Get a Minitaur.
Does anyone know whether the DSI pro 2 does good bass straight out of the box, or do you have to fiddle and tinker like on the A4 to get some decent bass out of it?
You could aswell advice us to get a sample-pack and an cheap sampler - or to get a Harley and sample it - Buth ai ! then you’ll have to fiddle again.
My advice - don’t get a synth if you don’t wanne put in some effort - there are other solutions if you find no joy in fiddeling. There’s like a thousand Workstation - type keyboards - with like a 100.000 presets - they’ll almost do everything for you just pushing on key !
Personally this "out of the box " - stuff dousn’t interest me at all.
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I used to share that perspective. But I learned that the A4 can get into some great bass territory with proper programming. Most of the patches mentioned here get it right into the pocket. The free “Bass Vol. 1” patches pack from Elektron’s downloads page also has a few solid patches for deep bass.
I think the strength of the Minitaur with the A4 is more in having a dedicated bass voice off the A4’s CV channel, with a dedicated output just for bass.
And even the A4 can do basses the Minitaur cannot due to extra waveform availabilities. Triangle waves are particularly my favorite for deep bass.
You could aswell advice us to get a sample-pack and an cheap sampler - or to get a Harley and sample it - Buth ai ! then you’ll have to fiddle again.
My advice - don’t get a synth if you don’t wanne put in some effort - there are other solutions if you find no joy in fiddeling. There’s like a thousand Workstation - type keyboards - with like a 100.000 presets - they’ll almost do everything for you just pushing on key !
Personally this "out of the box " - stuff dousn’t interest me at all.
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I am confused. Have I said something to offend you?
I was commenting that the Minitaur kicks ass for bass (and it should do, it’s a bass synth) and that the A4 requires work.
I thought I actually enjoyed programming synths, especially the A4, but apparently not from what you have said.
Oh well, best sell the A4 and have an existential crisis as some guy called vos on the interwebs knows me better than I know myself.
You could aswell advice us to get a sample-pack and an cheap sampler - or to get a Harley and sample it - Buth ai ! then you’ll have to fiddle again.
My advice - don’t get a synth if you don’t wanne put in some effort - there are other solutions if you find no joy in fiddeling. There’s like a thousand Workstation - type keyboards - with like a 100.000 presets - they’ll almost do everything for you just pushing on key !
Personally this "out of the box " - stuff dousn’t interest me at all.
[/quote]
I am confused. Have I said something to offend you?
I was commenting that the Minitaur kicks ass for bass (and it should do, it’s a bass synth) and that the A4 requires work.
I thought I actually enjoyed programming synths, especially the A4, but apparently not from what you have said.
Oh well, best sell the A4 and have an existential crisis as some guy called vos on the interwebs knows me better than I know myself.[/quote]
Sorry- I reacted a little bit harsh but, did you read the question?
Did you give any tips concerning the question ?
To me you just proposed a Minitaur and proceded to ask your own interest concerning the Por 2.
Maybe now you understand my reaction.
I gave you the same kind of advise - and how do you feel ?- reading your reaction makes that clear no ?
I used to share that perspective. But I learned that the A4 can get into some great bass territory with proper programming. Most of the patches mentioned here get it right into the pocket. The free “Bass Vol. 1” patches pack from Elektron’s downloads page also has a few solid patches for deep bass.
I think the strength of the Minitaur with the A4 is more in having a dedicated bass voice off the A4’s CV channel, with a dedicated output just for bass.
And even the A4 can do basses the Minitaur cannot due to extra waveform availabilities. Triangle waves are particularly my favorite for deep bass.
[/quote]
you aren’t going to get moog minitaur sound from the A4, nor will you get A4 sound from the moog minitaur…it all really depends what you are after…one of the best tips for bass out of the A4 is to use a high pass on filter 2 with resonance and tune in the lower registers…you should be able to rumble your walls no problem with that…but again, it’s no minitaur…I personally wouldn’t give my minitaur up…then again, I can never get enough though so freeing my A4 up by using a minitaur for bass only is just a another win for me…for what it’s worth I still do plenty of bass heavy patches on my A4 
thanks everyone for sharing ideas how to get a proper bass sound out of the A4! For myself I find it difficult to get a real deep and warm bass out of the A4 that fits my taste for especially dub techno. But F2 with peak filter and 10-15 resonance can do good bass for special notes.
As someone said here before, it´s also about the mixing, eqing and compressing. I do a lot of processing. So record a loop from the bass and add some compression with LA2A od 1176 style compressors. Also Pultec EQ and tape processing (eg with Uhe Satin) can do wonders due the adding of harmonic distortion.
Someone mention to add a bit of reverb to the bass, which I think is not the best idea … but a creative choice imho. If you try, better split bass into 2 frequency bands and send only above 200hz to reverb or just simply do lowcut on reverb. At the mastering stage everything under 300/200 hz will be converted into mono because the bass sounds more tight and stereo signals in bass frequencies can´t be cutted to vinyl.
