Hi really dig this Synth Bass sound, it’s kinda different from my main Wah Bass I made so any help will be much appreciated. 
(this bass sound is almost identical to Chamelon’s sound so if you think it’s more convenient to listen to chameleon because there is more time to hear just the bass then go ahead.)
The Kumquat Kids http://www.youtube.com/watch?v=c_tOP50x7s0, Chameleon http://www.youtube.com/watch?v=r6jPq8-eYvM
Thanks,
Derek
sounds like a fretless bass played in unison with a clavinet to me 
the clav has a wah on it..
I would try to do the same thing to reach a similar result.
Make a fretless bass type sound, play the part. Then make a clavinet with wah sound and dub the bass part. preferably play it twice instead of copying the first part
I took one more fling at it and got it! It was similar to my other sound, a little more filter open, 2 filter poles instead of 4. I tried Wah Clav and Fretless Bass in Unison and it didn’t work out. I know Chameleon is an ARP odyssey, and The Kumquat Kids is a Model D. In the backround there is actual bass playing in unison with the synth, (thats Alphonso Johnson).
Thanks for your help,
Derek
Hello,
“The Kumquat Kids” is also an ARP Odyssey. Its a mk1, played by George Duke. Your 2-pole filter setting is correct. The overall sound just uses
more resonance than the Chameleon bass patch. If you’re starting the patch from an init, those patches are basically saw bass patches with
either one oscillator only, or just a hint of the second oscillator added.
You’re listening to the former Mwandishi personnel? You’ve got big ears.
Regards,
-L
yea I love the Mwandishi band. All that Avant-Garde stuff is killer. I actually got to meet Billy Hart, he was playing with Eddie and Bennie Maupin. It was awesome!
BTW how do you pitch bend on an Odyssey (I know theres that rotary knob, but that thing is sensitive!)? I could never figure out those things. I couldn’t even find the resonance slider. Is it just me or does that thing have horrible visual feedback?
Thanks
Derek
Hello,
The pitch bend knob on the older ARPs has a dead band at it’s center position. It shouldn’t be that sensitive. The later models had three pressure-sensitive finger pads (PPC). Moog’s wheels were more popular, but there were a number of players who could seamlessly transition between the two synths (Minimoog D and Odyssey).
The Odyssey is easy to use. Because it has sliders for the envelope generators, it gives a visual representation of the envelope shape.
The panel layout is basically three zones: the top row of sliders are largely audio functions (except for AR envelope), the bottom row of sliders are
control voltage amount functions (except mixer inputs), and the row of switches below the bottom row of sliders are used to select cv sources for
the corresponding input slider above it (again, except mixer inputs). Thats pretty much it.
Regards,
-L
would you be so kind to post your final patch? I"m curious!
gladly. I don’t know how the percent thing works so bear with me.
Modulation: Source Triangle, Destination Pitch, LFO Rate one knotch to the left of Twelve O clock, Amount 2 knotches up from all the way down.
Oscillators: Osc 1 Wave Sawtooth, Osc1 Lvl all the way up, Glide rate doesn’t matter (glide is off), Sync is off, Osc 2 freq tuned, Osc 2 wave Sawtooth, Osc 2 lvl all the way up. (osc 1 and 2 on 16 octave button)
Filter: Cutoff one knotch to the left of twelve o clock, Resonance one knotch to the right of twelve, Kb amount all the way up, EGR amount 2 knotches down of all the way up, Overload all the way down.
Envelope Generators (volume): Attack 9 O clock, Decay 2 knotches to the right of twelve o clock, sustain all the way up, Release all the way down.
Envelope Generators (filter): Attack one knotch up from 9 o clock, decay one knotch to the right of twelve o clock, sustain one knotch up from all the way down, release all the way down.
octave is glowing orange on the left.
Knobs i left active: resonance, Osc 2 freq (for tuning purposes), LFO rate, and filter envelope attack.