Essential guide to the DB-01 Bassline (2024 edition)

video upload by Richard DeHove

"This guide is meant for new users and is ordered to present the information you need as you start to explore the machine. So if you've just got your machine, plug it in and follow along, and by the end of the video you'll know 95% of the functions and be happily creating, saving and tweaking patterns. The DB-01 really is an amazingly well-balanced machine that can do much more than mere basslines.

My original guide to the DB-01 was published back in 2020 and although it's one of my most popular videos it was done on a crusty camera and onboard mic. So after dozens of videos about this sturdy little machine, I thought it deserved a redo.

If, at the end, there are areas where you want more detail, there's sure to be a video about it in my DB-01 playlist. Please have a look. If not, ask in the comments, I try to answer every question.

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All gear is better in black (replacing the Midicake Arp case)

video upload by Richard DeHove

"Why just make a quick guide on replacing the Midicake Arp's front panel when I can have an extended gripe about too-colorful gear? So here it is, all talk and no music about the joys of black front panels. For reasons unknown a jumble of gear colors disturbs me. Perhaps there's some deep explanation centring on light patterns, color contrast and their interaction with brainwave states? After all, why are some color groupings universally regarded as "beautiful" or "harmonious" - such as a sunset - and other combinations like brown and orange, or magenta and red, judged terrible? Either that or I'm just getting more grumpy and demanding. In the meantime, if anyone knows of a black overlay sticker for the Big Sky, I'm in.

0:00 Approved colors
1:18 Midicake Arp
2:35 Strymon neon
3:24 Arp front panel
3:50 Replacing the case
5:35 Knob time
6:55 Ta da!

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Tortured DB-01 filter harmonics soothed with a Big Sky (no talk, possibly no music)

video upload by Richard DeHove

"I like melody. Looking back at when I played synth-punk live back in the day, the music then probably had too much melody. Well, I'm making up for it here. It's just playing with sweet-spot harmonics made bearable by the newly-bought Big Sky. Too nuanced? Too nerdy? Not even music? Maybe, but look at them harmonic peaks :D

In my recent post asking whether I should send back this glowing blue reverb cliche a sizable group voted for "Make some videos and we'll let you know". It's got to be some praise for the Big Sky that these droning harmonics suddenly became sweet to my ears. In fact I didn't intend to make a video about this at all. I was just booting up the new Big Sky to make sure it worked (after my sad experience of a DOA Line6 DL4), got to preset number 2, tweaked it, twiddled the DB-01's filter knob, and here we are.

So there's some hesitation in posting this since it seems incredibly obscure. Five minutes of resonant squeals? Yet I found it strangely hypnotic and satisfying. The only other filter I've come across which was even close to the Polivoks in twiddle-fun was the classic Moog ladder on my now long-departed Sub-37. It is also fun to discover separate tones with tiny filter movements. OTOH maybe it's just the Big Sky doing all the work?

Perhaps it's best to look on this as you would a dreamy session on a Lyra-8: It's not so much music as a brainwave meditation session. And that's not bad at all for a little mono bassline synth.

As usual there is absolutely no processing other than what you see: A DB-01 and the Big Sky (plus the old sci-fi samples).

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DB-01 reunited with the Zen delay - "It's not you it's me"

video upload by Richard DeHove

"The trusty DB-01 teamed again with the Zen delay. What you see is what you hear - there's no other sound processing of the music, not even a final limiter. Nor is there any volume tweaking of different parts. It was all recorded in one pass although it was cut down from about 5 minutes to three. The vocal samples are from a 1958 sci-fi movie 'The Day the Sky Exploded' about a swarm of asteroids threatening the Earth and the world uniting to destroy them.

The silly title 'It's not you it's me' refers to me having bought the Zen delay for the third time - a new record in the cycle of GAS and regret. But I'm reasonably confident I've finally accepted what I don't like about the Zen and the fact that I will never find the perfect delay - the 'Zen' name adding a final dollop of irony to the whole thing.

