Street Pulse

Behringer DeepMind 12

Patch sheet ↗Device reference ↗Research 0/100Mapping 55/100 · medium

Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. Oscillator 2 is a quiet supporting tone, not a second saw.

30 saved controls · — means no saved value

Demo this preset

Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.

Behringer DeepMind 12 · Primary · Single notes · 4/4

Listen for a firm low end, even attacks and space between notes. Compare eighths and sixteenths.

How to play it

Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.

Why this preset? Sources, design & revisions

Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.

01
The reference
Retrieved sources · scope below
Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. … Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made. The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.
- The King of the Streets — official Bandcamp release listing ↗Credits: released October 24, 2013
02
The sound → the decisions
Design inference · unsourced
Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. … Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. … Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. …
03
On this synth & chain
inferred · rendition design
Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. … Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. Use JUNE-60 I for width; the remaining modulation, delay and reverb stay bypassed.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.

Research & revision history · 6 saved events

Updates

The saved research and rendition history.

Re-researched
30 Sept 2026 · 03:35 UTC
Changed write-up sections: Summary, FX chain.
Research: 0/100 → 0/100
Stated reason: SM301: reconcile the shared research with the six saved processing recipes. Preserve unsourced confidence and original attribution limits; no original artist equipment or listening claim is added.
Revised · Behringer DeepMind 12
30 Sept 2026 · 03:35 UTC
Revision 3 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: align the adaptation notes with this rendition’s selected chorus and routing; synth and effect settings unchanged.
Revised · Behringer DeepMind 12
30 Sept 2026 · 03:24 UTC
Revision 2 · source version: primary
FX or outboard settings changed.
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: show only intended FX; tailor chorus to this synth and chain, remove assumed rack processing, and add manual-checked optional effect recipes with explicit routing and unauditioned status.
Re-researched
29 Sept 2026 · 09:14 UTC
No write-up sections changed.
Research: 0/100 → 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Rendition added · Behringer DeepMind 12
29 Sept 2026 · 09:13 UTC
Revision 1 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Researched
29 Sept 2026 · 09:11 UTC
First research write-up · sound-research@v2.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"

Full saved write-up

The King of the Streets — Processed Bass

An inferred Lazerhawk-inspired repeating saw bass with a short low-pass envelope and one gentle chorus. Compare eighths and sixteenths by ear; neither is a verified transcription.

Class: mono — one note at a time
Category: Bass
Sound id: signature-lazerhawk-the-king-3fa02a81-processed-bass
Research template: sound-research@v2
Research confidence: 0/100 · unsourced
Requested as: "The King of the Streets — Processed Bass"

Identity

Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. The release listing supports identity only; it is conservatively classified as a tier-3 web listing because the research schema has no release-metadata category.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline immediately below the title (tier 3)

The Sound

Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. Use a low-pass filter with modest resonance and a short positive filter envelope for the initial bite, then a darker body. Start around 4 ms amp attack, 180 ms decay, 35% sustain and 45 ms release; try a 130 ms filter decay with little sustain. These are audition starting points, not calibrated equivalents across instruments. External chorus supplies movement without requiring large oscillator detuning. No opened source established the original oscillators, filter, envelope, synth or modulation. Adam’s chorus/processing and eighth-versus-sixteenth description remains the listening hypothesis to test.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: No opened source supports the specific bass recipe, chorus choice or rhythmic subdivision. Preserve Adam’s note as the brief and test the inferred patch by ear.

History & Provenance

The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Credits: released October 24, 2013 (tier 3)

Heard In · Adapted By

Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline (tier 3)

Performance & Technique

Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. Shorten release if notes blur; raise sustain or gate length if the body disappears. Choose the pitch and register against the reference by ear: no key, exact pitches, tempo or accent transcription is claimed. Finish by checking chorus in mono and matching perceived level before comparing versions.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The subdivision was not verified. Both of Adam’s proposed subdivisions remain explicit audition options.

