- Turntables and samplers were essential to hip-hop logic. Effects and mixing boards shaped the language of dub. But has the sound of a single machine ever transcended genre itself and demanded its own subcategory? Arguably, that's what Roland's TB-303 achieved in the late '80s. We have acid house, acid techno, acid trance. We cry accciiieeedd and "Everybody Needs A 303". But it was a classic case of mistaken identity. Where some heard a laughable replacement for a bass guitar, others heard the sky being torn open. In some ways, the TB-303 was a failed product. It was not commercially successful and didn't achieve its goal.
But maybe this was necessary for its rebirth as a revolutionary machine. The big shifts in music in the late 20th century tended to accompany the misuse of technology, be it turntables, echo units or abused amplifiers. But now the path has been trodden. The shock of the new has well and truly passed. The 303 sound dies out every few years but comes back just as regularly. Software and hardware emulations are readily available. Original units are increasingly expensive. A general belief that nothing could top the original set in. In this context, 24 years after it was released, Roland revived the 303, including it in its Boutique line of portable devices as the TB-03. For some, merely seeing the Roland logo on the slender silver chassis was cause for excitement.
Of course, the question on everyone's lips is: "Does it sound like the original?" Roland's engineers studied the interaction of analogue components and the quality of waveforms from the original, using the data to create a digital replica. Digital replication of analogue behaviour has come a long way but if you have a lot of experience using the 303, you might notice differences in the glide, resonance, accent and filter of the TB-03. If you've not, the TB-03 sounds like a 303. The TB-03 isn't aimed at veteran acid heads. It's for those that are new to the instrument or are looking for a somewhat affordable hardware alternative to the plethora of software versions available on the internet. It is portable, has a built-in speaker and integrates with DAWs. It is supposed to be a convenient solution, not a flawless replica. In fact, most artists I've spoken to about the entire Boutique series emphasise how useful they are for live performances. While the forums are full of grumbles about the authenticity of the sound, professionals are excited about their sonic impact on live rigs and the fact that you can fit a TB-03 in your carry-on luggage, reducing the risk of gear being lost in transit between dates.
While the slightly baffling sequencing method from the original machine is available, a new Step Mode makes on-board pattern creation easier for the uninitiated. But it still retains something of the charm of the original method in that you don't have the visual feedback you get from inputting MIDI cells on a piano roll. For some, this slightly different way of thinking about programming can get your brain working in a new way, leading to patterns you wouldn't necessarily come up with working in the box. On multiple occasions, I'd have an idea for a pattern in mind, fail to achieve it, and end up with something more interesting than I had conceived of. The phrase "happy accident" might be overused, but the original 303 was a fertile source of creatively interesting mistakes and frustrations. The TB-03 is no different.
You can also send MIDI from your computer to the TB-03 if you prefer, or use its Trigger input for syncing with external hardware. The latter can be particularly rewarding—for instance, you can open the filter, boost the resonance and envelope modulation to layer subtle, dripping squelches over the top of another synth or drum line. I found this to be a fun way to add textural weirdness to an otherwise dry drum loop. Another potential option is to connect your kick drum to the Trigger, keep the filter closed, drop the resonance and boost the envelope to add another layer of sub with a tight transient. Compressing the two signals together can lead to some impressively meaty results.
On that note, I was most impressed with the TB-03 when the filter was closed, the resonance removed and the envelope boosted with the square wave selected. The envelope is pretty quick, meaning you get a nice bright onset to emphasise the low content. This combination was great for making syncopated, rhythmically complex basslines that dance around drums in a lively fashion. Also, the character of such a setting doesn't scream 303, making it a somewhat versatile patch for punchy bass work.
Like the original, the resonance has a noticeable band-passing effect, making it more suitable for expressive mid-range lines than solid bass content. The sawtooth wave could be described as having a flatter, tighter sound than the square, with more of a buzzing quality to the mid-range. Using these settings with some glide, a melancholy melody and an endless reverb gives you a convincing Tin Man-style atmosphere that can be sustained with little more than a simple kick and hat. On the topic of effects processing, the TB-03 comes with overdrive, delay and reverb, the latter being hidden in the menu. Personally, I would tend to use third party plug-ins for these roles in a production context, but the delay and reverb are handy in a live setting where one might have limited auxiliary channels.
I found the TB-03 fun to use and surprisingly weighty. Despite its obvious sonic limitations, a bit of creative thinking can make it more versatile than one might assume and the programming method leads to results you wouldn't necassrily generate in the box. Personally, I had more joy with it when avoiding obvious squelches, but for those looking for an acid fix, this is a convenient option, especially considering that it is it's own 96kHz/24-bit soundcard and integrates with both hardware and software. The monophonic synth market is populated by a lot of tasty options—such as the Make Noise 0-Coast, which is admittedly more expensive—but if you want to carry that signature sound around in your backpack, this is the way to go.
Ratings:
Cost: 4.4
Versatility: 3.9
Ease of use: 4.2
Sound: 4.1
Like the original, the resonance has a noticeable band-passing effect, making it more suitable for expressive mid-range lines than solid bass content. The sawtooth wave could be described as having a flatter, tighter sound than the square, with more of a buzzing quality to the mid-range. Using these settings with some glide, a melancholy melody and an endless reverb gives you a convincing Tin Man-style atmosphere that can be sustained with little more than a simple kick and hat. On the topic of effects processing, the TB-03 comes with overdrive, delay and reverb, the latter being hidden in the menu. Personally, I would tend to use third party plug-ins for these roles in a production context, but the delay and reverb are handy in a live setting where one might have limited auxiliary channels. I found the TB-03 fun to use and surprisingly weighty. Despite its obvious sonic limitations, a bit of creative thinking can make it more versatile than one might assume and the programming method leads to results you wouldn't necassrily generate in the box. Personally, I had more joy with it when avoiding obvious squelches, but for those looking for an acid fix, this is a convenient option, especially considering that it is it's own 96kHz/24-bit soundcard and integrates with both hardware and software. The monophonic synth market is populated by a lot of tasty options—such as the Make Noise 0-Coast, which is admittedly more expensive—but if you want to carry that signature sound around in your backpack, this is the way to go. Ratings: Cost: 4.4 Versatility: 3.9 Ease of use: 4.2 Sound: 4.1