TB-303 tech specs
It only does one thing, namely playing acidlines with plenty of sliding and accents, and it does it extremely well. Its contorted screams form the basis of a whole genre of music, acid house, and often elevate more than a few others.
When taking centre stage, it works even better through a distortion or overdrive effect, such as a Boss ROD-10.
I gave Pierre my TB-303 because I was just tired of using it, I didn't like it anymore. The big difference between me and Pierre was that he was a DJ and I wasn't. He made the mistake of telling all his DJ friends that it was a TB-303 on "Acid Tracks", so next thing I knew, within four months there were about sixty acid records out, and within five more months there were over a thousand — just in Chicago!
— Marshall Jefferson, 1989
The people who made the Bassline must have been mental to make it do all that it can do. They can't have thought "That's too much, that doesn't sound like a bassline." They must have been into acid music already!
Alexander Robotnik's "Les Problemes D'Amour", released in 1983, was a huge "progressive" hit in Chicago, selling around twelve thousand import copies. A few years later, house producers, already enamoured of Roland drum machines and synths, started messing around with the 303, discovering applications that the manufacturers had never imagined.
Simon Reynolds, Energy Flash, 1998
I wanted to make something that sounded like things I'd hear in the Music Box, or I heard Farley play on the radio. But when we made "Acid Tracks", that was an accident. It was just ignorance, basically. Not knowing how to work the damn 303.
— DJ Pierre, circa 1999
On most of the tunes, the 303 and the bassline were the only things that were actually played in a traditional way. The rest of it was gross manipulation of samples... It only had four knobs to twiddle. You could learn the permutations of what happened between the four of them. And the great fun was that you did it all live.
- 808 State
- Aphex Twin
- Atari Teenage Riot
- Daft Punk
- Fatboy Slim
- The Future Sound of London
- A Guy Called Gerald
- Hardfloor (×12)
- Richie Hawtin (with Devilfish mod)
- Heaven 17
- Marshall Jefferson
- Man Machine
- New Order
- Orbital (×2)
- Pet Shop Boys
- DJ Pierre
- The Prodigy (×2)
- Jesse Saunders
- Kevin Saunderson
- The Shamen
- Speedy J
In MC-8 and MC-4 terms, you can think of the TB-303's accent and slide as two MPX (Boolean) outputs. The timebase (clock resolution) is 48 (based on a 24 PPQN clock, but noting the downticks as well as the upticks). Each note, being a sixteenth note, lasts 7 ticks, with a 5 tick gap, unless it's sliding — then it lasts all 12 ticks. Each rest lasts all 12 ticks. This makes for a very simplified MicroComposer, which allows you to enter notes through a more intuitive interface, at least by MC standards.
- "Soho Soundhouse" Soho Soundhouse (Vendor), Electronics & Music Maker, Oct 1982, p. 27
- "Future Music" Future Music (Vendor), Electronics & Music Maker, Oct 1982, p. 29
- "Soho Soundhouse" Soho Soundhouse (Vendor), Electronics & Music Maker, Jan 1986, p. 42
- "TB-303 service notes" Roland, Feb 1982
- "The Human Side Of House" Simon Trask, Phaze 1, May 1989, pp. 26—29
- "Deep Vibrations" Simon Trask, Music Technology, Aug 1991, pp. 60—65
- Energy Flash Simon Reynolds, 1998, ISBN 0-330-35056-0, p. 24
- Last Night a DJ Saved My Life: The History of the Disc Jockey Bill Brewster & Frank Broughton, 2000, ISBN 0-7472-6230-6, p. 338
- "Classic Tracks: Fatboy Slim 'Praise You'" Tom Doyle, Sound On Sound, Jan 2017
- "The State of Technology" Simon Trask, Music Technology, Nov 1989, pp. 54—60
- "Aphex Twin studio collage"
- "Teenage Kicks" Phil Ward, Music Technology, Oct 1993, pp. 18—19
- "Emotional Impact" Richard Buskin, Sound On Sound, Dec 2001
- "In the Studio With Biosphere" Headphone Commute, Jan 2021
- "Past, Present and Future" Simon Trask, Music Technology, Aug 1992, pp. 61—66
- "A Guy Called Gerald" Vie Marshall, Micro Music, Oct 1989, pp. 75—76
- "Voodoo Chile" Simon Trask, Music Technology, Apr 1990, pp. 50—54
- "Everyone Loves a 303, Exclusive Mix From the Legendary Hardfloor" Ian French, Decoded Magazine, Nov 2014
- "Kracked Plastik" Roger Brown, The Mix, Dec 1994, pp. 110—114
- "Signal Path: Richie Hawtin on His Origins as F.U.S.E. and How He Made Techno in the Early '90s" Maya-Roisin Slater, Fact, May 2019
- "Heaven 17" Mark Jenkins, Electronic Soundmaker & Computer Music, Nov 1983, pp. 16—18
- "What instruments were used on Leftfield's Leftism?" Entropy, Gear Space, Nov 2007
- "Machine Head" Simon Trask, Music Technology, Jul 1991, pp. 56—62
- Everything Is Wrong Moby, 1995
- "Recording Moby's 'Why Does My Heart Feel So Bad?'" Tom Flint, Sound On Sound, Feb 2000
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- "The Magic Circle" Phil Ward, Music Technology, Jun 1993, pp. 56—60
- "[Unknown]" Dave Robinson, Future Music, Aug 1993
- "Music of Spheres" Nigel Humberstone, Sound On Sound, Apr 1994
- "'Chime' by Orbital" Mat Smith, Electronic Sound, Apr 2017
- "Pet Sounds" Ian Masterson, Music Technology, Dec 1993, pp. 46—50
- "The Lone Raver" Tim Goodyer, Music Technology, May 1992, pp. 68—72
- "Liam Howlett: The Prodigy & Firestarter" Paul Nagle, Sound On Sound, Sep 1996
- House Music... The Real Story Jesse Saunders, 2007, ISBN 1-4241-8994-2, pp. 55—57
- "The Techno Wave" Simon Trask, Music Technology, Sep 1988, pp. 70—73
- "Live Tech Intelligence" Richard Wentk, Future Music, Apr 1993, pp. 17—20
- "SNAP! to tomorrow" Roger Brown, The Mix, Nov 1994, pp. 84—88
- "Warp Factor 8" Simon Trask, Music Technology, Nov 1993, pp. 32—33
- "Investigating the Slide Function of the TB-303" Robin Whittle, Jun 2012
- "Roland TB-303 Bass Line" Tony Bacon, Electronics & Music Maker, Apr 1982, p. 20
- "The Bass Race" Simon Trask, Music Technology, Feb 1989, pp. 26—28