FX & Chain

Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. MS-20, Neutron and UB-Xa offer an explicit repatch to the JUNE chain because their default or unconfirmed pedal mapping does not provide a trustworthy equivalent. Saved synth profiles and committed physical wiring differ: check the routing note and Patchbay before connecting. No rack processor is assumed connected. EQ and compression start bypassed, with conditional finishing advice per preset. Manual-checked starting settings for Meraki delay, H9 Blackhole, first-generation blueSky, Ventris dual reverb and Wet mk1 appear under Try another effect. These match a musical role, not identical algorithms or knob scales; they remain unauditioned. Test one option at a time, level-match and check the bass in mono. Device manuals support control behavior only; no retrieved source confirms the effects used on the original recording.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The described chorus remains a listening hypothesis. The updated recipes use known owned controls, disclose repatching and keep optional processing separate; audition is still required.

Renditions

Auto-generated from the create-preset fan-out mapping outcomes; regenerated each run.

Behringer DeepMind 12 — "Street Pulse" — mapping confidence 55/100 (medium) — 30 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. Oscillator 2 is a quiet supporting tone, not a second saw.
Arturia MatrixBrute — "Street Pulse" — mapping confidence 48/100 (low) — 52 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. Manually route VCO1/2 to the ladder low-pass filter and ENV1 to its cutoff at a modest positive depth before auditioning. Set the ladder to 24 dB/oct manually; the exposed slope toggle has no polarity definition. Fine tuning and envelope times need ear adjustment.
Korg MS-20 Mini — "Street Pulse" — mapping confidence 58/100 (medium) — 25 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. Oscillators are at the same 16-foot range; trim OSC2 pitch by ear from the centre position.
Behringer Neutron — "Street Pulse" — mapping confidence 45/100 (low) — 27 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. Waveform knob positions are not calibrated in the spec, and RANGE/MODE are exposed only as toggles; those ambiguous controls are deliberately omitted. Use the normalled patch with no cables. Its filter is a two-pole approximation; drive is kept low.
Korg Prologue 8 — "Street Pulse" — mapping confidence 65/100 (medium) — 41 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. The exposed panel contains controls shared with larger models; no unavailable LF compressor is assumed. OSC2 pitch begins centred; add only a very small detune by ear if needed.
Behringer UB-Xa — "Street Pulse" — mapping confidence 60/100 (medium) — 40 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. The saved voice detune is zero; only OSC2 has a small offset.

Lore

ARP / SEQ

RATE

—

GATE TIME

—

ON/OFF

OFF

TAP/HOLD

—

EDIT

—

OCTAVE

—

LFO 1

RATE

—

DELAY TIME

—

EDIT

—

LFO 2

RATE

—

DELAY TIME

—

EDIT

—

OSC 1

PITCH MOD

0%

PWM

0%

SAW

ON

SQR

OFF

OSC 2

PITCH MOD

0%

TONE MOD

0%

PITCH

50%

LEVEL

20%

SYNC

OFF

EDIT

—

NOISE

NOISE LEVEL

0%

POLY

CHORD

OFF

POLY CHORD

OFF

UNISON DETUNE

0 cents

EDIT

—

VCF

FREQ

30%

RES

18%

ENV

42%

LFO

0%

KYBD

35%

2 POLE

OFF

EDIT

—

INVERT

OFF

VCA

LEVEL

70%

EDIT

—

HPF

FREQ

0%

BOOST

OFF

ENVELOPES

A

4 ms

D

160 ms

S

25%

R

45 ms

VCA

—

VCF

—

MOD

—

CURVES

—

MASTER

OCT ▼

—

VOLUME

—

PORTAMENTO

0%

OCT ▲

—

PERFORMANCE

PITCH

—

MOD

0%

FX & outboard

Chain A: DeepMind 12 — Lush Pads & Strings

Uses this synth’s default chain. Use JUNE-60 I for width; the remaining modulation, delay and reverb stay bypassed.

