Released in 1982, Mumbai musician Charanjit Singh’s album Synthesizing: Ten Ragas to a Disco Beat might have predated the height of acid fever in the latter half of the ’80s, but that doesn’t stop it from being one of the most fascinating examples of the TB-303 on record.Ĭonsidered by most music historians as being the catalyst of acid house, Ten Ragas to a Disco Beat Singh reinterpret a number of Indian ragas with the Roland TR-808, Juno-106 and TB-303, with the squelching bassline and repetitive drum machine rhythms laying down the foundations for the genre as we know it today.Īnother bizarre early example of the TB-303 on record, ‘Rip It Up’ was the title track of Scottish new-wave group Orange Juice’s sophomore record, and marked the first chart single to make use of the instrument.ĭespite being used in the context of a mid-tempo disco romp, there’s absolutely no denying that the TB-303 is responsible for the bubbling bassline that plods along throughout ‘Rip It Up’, with the signature tones of the synthesiser helping the song slide all the way up to #9 on the UK charts.Īn acid house anthem primarily associated with the antics of legendary Manchester nightclub The Haçienda, A Guy Called Gerald’s ‘Voodoo Ray’ was released at the height of the Second Summer of Love in 1988, and has subsequently been recognised as one of the most iconic electronic tracks of all time.Ĭarried by a hypnotic drum machine groove and chanting female vocals, ‘Voodoo Ray’ differs from many acid house tracks in that the TB-303 in the track functions more as a lead melody than a bassline, sitting in the upper register to add a simmering quality to its foot-shuffling groove. Never miss an update – sign up to our newsletter for all the latest news, reviews, features and giveaways. This article was originally published March 3, 2021. Today – and on 3.03 day, nonetheless – we’re celebrating the legacy of this unlikely icon by exploring 13 of the best tracks to make use of the Roland TB-303. In short, there’s probably no synth that’s quite as stupid, yet simultaneously seminal, as this silver-clad bad boy. However, the TB-303 – much like the TR-808 and TR-909, two other seminal commercial flops from the infamously inconsistent company – would go on to experience a renaissance just years later after it was adopted as the weapon of choice for the DJs and producers that were at the spearhead of Chicago’s electronic revolution in the mid 1980s.īy utilising the 303’s uniquely ‘squelchy’ resonant filter, punching random buttons to program its rudimentary sequencer and syncing it up with a driving pulse, these revolutionary producers were able to coax out some of the most dynamic electronic sounds of the decade, laying down the foundation for emerging styles such as house, techno and just about every offshoot of those two genres you could think of. Needless to say, it came to nobody’s surprise that the unit was considered a complete failure by Roland, and was discontinued by the company in 1984 after being in production for only two years. However, whether or not they had any of idea of just how pivotal some of their products would be is anyone’s guess, and there’s nothing that epitomises that sentiment quite like the TB-303 Bass Synthesiser.ĭebuted in 1982 as an accompaniment to their TR-606 Drumatix drum machine for guitarists to practise to without the presence of a live bassist, the TB-303 was a simplistic mono-synth that was notoriously difficult to program and sounded absolutely nothing like a bass guitar. Words by Will Brewster From Phuture and The KLF through to Daft Punk and Aaliyah, we explore the best acid bass moments ever laid to tape.įew musical equipment manufacturers have impacted the overall trajectory of electronic music quite like that of Roland.
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