The Minilogue Bass Sound Librarian allows for easy organisation of programs inside your synth, and can also save the entire library to a computer. ![]() Minilogue bass is also roadworthy – with metal shaft chassis-mounted potentiometers and rubber coated knobs complementing its powerful and dynamic sound creation possibilities. A red-colored wood rear panel further adds to a unique appearance. The sand-blasted 2mm aluminium front panel on Minilogue Bass features an edgy appearance, which is reinforced by the inverted black and red keys. Minilogue Bass has an OLED oscilloscope that shows you the waveform as you sculpt your sound. Minilogue Bass comes with a 16-step polyphonic sequencer that captures the motion of up to four real-time controls, and can be overdubbed or step-sequenced, alongside the ability to change the root position of the playback by playing a key. Eight voice modes Minilogue Bass is a four-voice poly synth, with eight voice modes for broad versatility.Īlongside POLY and CHORD modes, DUO stacks two voices in unison, UNISON works as a 4 part mono synth, MONO is monophonic but with a sub-oscillator playing an octave lower, DELAY plays 3 voices in sequence after the first, ARP is a 4 voice arpeggiator, and SIDE CHAIN lowers the volume of previously played notes. Minilogue Bass includes cross modulation, oscillator sync, and a ring modulator, alongside a high-pass filter delay to further expand your sound creation possibilities. ![]() It has two VCOs, a VCF, two EGs, a VCA and an LFO, while retaining the hands-on control and unique wave shaping through oscillator harmonics from Minilogue. The analogue possibilities are endless.Īll 100 preset patches are exclusive to Minilogue Bass, and can be further expanded with an additional 100 user programs for a total of 200 slots.Īs you might expect with an all analog signal path, the sound is rich and creamy. This is or was obviously a bug, but I cannot reliably reproduce it.Minilogue Bass includes ready-made patches but everything can be customized. Possibly, there is also the disadvantage of using MIDI sends at all, because I have experienced Cubase sometimes unexpectedly disconnecting them. The disadvantage is that there is the overhead of one more track. The advantage of the method described here over shared copies is that you have a better visual indication of which parts are in unison and which are not. Note that MIDI insert effects in the destination tracks will not be effective for the sent MIDI data. E.g., you could use a MIDI modifier so that one of the instruments would play the part transposed by an octave. You can even insert a MIDI effect before the send. In the inspector of the new track, you can then configure the MIDI sends. Now you can add an additional MIDI track Guitar Left/Right in between these instrument tracks (or MIDI tracks). These are called Guitar Left and Guitar Right. I assume that you already have set up two instrument tracks (or MIDI tracks + rack instruments) for double-tracking. A very common use case are double-tracked rhythm guitars in metal music. I say often, because if you want multiple instruments to always play in unison, you can simply use a multi-timbral instrument, and if you want them to occasionally play in unison, you can simply create a shared copy of the part. While I think instrument tracks do not handle multiple-output instruments well, there is yet another valid use case for using MIDI tracks with software instruments: Instruments that often play the same parts – i.e., instruments that often play in unison. A case can be made for always using instrument tracks instead of MIDI tracks + rack instruments in Cubase, except for hardware instruments.
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