Default route & patching

Committed wiring: DeepMind 12 → Pedal Chain 3 → Black Lion Audio Auteur → AR22 inputs 11,12

Saved synth profile: Chain A: DeepMind 12 — Lush Pads & Strings

Recipe chain: Pedal Chain 3 · The saved passive DI is a ProD2. Black Lion Audio Auteur is a separate mic preamp.

Review the route on Patchbay ↗

Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. inferred

✓ use · × bypass · ? unresolved · + optional

Why use this chorus?

Inferred, not auditioned. Gentle chorus without a long tail.

chorus · slot 1

TC Electronic JUNE-60 V2 Chorus

Device reference ↗Mapping low · not numerically scored

Inferred, not auditioned. Gentle chorus without a long tail.

3 saved controls · — means no saved value

TC Electronic JUNE-60 V2 Chorus

I

ON

II

OFF

MONO/STEREO

—

BYPASS

OFF

INT LFO

—

INT IN LVL

—

EQ, compression & finishing

× EQ · Bypass

Start flat. For this short saw bass, try a broad −2 dB cut around 250 Hz (Q about 0.7) only if the lower mids mask the groove. If rumble remains, audition a 25–30 Hz high-pass and check the lowest note. Use DAW EQ or a deliberately patched EQ; no rack EQ is assumed connected.

× Compression · Bypass

First use the synth envelope and even MIDI velocities. If peaks vary, audition 2:1, attack 15–25 ms, release 80–120 ms; set threshold by 1–3 dB gain reduction and match output level. Check release against the actual tempo. These are targets for a suitable compressor, not transferable hardware dial percentages.

+ Saturation · Optional

Add only enough drive to make the bass audible on small speakers, with matched bypass loudness. A DAW saturator is the simplest audition path. Use the T-Comp only after deliberately patching it; the earlier 15% suggestion did not establish a physical route. Keep sub-bass weight and note separation.

Try another effect

Audition one option at a time. These are starting settings for this sound; use Improve to save a preferred result.

chorus

delay

reverb

Street Pulse

Arturia MatrixBrute

Patch sheet ↗Device reference ↗Research 0/100Mapping 48/100 · low

Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. Manually route VCO1/2 to the ladder low-pass filter and ENV1 to its cutoff at a modest positive depth before auditioning. Set the ladder to 24 dB/oct manually; the exposed slope toggle has no polarity definition. Fine tuning and envelope times need ear adjustment.

52 saved controls · — means no saved value

Demo this preset

Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.

Arturia MatrixBrute · Primary · Single notes · 4/4

Listen for a firm low end, even attacks and space between notes. Compare eighths and sixteenths.

How to play it

Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.

Why this preset? Sources, design & revisions

Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.

01
The reference
Retrieved sources · scope below
Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. … Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made. The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.
- The King of the Streets — official Bandcamp release listing ↗Credits: released October 24, 2013
02
The sound → the decisions
Design inference · unsourced
Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. … Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. … Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. …
03
On this synth & chain
inferred · rendition design
Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. … Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. Use the native Chain C profile and H9 #2 Chorus. Keep BD-2W and Ventris bypassed; confirm the unresolved chain output on Patchbay.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.

Research & revision history · 6 saved events

Updates

The saved research and rendition history.

Re-researched
30 Sept 2026 · 03:35 UTC
Changed write-up sections: Summary, FX chain.
Research: 0/100 → 0/100
Stated reason: SM301: reconcile the shared research with the six saved processing recipes. Preserve unsourced confidence and original attribution limits; no original artist equipment or listening claim is added.
Revised · Arturia MatrixBrute
30 Sept 2026 · 03:35 UTC
Revision 3 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: align the adaptation notes with this rendition’s selected chorus and routing; synth and effect settings unchanged.
Revised · Arturia MatrixBrute
30 Sept 2026 · 03:24 UTC
Revision 2 · source version: primary
FX or outboard settings changed.
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: show only intended FX; tailor chorus to this synth and chain, remove assumed rack processing, and add manual-checked optional effect recipes with explicit routing and unauditioned status.
Re-researched
29 Sept 2026 · 09:14 UTC
No write-up sections changed.
Research: 0/100 → 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Rendition added · Arturia MatrixBrute
29 Sept 2026 · 09:13 UTC
Revision 1 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Researched
29 Sept 2026 · 09:11 UTC
First research write-up · sound-research@v2.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"