The re-buy was also helped along by the sad story of my new 'blackout' Line6 DL-4 delay. Imported it from Thomann in Germany and it was dead on arrival. Well, not quite dead, it would work for anywhere between 30 seconds and two minutes and then freeze. A shame because it sounded pretty good from the little previews I managed to hear.

You may notice I added another cable to the DB-01 rear from the clock out to the gate in. It adds little sixteenth note clicks. The waveform displays the interesting left-right variation created by the Zen.

In other news, it may be time to create a DB-01 'masters' school. Your rank will be determined by how much text from your interface has been rubbed away. At least with my two machines I can tell which one I bought first.

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How much drum machine do you need? Perkons vs the LXR-02

video upload by Richard DeHove

"To everyone who comments on my videos, sincere thanks. Comments are one of the best things about making videos. If I can use an Australian analogy, my brain is the giant flock of sheep and comments are the cattle dogs barking and nipping to keep me on track. Which is to say that this comparison video of Perkons vs the LXR-02 came from ideas in a comment thread. At first I hesitated since it seemed like an irrelevant and unfair comparison. But the comments reminded me that these are the decisions we face all the time? Will machine X satisfy or should I try for something bigger and better?

As soon as I bought Perkons I sold my old LXR-02 thinking it was redundant. Why would I bother with such a pipsqueak when the Great Blue-Green Master had arrived? But regret soon set in and the LXR-02 returned. Why? Well, that's really the essence of this somewhat chaotic comparison. It's not an analysis of kick and snare drum frequencies, rolloff curves, or about particular waveforms. I'm not trying for lab test answers. This is a collection of critical impressions of both machines, looking at some of the fundamental differences in how they're played and programmed. I hope will be of some use and interest to you.

0:00 The Big Five
0:41 Perkons is big
1:51 Analog vs digital
3:00 The interfaces
3:43 LFO modulation
8:00 Buttons
8:58 Mono vs stereo
11:05 Core sounds
17:01 Parameter locks
22:56 Pitchmod curse
24:09 Drones
25:07 More about knobs
26:26 Envelopes
28:51 Filter knob
32:42 Firmware
38:00 Conclusions

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The drum machine pedalboard Ep1: Roger That & Future Factory

video upload by Richard DeHove

"The first episode in a new series which will explore different pedal and routing combinations with the LXR-02 drum machine. First up are two Roger That pedals from Fairfield Circuitry (for left-right stereo), a Boss GEB-7 EQ and the Future Factory stereo delay from Free the Tone. Some might recognise the pedal setup from my last video with the DB-01. I liked the stereo effect so much it seemed a shame not to swap out the DB-01 for the LXR-02 and give it a test.

0:00 Intro (the only talking)
1:12 Tippy Tap
2:34 Grinder
4:09 Industry Anthem
5:32 King Pong
7:11 Ping Kong
8:49 Rubberman
9:36 Bass Poker
10:41 Modem Dancer

All ideas for the series on combinations, routings or types of patterns are very welcome.

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Two "Roger That" pedals & the joy of dirty bass in stereo (no talk)

video upload by Richard DeHove

"Any discussion about an interesting mono pedal will eventually devolve to: 'If only pedal X was in stereo'. To which some production savant will quickly reply "Just buy two!". Can it really be so simple?

Here we have a DB-01 running through the most excellent Boss GEB-7 bass EQ, then into a simple line splitter for the left and right "Roger That" pedals from Fairfield Circuitry, and finally into the Future Factory stereo delay from Free the Tone. No DAW audio processing.

There are 10 short audio examples. Each to their own but I'm now a convert to dirty stereo bass. Even when the two units are closely matched there are differences which no mono-only modulation can give.
Next time I'll try the two Rogers on some drums :)

0:00 Machine bass
1:22 Acid runner
2:33 Doom keys
3:37 Industrial drone
4:11 Fuzzy square
6:34 Poker echo
7:02 Sharpy arp
7:42 Two step
8:40 Fully rogered
9:12 The Scraper

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Unlock complex delay pedals with a MIDI controller

video upload by Richard DeHove

"The Source Audio Nemesis is a classic stereo delay with loads of interesting parameters. Unfortunately most of those parameters are only accessible via the editor software - or as MIDI CC parameters. Meanwhile the Free the Tone Future factory delay makes all the parameters available via the front panel interface, but it's a cumbersome button and encoder process that feels like an old digital synth interface.

