The TB-303 (short for "Transistorized Bass") was originally marketed to guitarists for bass accompaniment while practicing alone. Production lasted approximately 18 months, resulting in only 10,000 units. It was not until the mid- to late-1980s that DJs and electronic musicians in Chicago found a use for the machine in the context of the newly developing house music genre. In the late 1980s and early 1990s, as new Acid styles emerged, the TB-303 was often overdriven, producing a harsher liquid acid-like sound. Examples of this technique include Charanjit Singh's 1982 Ten Ragas to a Disco Beat,[1] Phuture's 1987 "Acid Tracks" (sometimes known as "Acid Trax"), Hardfloor's 1992 EP "Acperience" and Interlect 3000's 1993 EP "Volcano". Two simple patterns on the Roland TB-303 Bass Synthesiser. The second pattern has had the filter EG attack level altered. In other instances the TB-303 was extremely distorted and processed, such as Josh Wink's 1995 hit "Higher State of Consciousness". Two simple overdriven patterns on the Roland TB-303 Bass Synthesiser. The second pattern has varying resonance to give a harsh screeching sound. Both patterns have gradual cutoff frequency. The well-known "acid" sound is typically produced by playing a repeating note pattern on the TB-303, while altering the filter's cutoff frequency, resonance, and envelope modulation. The TB-303's accent control modifies a note's volume, filter resonance, and envelope modulation, allowing further variations in timbre. A distortion effect, either by using a guitar effects pedal or overdriving the input of an audio mixer, is commonly used to give the TB-303 a denser, noisier timbre—as the resulting sound is much richer in harmonics. The head designer of the TB-303, Tadao Kikumoto, was also responsible for leading design of the TR-909 drum machine. In 2011, The Guardian listed the 1981 release of the TB-303 as one of the 50 key events in the history of dance music.[2] The TB-303 has a single audio oscillator, which may be configured to produce either a sawtooth wave or a square wave. The square wave is derived from the sawtooth waveform using a simple, single-transistor waveshaping circuit.[3] This produces a sound that is subtly different from the square waveform created by the dedicated hardware found in most analog synthesizers. It also includes a simple envelope generator, with a decay control only. A lowpass filter is also included, with -24dB per octave attenuation, and controls for cutoff frequency, resonance, and envelope modulation parameters. It is a common misconception that the filter is a 3 pole 18dB per octave design when in fact it is 4-pole 24dB per octave.[4] The TB-303 sequencer has some unique features that contribute to its characteristic sound. During the programming of a sequence, the user can determine whether a note should be accented, and whether it should employ portamento, a smooth transition to the following note. The portamento circuitry employs a fixed slide time, meaning that whatever the interval between notes, the time taken to reach the correct pitch is always the same. The accent circuitry, as well as increasing the amplitude of a note, also emphasizes the EG filter's cutoff and resonance, resulting in a distinctive, hollow "wow" sound at higher resonance settings. Roland referred to this as "gimmick" circuitry.[5] The instrument also features a 'simple' step-time method for entering note data into the 16-step programmable sequencer. This was notoriously difficult to use, and would often result in entering a different sequence than the one that had been intended. Some users also take advantage of a low voltage failure mode, wherein patterns that are programmed in memory get completely scrambled if the batteries are removed for a time. There have been many modifications designed for the TB-303 such as the "Devilfish", "Acidlab" and "Borg" modifications. These generally provide additional parameters to the player, or offer alterations to the overall timbre.

DJ, producer and label owner of Acidproof Records running together with Zellkern.

Open for all collaborations and remixes.

Stay Underground!

I like acid music and weird techno and house music. With good bass too.

I've done records for Love What You Feel, Construction Paper, Running Back and Don't Be Afraid. I've played live shows in Seattle, Dallas, Austin, Boston, St. Louis, Bristol, London, Ghent, Munich, Offenbach and Berlin. 