Full saved write-up

The King of the Streets — Processed Bass

An inferred Lazerhawk-inspired repeating saw bass with a short low-pass envelope and one gentle chorus. Compare eighths and sixteenths by ear; neither is a verified transcription.

Class: mono — one note at a time
Category: Bass
Sound id: signature-lazerhawk-the-king-3fa02a81-processed-bass
Research template: sound-research@v2
Research confidence: 0/100 · unsourced
Requested as: "The King of the Streets — Processed Bass"

Identity

Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. The release listing supports identity only; it is conservatively classified as a tier-3 web listing because the research schema has no release-metadata category.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline immediately below the title (tier 3)

The Sound

Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. Use a low-pass filter with modest resonance and a short positive filter envelope for the initial bite, then a darker body. Start around 4 ms amp attack, 180 ms decay, 35% sustain and 45 ms release; try a 130 ms filter decay with little sustain. These are audition starting points, not calibrated equivalents across instruments. External chorus supplies movement without requiring large oscillator detuning. No opened source established the original oscillators, filter, envelope, synth or modulation. Adam’s chorus/processing and eighth-versus-sixteenth description remains the listening hypothesis to test.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: No opened source supports the specific bass recipe, chorus choice or rhythmic subdivision. Preserve Adam’s note as the brief and test the inferred patch by ear.

History & Provenance

The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Credits: released October 24, 2013 (tier 3)

Heard In · Adapted By

Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline (tier 3)

Performance & Technique

Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. Shorten release if notes blur; raise sustain or gate length if the body disappears. Choose the pitch and register against the reference by ear: no key, exact pitches, tempo or accent transcription is claimed. Finish by checking chorus in mono and matching perceived level before comparing versions.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The subdivision was not verified. Both of Adam’s proposed subdivisions remain explicit audition options.

FX & Chain

Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. MS-20, Neutron and UB-Xa offer an explicit repatch to the JUNE chain because their default or unconfirmed pedal mapping does not provide a trustworthy equivalent. Saved synth profiles and committed physical wiring differ: check the routing note and Patchbay before connecting. No rack processor is assumed connected. EQ and compression start bypassed, with conditional finishing advice per preset. Manual-checked starting settings for Meraki delay, H9 Blackhole, first-generation blueSky, Ventris dual reverb and Wet mk1 appear under Try another effect. These match a musical role, not identical algorithms or knob scales; they remain unauditioned. Test one option at a time, level-match and check the bass in mono. Device manuals support control behavior only; no retrieved source confirms the effects used on the original recording.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The described chorus remains a listening hypothesis. The updated recipes use known owned controls, disclose repatching and keep optional processing separate; audition is still required.

Renditions

Auto-generated from the create-preset fan-out mapping outcomes; regenerated each run.