To get easy access to most parameters while playing you can use a MIDI controller. The cheap and cheerful option is a Korg NanoKontrol 2. It is handsome, compact, cheap but is USB only which means if you want to use it without a computer then you'll need to go through a MIDI host. Now your slimline controller is starting to get big and messy, especially if you also want to add an external clock.

The best controller option imo is the FaderFox EC-4. Not only does it have MIDI in and out, it can pass through MIDI clock, has multiple scenes available direct from the unit and even lets you create four-character names for every parameter. Of course it also costs about the same (or more) as your expensive stereo delay pedal so you'll want to be sure you'll get good use from it beyond just a delay pedal knob tweak.

So is it worth the time and trouble to add a controller? It can make for some dramatic effects far beyond what is usually possible. It could also be a far quicker and more enjoyable way to program new patches.

0:00 So many options
1:28 FF & Nemesis
2:00 Ergonomics
4:15 NanoKontrol2
6:33 Annoying install
7:18 Future Factory CC list
8:02 More Nano pain
9:11 MIDI Host pain
10:15 FF setup
11:15 FF music*
17:23 Nemesis CC list
19:52 Nemesis setup
23:20 Nemesis music (no more talk)

* In the Future Factory EQ controls I limited the bass EQ boost. The full CC range 0-127 gives a 15dB bass boost. That was so ferocious I limited the range to 0-100. So if you want bass boost it's available.

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Do you need a complex poly synth - or just polyphony and FX?

video upload by Richard DeHove

"There are few synths more simple than the Solina, but can it be extended from its one trick? Can it do what real poly synths do, or at least cover some of the territory by using external effects? And if it successfully delivers a range of bid pad sounds then can interesting little mono synths do the weird stuff and your need for a flagship poly finally end?
After a short intro burble I demo a range of sounds using the Strymon Mobius, Shift Line Astronaut and Erica Synths Acidbox III. They certainly move the Solina out of its usual zone but can't really overcome the lack of envelope control. OTOH the pad thing is well covered. It it enough to end Big Poly GAS?

0:00 The only bit of talking
1:09 Rotary
1:40 Formant
1:52 Bit crusher
2:50 Chorus
3:44 Filter & res
4:24 Env follower
4:48 20dB gain
5:20 Drive
6:40 High res
7:20 Metal
8:10 Envelope
8:37 Drone
9:25 Thick

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DB-01 with Light pedal feedback - and JPTR FX Add Violence

video upload by Richard DeHove

"There's something very satisfying about the DB-01 and dark, deep drones. Maybe it's the Polivoks filter and that big knob.

In this setup the DB-01 is going into the Gamechanger Audio Light pedal in Feedback mode with everything cranked. From there into the JPTR FX Add Violence pedal and then into the Nemesis delay. This order seemed to work better than the Light pedal after the distortion. There's no audio processing in the DAW. Quotes come from a 1940s movie through the Valhalla delay.

The original noodle - which I was trying hard to keep short and sweet - was eight minutes, but how much grinding feedback drone is too much? So here we are at about four. In hindsight it would have been good to have something after the Light pedal that could more severely mess with the feedback tone. Next time :D

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Neptune - an 8-LFO Eurorack module with quantizing

video upload by Richard DeHove

"Neptune is an 8-LFO Eurorack module. What you see here is a 99% complete beta version. The final production version will have slightly revised firmware, new knobs and faceplate design. In the video I run through just a few of its features, mainly looking at the quantize functionality.

