TONEDB

bass synth from “flash light” by parliament | ToneDB

flash light

parliament

bass synth

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Tone Profile

An incredibly fat, squelchy, and resonant analog synth bass created by layering multiple Minimoogs, featuring a distinctive vocal-like filter sweep driven by the synth's internal envelope.

Signal Chain

Instrument: Minimoog Model D (Oscillator 1: Sawtooth, Oscillator 2: Sawtooth - slightly detuned, Oscillator 3: Sawtooth - octave down or off)

Amp: Direct Input to mixing console (e.g., API, Neve)

Processing: Minimoog's built-in Low-Pass Filter (high resonance, envelope controlled)

Other: Four Minimoog parts were overdubbed and bounced together. Key to the sound is the Minimoog's filter envelope: fast attack, moderate decay, low sustain, quick release, with significant envelope modulation depth on the filter cutoff. Expressive use of pitch bend and glide.

Recording Notes

  • The bassline was played by Bernie Worrell.
  • Four separate Minimoog Model D synthesizer parts were overdubbed for the bassline and then bounced together to a single track.
  • No external effects were used on the Minimoogs for this specific bassline; the entire sound comes from the Minimoog's oscillators and its highly resonant filter modulated by its envelope generator.
  • Recorded directly into the mixing console at United Sound Systems, Detroit.
  • Extensive use of the Minimoog's pitch bend wheel and portamento (glide) feature is integral to the performance's character.
  • Recorded to 2-inch analog tape, likely contributing to the overall warmth and subtle saturation.

Recreation Tips

  • Use a synthesizer capable of emulating the Minimoog sound (e.g., multiple analog-style oscillators, 24dB/octave low-pass filter). Sawtooth waves are essential.
  • Set Oscillator 1 to a sawtooth wave. Set Oscillator 2 to a sawtooth wave, slightly detuned from Oscillator 1 for phasing/chorusing, or tune it an octave lower.
  • The core of the sound is the low-pass filter with high resonance (Q). Modulate the filter's cutoff frequency with an envelope generator.
  • For the filter envelope: set a very fast attack, a quick decay, low or zero sustain, and a quick release. The envelope amount (contour) sent to the filter cutoff needs to be significant to create the 'wow' or 'squelch' effect.
  • For the amplifier envelope: a similar fast attack and decay can be used, with sustain adjusted based on desired note length.
  • Master the use of portamento/glide between notes and expressive pitch bending.
  • To emulate the original recording technique, layer 3-4 takes of your synth part. Introduce slight variations in tuning, filter settings, or timing for each layer to create a richer, more complex sound.
  • Experiment with driving the input of your audio interface or a preamp plugin slightly for a touch of analog-style saturation if desired, though the original was reportedly clean into the console.

Sources