Behringer DeepMind 12 — "Street Pulse" — mapping confidence 55/100 (medium) — 30 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. Oscillator 2 is a quiet supporting tone, not a second saw.
Arturia MatrixBrute — "Street Pulse" — mapping confidence 48/100 (low) — 52 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. Manually route VCO1/2 to the ladder low-pass filter and ENV1 to its cutoff at a modest positive depth before auditioning. Set the ladder to 24 dB/oct manually; the exposed slope toggle has no polarity definition. Fine tuning and envelope times need ear adjustment.
Korg MS-20 Mini — "Street Pulse" — mapping confidence 58/100 (medium) — 25 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. Oscillators are at the same 16-foot range; trim OSC2 pitch by ear from the centre position.
Behringer Neutron — "Street Pulse" — mapping confidence 45/100 (low) — 27 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. Waveform knob positions are not calibrated in the spec, and RANGE/MODE are exposed only as toggles; those ambiguous controls are deliberately omitted. Use the normalled patch with no cables. Its filter is a two-pole approximation; drive is kept low.
Korg Prologue 8 — "Street Pulse" — mapping confidence 65/100 (medium) — 41 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. The exposed panel contains controls shared with larger models; no unavailable LF compressor is assumed. OSC2 pitch begins centred; add only a very small detune by ear if needed.
Behringer UB-Xa — "Street Pulse" — mapping confidence 60/100 (medium) — 40 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. The saved voice detune is zero; only OSC2 has a small offset.

Lore

VCO 1

OCTAVE

16'

COARSE

50%

FINE

0 cents

SAW

85%

ULTRASAW

0%

SQUARE

0%

PULSE WIDTH

—

TRIANGLE

0%

METALIZER

0%

SUB

10%

VCO 2

OCTAVE

16'

COARSE

50%

FINE

3 cents

SAW

70%

ULTRASAW

0%

SQUARE

0%

PULSE WIDTH

—

TRIANGLE

0%

METALIZER

0%

SYNC

OFF

VCO 3

OCTAVE

—

COARSE

—

WAVE

—

KBD TRACK

—

LFO DIV

—

LEVEL

—

AUDIO MOD

VCO1 > VCO2

0%

VCO3 > VCO1

0%

VCO3 > VCO2

0%

NOISE > VCF1

0%

MIXER

VCO 1

65%

VCO 2

25%

VCO 3

0%

NOISE

0%

EXT IN

0%

NOISE

COLOR

—

VCF 1 · STEINER

CUTOFF

100%

RESONANCE

0%

BRUTE FACTOR

0%

MODE

lowpass

VCF 2 · LADDER

CUTOFF

32%

RESONANCE

18%

BRUTE FACTOR

8%

MODE

lowpass

12/24 dB

—

KEY TRACK

—

FILTER MASTER

MASTER CUTOFF

50%

ROUTING

parallel

ENV 1 · FILTER

ATTACK

0 ms

DECAY

130 ms

SUSTAIN

0%

RELEASE

40 ms

VELO/VCF

—

CURVES

—

ENV 2 · AMP

ATTACK

4 ms

DECAY

180 ms

SUSTAIN

35%

RELEASE

45 ms

VELO/VCA

—

CURVES

—

ENV 3 · AUX

DELAY

—

ATTACK

—

DECAY

—

SUSTAIN

—

RELEASE

—

AMOUNT

—

CURVES

—

LFO 1

WAVE

—

RATE

—

PHASE

—

SYNC

—

AMOUNT

0%

LFO 2

WAVE

—

RATE

—

PHASE

—

SYNC

—

AMOUNT

0%

MOD MATRIX

AMOUNT

—

SELECT

—

MACRO

M1

—

M2

—

M3

—

M4

—

FX

MODE

—

TIME

—

FEEDBACK

—

MIX

0%

ON / OFF

OFF

SEQ / ARP

MODE

off

TEMPO

—

RATE

—

PLAY / STOP

—

RECORD

—

HOLD

—

TAP

—

MASTER

MASTER VOLUME

—

GLIDE

0%

PERFORMANCE

PITCH

—

MOD

0%

FX & outboard

Chain C: MatrixBrute — Versatile Lead & Bass

Uses this synth’s default chain. Use the native Chain C profile and H9 #2 Chorus. Keep BD-2W and Ventris bypassed; confirm the unresolved chain output on Patchbay.