The main features include:
- Eight independent LFOs
- 256 waveforms including many evolving and random waveforms
- Clock sync and free running options
- Phase offset, wave polarity, wave truncating
- One-shot mode (per LFO) with the waveforms being triggered via the reset input
- Comprehensive merge capabilities between waveforms eg: AND, OR, XOR etc
- Each LFO can be individually quantized to one of 16 scales
- The output of each LFO can be individually limited from 1 semitone to 5 octaves

Neptune is made by SPC Plugins in the UK. It is currently in beta with limited production to start in early 2024."

Note this appears to be SPC Plugins first eurorack module. So new it is not yet on their website as of this post and demo.

How to update Perkons for chromatic play

video upload by Richard DeHove

"Firmware update 1.1 for Erica Synths' Perkons has brought many improvements. The two most notable are the ability to play each voice chromatically and the ability to have the optional hits on the last bar rather than the first. Here I go through the update procedure and the config page options to enable the new features. At the end I get distracted and start faffing about with a dronescape.

Links on the Erica Synths website:

Firmware update page:
https://www.ericasynths.lv/news/perko...

Updated configuration chart:
https://www.ericasynths.lv/media/Perk...

0:00 Updating the firmware
1:10 Adjusting the config
1:32 Config chart
1:47 Config options
3:56 MIDI channels
4:53 Playing
5:50 Tuning
6:30 Unison noodle
7:30 Voice 4
8:30 Voice 1
9:30 Drone noodle

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The clone, the chicken and a dodgy respray

video upload by Richard DeHove

"The clone is the Joyo 'Monomyth' a direct copy of the Darkglass Alpha Omega Ultra; the chicken is the curious 'Boozer'; and the dodgy respray is me after I change my mind on the pedal's name and mangulate an other wise perfect spray job. So this is just a little bit of fun, and if I seem a bit strong in my criticism of the pedal's original state it's because I would never have bought it without intending to give it a makeover.

If watching an 11-minute pedal makeover is too much then here's the TLDW (too long didn't watch): Getting this pedal's top on and off was a nightmare; I stupidly changed my mind about the name; the end result was OK; and the pedal sounds good with a very strong EQ section.

0:00 Blather and unboxing
1:54 Raising the ugly bar
2:28 Pedal pedant
2:55 Behold the original
3:58 Inspection and test
5:33 Taking it apart
6:21 Respray
6:33 Boozer
6:35 Spraying
7:00 Family labor
7:44 Lights return
8:24 Version 2
8:50 Matched pair
9:02 Sound demo
11:18 OMG no!

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Create an industrial drone synth on the LXR-02

video upload by Richard DeHove

"Is it an industrial drone synth? Maybe it's an interactive FM sequencer? It's certainly droney with FM sweeps and industrial grind and that's just one variant. Here I create a single synth voice which is then fed with synced LFO modulation. What's most important here is the technique rather than the specific result. My version has a 16-step melodic pattern, but with a few tweaks you could create a retriggering playable voice, or a much slower evolving noisescape using the random LFO waveform. I'm also just using the first voice, but the snare, clap and metal engines have their own flavors and modulatable parameters as well. I was going to look into them as well as quickly creating different melodic "starter" sequences but this was already getting a bit long for something a bit niche. Let me know if you want to go there :D

Finally, from the programming you'll see how easily the LXR performs as a synth. It certainly wasn't my intention to concentrate on the "LXR as a synth" idea, but synthy things start to slip out very easily once you're in the mode.
The five drone kits demoed at the start are available on Patreon.

0:00 Drone kits demo
2:07 With lo-fi FX
2:55 Kit setup
4:55 LFO - tuning
5:40 LFO - decay
7:55 LFO - FM amount
8:55 LFO - FM fequency
10:00 Twiddlings
11:55 LFO - filter
13:10 Oscillator type
14:47 With delay

Lots of downloads for supporters on Patreon: https://www.patreon.com/richarddehove Many thanks to my kind patrons who keep this channel ad-free My website: https://richarddehove.com/"

