Underwater

The main arpeggio synth in Underwater is befitting of its track name, as the filter opens and closes in and out of time with the sequence, like tidal waves. The patch is chorused and quite wide in the stereo spectrum, so it may have come from the Roland Juno-106. Turn on just the square waveform, and also raise the noise fader to 4, which adds some graininess to the patch. Se the filter to 1.5, and both the ENV and MOD faders to 5. This sets the filter to be modulated by both the envelope, and every note trigger, and an LFO, which add additional movement to the sound. Set the ADSR envelope with an attack of 3, decay and release of 4, sustain of 0. Set the LFO’s rate to the 4 mark and turn on the Chorus I effect, and process the track with plenty of saturation and reverb.

For the pad chords, again use TAL U-NO-LX, with the sound set to a mixture of sawtooth and square waves, with the PW fader set to 8. Raise the high-pass filter to 10 to drastically thin out the low-end of the sound. Set the low-pass filter’s cutoff to 2 and the envelope control to 4, then set up the envelope with a quick attack, medium length decay and sustain set to halfway. For the big, thick bass that comes in during the intense part of the song, use Mini V with a detuned sawtooth wave oscillators. Pitch one of them an octave above the others to add some high end. Set the filter cutoff frequency to 1270 Hz with filter resonance set to the 1 mark and no envelope modulation. Drive the track hard by running it through Decapitator or your own saturator of choice.