I've had podcast and chart support from Larry Heard, Shake, Dj Dex, Seldom Seen, Morgan Geist, Steffi, Tamo Sumo, Motor City Drum Ensemble, Scott Ferguson, Dj Deep, Basic Soul Unit, Ben Sims, Skudge, Oliver Hanfenbauer, Red D, Jitterbug, Lerosa, and Tim Sweeney among others. 

"If you are good at something, never do it for free." 

Jack Napier
  
  

making music on various machines if you wish to follow me further head to my bandcamp page at the links below thankyou for supporting

here's what I'm up to these days:

@zeedbeats
@exit_99

Bookings: dan@xmixproductions.com
PR: masha@xmixproductions.com
Grammy Award nominated DJ/Producer Todd Terry has been engulfed in dance music since he first started listening to European dance music records while growing up in Brooklyn. Already devoted to turntables, he heard something different in those tracks, and he “went for the difference. I never got a break in New York, but England happened right away, so I catered to them.” In any event, the Todd Terry sound was born.

By 1988, Todd Terry hit big in England and Europe, and his notoriety was making its way back to the U.S. In addition to DJ appearances, Todd was cutting his classic underground tracks A Day In The Life, Weekend, and Can You Party, released under monikers such as the Todd Terry Project, House Of Gypsies, and Royal House, all considered essential and ground breaking.

In the mid 90’s, the Ministry of Sound’s eponymous UK label released A Day In The Life, a collection of Todd Terry tracks that had been causing dance floor panic. That then led the way to a deal with Mercury Records allowing him to set up a context in which to work with his favourite singers and performers. The first release, Keep On Jumpin’ on featured a vocal workout from super-divas Martha Wash and Jocelyn Brown, together for the first time ever. The song became a top 10 UK crossover pop hit and worldwide smash. Todd followed with the anthem ‘Somethin Going On’, a top 5 UK crossover pop hit.

All the while, Todd continued to break new ground as a Producer/Remixer. From SNAP to Annie Lennox to George Michael to Bjork, Todd’s mixes bridge the ground between club cool and commercial accessibility. In 1995, his remix for Everything But The Girl’s Missing became a worldwide smash, giving the British duo their first ever hit. He then rode the charts with mixes for Garbage (Stupid Girl), The Cardigans (Love Fool), Everything But The Girl (Wrong), 10,000 Maniacs (More Than This), Jamiroquai (Alright), The Cardigans (Been It), and The Lightning Seeds (You Showed Me),.among others. He also produced a Robin S track (Givin’ You All That I’ve Got) for the multi-platinum Space Jam soundtrack.

INK/Distinctive Records 2005 release The Todd Terry Trilogy: Past, Present & Future on 3 x CD & 10 x 12” vinyl has inspired Todd fans both old and new with over 30 Todd classics and 10 new Todd songs. Todd is also releasing a barrage of new singles on Blanco y Negro, Elementary Group, and Manifesto/Mercury (who are also re-releasing the ‘Keep On Jumpin’ and ‘Somethin Going On’ in 2006). Ministry of Sound has licensed Philippe B Vs. Todd Terry ‘Can You Feel It (Can You Party)’ for a major 2006 release, a new version of the Todd classic Royal House ‘Can You Party’.

Todd Terry All Stars feat. Kenny Dope, DJ Sneak, Terry Hunter, & Tara McDonald’s ‘Get Down’ will be released in 2007 on Strictly Rhythm. This red hot single is the first proper original release on the re-launched legendary label.

‘Strictly Todd Terry’ compilation mixed by Todd Terry will be released in 2007 on Strictly Rhythm. Todd’s mix follows installments by Masters at Work and Tiefschwarz in this newly launched series.

Todd is one of the world’s most celebrated figures in dance music. With almost two decades of dance floor domination under Todd’s belt the quality of his productions goes from strength to strength. Welcome to the church of house music presided over by Todd the God. Are you a believer?

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