Patching a basic kit from scratch on the LXR-02

video upload by Richard DeHove

"This isn't a dazzleman superkit showcase video. It's a reality ride-along as I put together a pretty standard kit discussing the various parameters, choices and interactions as we go. It's a moderately long video but then there's a lot to cover and I wanted this to be a real walkthrough of the process. Even so I didn't cover lots of interesting things like LFO sidechaining, panning, effects and velocity - that's for next time.
I put a limiter on the final output to catch a couple of spikes but otherwise there is no other processing than what you see. If listening on headphones you may notice a little noise when the mic is active. There was a lot of ambient noise outside with traffic, birds and power tools - and of course the LXR's buttons are very clicky. With those disclaimers aside I hope you find the process and explanations useful.
The resulting kit 'Clomp' is on Patreon.

0:00 Initialize kit
0:47 Hear and play
1:15 Bass drum
2:09 BD - Envelopes
4:25 BD - Add grit
5:30 BD - Transient
7:00 Low tom
8:00 LT - Slope
9:24 LT- Osc 2
10:18 LT - Highpass
11:30 Clavything
12:04 CL - Envelope
12:18 CL - Noise
13:07 CL - Velocity
13:52 CL - LFO
15:59 Snare
16:25 SN - mix
17:27 SN - envelopes
18:28 SN - transient
18:51 SN - filter
19:43 SN - LFO
24:16 Clap
25:57 CP - filter
26:24 CP - LFO
29:12 Hats
30:02 HT - filter
30:16 HT - LFO
31:15 Kit test
32:12 Save kit

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Squeezing variations from 16 steps with the DB-01

video upload by Richard DeHove

"Even the best 16-step pattern gets stale after too many spins. Here I look at a few simple ways to create variations without actually writing any new steps or copying patterns. The LXR-02 helps out in the background. The routing is just the DB-01 into the Boss GEB-7 EQ and then into The Glove pedal. The LXR-02 stereo out is being used as two channels - one into the Boss delay, the other into the Mosky Audio muff clone. The snare sounds are panned mostly to the delay and the bass drum mostly into the Mosky.

The DB-01 is the clock master and one voice of the LXR-02 is simply following the melody from the bassline. The 2-bar LFO on the LXR-02 melodic voice gives it a slow wave effect.

As usual there are no other effects, tweaks or modifications to the sound - only what you see.
ps: Still having some camera wobble issues. I'll solve it next time for sure :/

0:00 No talk variations demo
3:27 Routing setup & FX
6:40 Variation by LFO
8:06 Adding sustain
8:53 LXR doubling
9:32 Key mode mute
10:15 LFO sustain
10:45 LXR tinkles
11:35 Add a pedal

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Create multitrack synth patterns in the LXR-02. Demo and tutorial

video upload by Richard DeHove

"Last time we looked at programming synth sounds on the LXR. This time we take a synth-heavy custom kit of four synth sounds and two drum sounds and team it up with the Midicake Arp. The Arp plays the four synth channels. Later we feed all four synths tracks into the LXR in one pass over 64 steps. While the Midicake is ideal for this you could use any sequencer or arp that can satisfy a few basic requirements: It needs to be able to send note information on different MIDI channels and be able to act as the Midi clock master - pretty basic powers. One tiny caution if you're going to use a Keystep-37: When you press the stop button for the arp or sequencer it sends a value '0' on Midi CC51 - which also happens to be the Midi command on the LXR for amp envelope decay on voice 1.

Feeding pattern data into the LXR is a good idea imo given how many options there are on the Midicake. One of the strengths of the Midicake is that it constantly saves its state as you work so there's no need to ever actively save anything. The downside is that there's no saved version to revert to in case you wander off on some promising but ultimately unsuccessful adventure. The lesson is to copy your patch to a new slot as you go. Same holds for the LXR - I've lost many interesting sounds in furious twiddles or too-confident "save kit" actions that turned out to be 'load kit' instead. Stay organized. For my honoured Patreon friends the LXR kit used here is available for download.

