D Synthesizer

Amp: Direct Input (DI) into mixing console

Processing: Console EQ (e.g., Harrison 32C), Console Compression (e.g., Urei 1176 or dbx 160)

Other: The Minimoog was likely recorded directly into a high-quality mixing console, such as the Harrison 4032 used for mixing Thriller. The oscillator mixer section on the Minimoog itself would have been used to set levels and potentially introduce subtle overdrive.

Recording Notes

  • The bassline was performed by Greg Phillinganes.
  • Recorded by legendary engineer Bruce Swedien.
  • The Minimoog was recorded direct, without an amplifier.
  • This bass sound is renowned for its clarity, punch, and ability to cut through the mix while providing a solid foundation.
  • The song was mixed on a Harrison 4032 console, so its EQs and potentially preamps contributed to the sound.

Recreation Tips

  • Use a Minimoog or an accurate emulation.
  • Set Oscillator 1 and Oscillator 2 to sawtooth waveforms.
  • Slightly detune Oscillator 2 (e.g., by a few cents) from Oscillator 1 to create a thicker, chorusing effect.
  • Set the octave for both oscillators appropriately for a bass sound (e.g., 16' or 32').
  • In the Minimoog's mixer section, set the levels for Oscillator 1 and 2 to near maximum, potentially pushing them slightly into overload for subtle warmth and harmonics.
  • Use the Low-Pass Filter (VCF). Set cutoff frequency relatively low and add a moderate amount of emphasis/resonance (contour).
  • Filter Envelope (Contour): Fast attack (0-10ms), short decay (around 200-400ms), zero sustain, and a short release (around 50-150ms). This creates the percussive 'thump'.
  • Amplifier Envelope (Loudness Contour): Fast attack (0-10ms), medium decay (around 400-600ms), zero sustain, and a short release (around 100-200ms).
  • Apply subtle EQ: boost low frequencies (around 60-100Hz), possibly a slight cut in low-mids (200-400Hz) to reduce mud, and a touch of presence in the upper mids if needed.
  • Use light compression to even out the dynamics and add punch, with a medium attack and fast to medium release.

Sources