But at the end it´s your artistically choice.
I don’t know if this could be called a ‘deep bass’ per se, but it’s what I used for the Pocket Calculator cover in my sig. Think I was reasonably close to what Kraftwerk did (pretty sure they used a Minimoog; I dialed in something close in Arturia’s Mini V and mimicked that)
Osc 1: TUN -12, LEV 100, Square Wave, PW+27
Osc 2 off
Filter 1: FRQ 53, RES 25, TRK 0, DEP +33
Filter 2: unused
Amp: ADSR 0/38/127/8, shape 10; reverb at 33
Filter Env: ADSR 0/44/0/17, shape 6
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Using a few of the tips in this thread, I’ve been able to program some of my favorite bass patches ever with A4.
It’s not as immediate as a Minitaur, but the time invested is definitely worth it.
Bass line in this track is an example:
Awesome track! Deep bass indeed.
One can also layer all oscillators of the 4 tracks - that makes 8 oscillators and 8 subs . If you can’t make your bass fat enough like that you’ve got a serious problem 
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Some good tips here. Deep bass is indeed about creating it well in the mix. I use standard trick of EQ side chain to duck under the kick to prevent the rumble. So yes!!! the A4 is capable of good bass sound. However, this topic gets me and somehow I am keeping my eye open for possible other oscillator/synth to provide the lower bass. Indeed due to lack of separate outs of the A4. But the boundaries are to be found.
That’s the main problem with the A4 when creating different sounds as a kit. Only having 1 pair of outs, I constantly have to adjust the sounds so that all four sounds sound good in a mix. I’ve got around it when recording by multi-tracking one sound at a time but when playing live, it really limits you.
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As with all sounds the way we persieve them dépends on some factors and ones u have that insight it will help you alot to achieve yoar goals.
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1 > ATTACK The first milliseconds of a sound wil have a big influence on how we persieve the the rest of the sound. The Roland D-50’s sounds are very mutch based on principle. The human brain will define a sound totally different depending on the attack-fase.
ONE OF THE BIG ADVANTEGES OF THESE MACHINES ARE THE SUPER-FAST ENVELOPES
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2 >
HARMONICS
The High-Freqencie harmonics will allso have a big ifluence . Having a good bass dousn’t mean there’s no high-frequency content.
These freq.'s can be of very low level, but they will change how you hear the dominant ones.
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3 >
HARMONIC EVOLUTION in the Dominant wave. Pulse-with can be your friend here. But I would keep any modulatinon rather slow to keep TIGHT basses.
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TYP : The CHORUS FX can be very usufull with basses BUT it can allso make them thinner. ( One way to avoid this is to keep it mono )
Experiment with EQ-settings and with-settins ( and all other parameters )
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A bass will sound very different depending all the other sounds surrounding it .
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Don’t forget the OVERDRIVE/DISTORTION on trhe filter-page
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For TIGHTt and CONSEQUENT bBASSES it’s preferrable to sync the OSCILLATOR-START at the OSCC.-SYNC - page ( to avoid different begin-fases ). And ofcoarse SYNCING them in different ways wil give you differen harmonic content.
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Basses in sequence change in caracter by changing the realease ENV - state.
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!!! Try pitching ONE OR BOTH Oscillators an OCTAVE UP sometimes. Maybe this dousn’t sound logical but try
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Enjoy
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How setting the kit to unison and all 4 voices are used? That should create a really fat bass, especially since I think you can adjust the depth of the unison.
Any input on that method of creating fat bass?
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It should work, just gotta find that sweet spot of unison depth before it gets too phasey. Still helps to use the other tips in this thread like Osc retrigger, an envelope shape with a fast attack and filter 2 boosting the bass frequencies.
I’ve never tried UNISON-mode but I think it’s mutch more interesting to make a sequence on 1 track - copy this one to the other 3 tracks - and use the same sound with the same settings on eatch track.
- The big advantage of this is that you have total-control on all voices seperatlty - the will sound tyhe same as in unison at the beginning - but you can edit per track now - instead pof only being able to detune
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I’ve never tried UNISON-mode but I think it’s mutch more interesting to make a sequence on 1 track - copy this one to the other 3 tracks - and use the same sound with the same settings on eatch track.
- The big advantage of this is that you have total-control on all voices seperatlty - the will sound tyhe same as in unison at the beginning - but you can edit per track now - instead pof only being able to detune[/quote]
The “use track sounds” option does this. Or is it not available in unison mode?
Indeed - rather than using the unison detune and spread set them to zero and use the track sounds (same sound copied and adjusted per track). Do that rather than copying a sequenced part means you can ay all sounds from one keyboard track. I find unison can cause havoc in the subs sometimes so helps to have one track just triangle with filter and hping the others.
Thanks for the tip.
Highpass with high resonance and tracking on Filter two is just mad. I get a really nice low end with this!!!