The synth sounds on the LXR are really starting to grow on me. They're pretty harsh and digital but respond well to effects. They're also not like your standard synth sounds so you tend to end up in odd places. It makes a good partner for the Midicake. Another obvious partner-candidate would be the Roland 4D. Not a fan of the superb blandness of Roland sounds but spec-wise it seems like a perfect fit. I only have one criticism of the Midicake Arp: They're now made in black and I've got a white one :/

As usual there is absolutely no extra effects, EQ, compression or alteration of the sound other than what you see.

0:00 Example arp
2:20 Drum pattern
2:45 Each synth sound
4:04 Midicake tracks demo
6:50 How to input data
10:02 LXR playback

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Your LXR-02 drum machine is also an unusual multitimbral synth

video upload by Richard DeHove

"Some machines will never deviate from their designated life mission. Others, like the LXR-02, can entirely reinvent themselves with just a modest push. Erica Synth's little digital drum machine is at heart a six-voice multitimbral synth. The controls are optimised for percussion but it's building blocks are entirely those of synths: Oscillators, envelopes, filters and LFOs. So you're not dressing BoBo the Smoking Chimp with rabbit ears and pretending it's the Easter Bunny. The LXR is already a capable synth.

So here I run through the construction of a couple of synth sounds, meander about through the options, get distracted, lament the poor onboard effects, and end up with a reasonable stereo bassy mid-thing. One small technical note of caution: If you're using a Keystep-37's arpeggiator to play the LXR you may need to go into the LXR's config options and filter the incoming MIDI to just be notes (a single 'N' in the display). This is because the Keystep's 'stop' command sends a CC51 message to the LXR which zeroes Voice 1's decay envelope.

If there's one area where the LXR-02 falls a bit short as a multi-track synth it's in programming and manipulating chromatic sequencer tracks. But a possible solution to that is in the next video...

0:00 Music intro
1:06 Why use it as a synth?
2:30 Which voice?
3:36 Config setup
5:08 Synth basics
7:50 Envelope shape
9:30 Second oscillator
10:20 Detune
12:00 Fiddlings
14:21 LFO
17:34 Stereo field
25:20 FX
27:47 Voice 5
29:27 Repeats
31:12 LFO & FM

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DB-01 Doom metal pedal test

video upload by Richard DeHove

"In guitarland many people have remarked how closely the Joyo Double Thruster pedal replicates the sound of the Darkglass B33K. Given that the B3K is one of my favorite pedals I bought an ugly Double Thruster to find out how it goes on synth. Originally I thought I'd do a straight comparison with waveform and frequency response blah blah but in the end it really came down to two things:

1) For me the B3K only has one 'sound' and you just dial in more or less of it. Excessive knob twiddling just degrades the effect
2) The Joyo captures about 95% of the B3K sound and has identical controls even down to the bass and mid-boost options and the feel of the footswitch

So forensic analysis seemed a bit pointless. Instead I did what many who lament mono-only pedals do: Run two identical pedals left and right to achieve a type of stereo. That worked pretty well imo and you can see the slight differences between left and right in the waveform display. I also did a quick A and B comparison, but please forgive me the video wobbles - my camera was badly clamped :/

I'm still not sure about the whole clone thing though. The ethics seem to be about defining who's being ripped off: The company or the consumer.

0:00 Stereo demo
2:01 Talk about Joyo and B3K
4:09 Raw sound
4:40 Sound comparison

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Acidbox III Fully cranked

video upload by Richard DeHove

"The Erica Synths Acidbox III stereo filter with everything cranked. Team it with a DB-01 and you've got a Polivoks filter going into another Polivoks filter. Both resonances on full, input saturation full and then an added 20dB of input gain on top. Why be subtle?
A few normal DB-01 patterns are mangulated at the start before forgetting about any sort of input at all and just playing latent noise and resonance through a Shiftline Astronaut pedal. We end somewhere among the Krell on Altair-4.

0:00 The setup
1:06 Pattern one
1:40 +20dB input gain
2:52 Pattern two
4:23 Pattern three
5:00 Control input config
6:12 CV input
8:33 1950s sci-fi
9:58 On Altair-4 (no more talk)

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