Moog Music Forum

I was working with my MonoMachine (lovely digital six track sequencer synth by Elektron) trying to tweak some nice Kraftwerk-ish FM bass sounds out of it. Managed to get nice character out of it, but it really kicked when I layered it with a plain unfiltered sine wave. So I started to think about layering the Voyager that I have with other synths bu I haven´t tried it yet. I´m a big fan of snappy bass sounds and long bass notes with slowly pronounced resonance sweeps. But as you know the bass diminishes with high resonance. Would it be overdoing it with a, lets say, FreqBox or Minitaur parallel to the Voyager?

Returned the MuRF i bought recently and for the money it was worth I could get a Minitaur. Been having the crush for it since it came out but couldn´t justify a purchase. Maybe a Minitaur parallel to the Voyager would allow me to really focus on getting character out of the Voyager and let the Minitaur do the kicking. Or maybe it´s just too much...

I think that sounds like a great idea!

Somewhat related, I have a track where the T3 plays the bass note, with two tracks of Micromoog on top (or maybe one Micro, one Little Phatty, can't remember) - I had the resonance too high on the T3 and it was overpowering the upper voices. Put the T3 through my MF-101 to tame it, blended much better. Starts about 1:52:

https://soundcloud.com/hieronymous-seve ... 8-part-4-1

I would imagine you could do like you suggest - restricting the Minitaur to the lower frequencies - or manipulate the Minitaur's filter simultaneously, maybe in stereo? Plenty of options.

I wonder if you might have issues with the low frequencies of the Voyager interfering with the Minitaur - you could put the Voyager through a high pass filter if necessary.

I haven't found myself layering much in the unison sense.

I do kind-of wish minitaur had a sin sub, but I've found myself using subs which aren't in unison with the main bass-line recently, especially if the bass-line is mainly rolling on 16ths.

I almost always have the resonance turned right down on the minitaur though, because as previously said, it sucks out all the body.

I have a Voyager too, but don't tend to use that for low-frequency too much since it lacks the oscillator phase reset feature of Minitaur.

Also have a MonoMachine, which also lacks an osc phase reset function, so you get clicks when using sin subs, unless you use a relatively long attack.

What it does layer nicely with though, is my old Novation Supernova 2.

I've also found putting the Minitaur through a software emulation of a tube compressor or tube amp works very nicely.

Even after 20+ years of working with synths, I'm still very much on the learning curve though.

That oscillator phase reset is something I'm really curious about. Getting really worked up about getting a Minitaur. Been having the hots for a Minitaur since it came out but never the needs to justify a purchase. Layering the Voyager with it for some solid bass lines, and also doing two hand bass lines at other times. Have had the ideas for the latter in songs we've made but not the gear for it. Do I hear a "Buy it!"?

Even with the phase reset, it can still click a bit with very fast attack.

That may be due to the previous note still being at the top of its curve. Even digital synths can do that when they're set to mono.

I'm not worried about click but instead interested in the lack of phase cancelling with free running oscillators and thereby no bass reduction at certain times.

I have both Casio VZ-8M's outputs going to the MF102 Audio In and Carrier In, one of them sending a sine wave. The results are fantastic.

Another setup is sending a Yamaha ED-10 percussion synth to the MF102 before going to the Minitaur. In this case I use the headphone output to trigger the ED-10.
The other day I used the headphone output to go to the MF102 and then back to the Audio In.

All of these are strongly recommended!

I use my Korg Volca Bass with a MIDI-Out mod to sequence the Minitaur and I also keep the part from the the Volca when I record. The sounds are very different from each other but play the same notes. I add different reverb and delays to the two tracks to alter them further from each other. I've used this approach on almost all of my recent songs - they range from aggrotech to softer, more cinematic tracks.

This is one example:
https://soundcloud.com/steffee-3/basvis ... g-minitaur

Hello all,

I've occasionally lurked around here, checking out info on the editor.. Anyways, this post caught my eye.. I really like pairing my Minitaur with my MiniBrute, aka Mini Bru-taur. You can hear it here an example on this track I made:

https://soundcloud.com/synthetic-juice/mini-bru-taur

In Maschine, they run in parallel on separate sound inputs and sound pads via midi. The Minitaur is used more for foundation/sub osc. Minibrute is used more for mid and higher grit, usually with a low cut. I add effects on them both separately to taste, then combine the audio together with light processing in Maschine group.

On this track, besides some mild eq, compression to glue it all together, and a heavy handed sidechain compression, the Minitaur is pretty much as is, and Minibrute has varying reverb on it. I had to mess around for the bend and glide to match on both.

syntheticjuice wrote: In Maschine, they run in parallel on separate sound inputs and sound pads via midi. The Minitaur is used more for foundation/sub osc. Minibrute is used more for mid and higher grit, usually with a low cut. I add effects on them both separately to taste, then combine the audio together with light processing in Maschine group.

On this track, besides some mild eq, compression to glue it all together, and a heavy handed sidechain compression, the Minitaur is pretty much as is, and Minibrute has varying reverb on it. I had to mess around for the bend and glide to match on both.

Can you explain how you do this? I run Maschine separately from my Minitaur. I'd be curious about running it with Maschine.

Here's the short version:

1. First I decided on a group, usually B for Bass.

2. Then you need to get a Minitaur on a pad or in Maschine terms "sound".
You can either that sound output midi to your minitaur, or add the minitaur VST, and under settings in the VST, make sure echo midi is ON.
Then you need to go Maschine Sound input setting, and select the audio source the Minitaur is feeding into. You may need to tweak this in Maschine's settings
Play some notes, you should hear something from the Minitaur.
note, the annoying thing with Maschine is it only plays mono inputs on the left. Guitar rig VST is easily solves this.. I think there is a free version of it? Else use some other VST to rebalance it to center. This is the most annoying thing about Maschine!!!!

3. Now select another sound in the same group, and add another synth. P
Play some notes, you should hear something from the other synth

4. Link the pads together.
The easiest way is to select the pad, hold down pad mode on the hardware, and and set the link group of the sound to the same number. You can set both to master for now to make things easy. I think the tiny grid above the sounds list shows the same thing.
After you do this with both pads you when you play one sound, the other should play too

5. Add effects and sound levels on each sound separately to taste. Use group effects and group level to tie them together.

I turn off the Minitaur midi in/out in Maschine since I only work through the VST (that needs to be pointed to your Minitaur)
Once you get the Minitaur VST working, it recording automation is easy.
For sound midi in, you can set it so the pad always listens to a specific midi source and channel even when it is not selected..

There's some other details and finer points that you can mess around with too once you get into it. Have fun.

JehuJava wrote:

syntheticjuice wrote: In Maschine, they run in parallel on separate sound inputs and sound pads via midi. The Minitaur is used more for foundation/sub osc. Minibrute is used more for mid and higher grit, usually with a low cut. I add effects on them both separately to taste, then combine the audio together with light processing in Maschine group.

On this track, besides some mild eq, compression to glue it all together, and a heavy handed sidechain compression, the Minitaur is pretty much as is, and Minibrute has varying reverb on it. I had to mess around for the bend and glide to match on both.

Can you explain how you do this? I run Maschine separately from my Minitaur. I'd be curious about running it with Maschine.