bass synth from “smooth criminal” by michael jackson | ToneDB

smooth criminal

michael jackson

bass synth

85% ai confidence

Tone Profile

A punchy, iconic analog synth bass with a distinct percussive attack and a warm, growling sustain. It's a driving, funky sound that forms the rhythmic and harmonic backbone of the track.

Signal Chain

Instrument: Minimoog Model D

Amp: Direct Input (DI) into mixing console

Processing: Console EQ (e.g., SSL E-Series or Neve 1073-style), FET Compressor (e.g., Urei 1176)

Other: The Minimoog was likely set with two or three oscillators, possibly sawtooth waves slightly detuned for thickness, and a fast filter envelope to create the plucky attack. Recorded directly into a high-end analog mixing console like an SSL or Harrison.

Recording Notes

  • The bassline is a prominent feature, meticulously performed and mixed for maximum impact.
  • Bruce Swedien, the engineer, was known for his techniques in capturing powerful low-end and creating distinct sonic spaces for each instrument.
  • The sound benefits from the warmth and saturation of analog recording equipment of the era.
  • While the Synclavier was used extensively on the album (e.g., for the heartbeat intro), the main bassline is widely attributed to a Minimoog.

Recreation Tips

  • Start with a Minimoog emulation (hardware or software). Use two sawtooth oscillators, tune one slightly sharp and the other slightly flat (e.g., +/- 5 cents) for a chorusing effect. A third oscillator, perhaps a square wave an octave lower, can add more body.
  • Set the filter to low-pass with the cutoff relatively low, but with a moderate amount of resonance to emphasize the attack.
  • Use a fast attack on both the filter and amplifier envelopes. Decay should be set to match the staccato nature of the notes, with minimal sustain and a quick release.
  • Apply a compressor with a medium to fast attack and fast release to enhance the punch and even out the dynamics. Ratio around 4:1 to 6:1.
  • Subtle EQ can be used to shape the tone: boost low-mids (around 200-400Hz) for warmth and presence, and perhaps a slight boost in the upper-mids (1-2kHz) for attack definition. Cut unnecessary sub-bass if it muddies the mix.
  • Consider playing the part with a very slight swing or quantizing tightly to capture the original groove.