Default route & patching

Committed wiring: MatrixBrute → Pedal Chain 2 → AR22 inputs 1,2

Saved synth profile: Chain C: MatrixBrute — Versatile Lead & Bass

Recipe chain: Pedal Chain 2 · Output hardware and effective level need confirmation. J+4 is assigned to Pedal Chain 4.

Pedal Chain 2: existing path; effective level unresolved at this connection.
Pedal Chain 2: existing path; effective level unresolved at this connection.

Review the route on Patchbay ↗

Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. inferred

✓ use · × bypass · ? unresolved · + optional

Why use this chorus?

Inferred, not auditioned. Set the named Chorus algorithm controls in H9 Control; generic PARAM knobs have no fixed algorithm assignment.

Algorithm: Chorus (CHORUS)
Type: Liquid
Intensity: 25
Depth: 25
Speed: 0.35 Hz
Shape: Sine
Feedback: 0
D-Mod: 0
S-Mod: 0
Tempo mode: Off

chorus · slot 2

Eventide H9 Max (instance #2)

Device reference ↗Mapping low · not numerically scored

Inferred, not auditioned. Set the named Chorus algorithm controls in H9 Control; generic PARAM knobs have no fixed algorithm assignment.

1 saved controls · — means no saved value

Eventide H9 Max (#2)

HOTKNOB

—

ENCODER

—

PARAM 1

—

PARAM 2

—

PARAM 3

—

PARAM 4

—

PARAM 5

—

ACTIVE

ON

HOT SWITCH

—

TAP

—

EQ, compression & finishing

× EQ · Bypass

Start flat. For this short saw bass, try a broad −2 dB cut around 250 Hz (Q about 0.7) only if the lower mids mask the groove. If rumble remains, audition a 25–30 Hz high-pass and check the lowest note. Use DAW EQ or a deliberately patched EQ; no rack EQ is assumed connected.

× Compression · Bypass

First use the synth envelope and even MIDI velocities. If peaks vary, audition 2:1, attack 15–25 ms, release 80–120 ms; set threshold by 1–3 dB gain reduction and match output level. Check release against the actual tempo. These are targets for a suitable compressor, not transferable hardware dial percentages.

+ Saturation · Optional

Add only enough drive to make the bass audible on small speakers, with matched bypass loudness. A DAW saturator is the simplest audition path. Use the T-Comp only after deliberately patching it; the earlier 15% suggestion did not establish a physical route. Keep sub-bass weight and note separation.

Try another effect

Audition one option at a time. These are starting settings for this sound; use Improve to save a preferred result.

chorus

delay

reverb

Street Pulse

Korg MS-20 Mini

Patch sheet ↗Device reference ↗Research 0/100Mapping 58/100 · medium

Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. Oscillators are at the same 16-foot range; trim OSC2 pitch by ear from the centre position.

25 saved controls · — means no saved value

Demo this preset

Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.

Korg MS-20 Mini · Primary · Single notes · 4/4

Listen for a firm low end, even attacks and space between notes. Compare eighths and sixteenths.

How to play it

Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.

Why this preset? Sources, design & revisions

Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.

01
The reference
Retrieved sources · scope below
Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. … Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made. The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.
- The King of the Streets — official Bandcamp release listing ↗Credits: released October 24, 2013
02
The sound → the decisions
Design inference · unsourced
Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. … Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. … Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. …
03
On this synth & chain
inferred · rendition design
Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. … Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. Deliberately use JUNE-60 in Chain A for repeatable chorus. The MS-20 normally feeds Pedal Chain 1 / Chain D; this recipe requires repatching and leaves its distortion, phaser and delay out.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.

Research & revision history · 6 saved events

Updates

The saved research and rendition history.

Re-researched
30 Sept 2026 · 03:35 UTC
Changed write-up sections: Summary, FX chain.
Research: 0/100 → 0/100
Stated reason: SM301: reconcile the shared research with the six saved processing recipes. Preserve unsourced confidence and original attribution limits; no original artist equipment or listening claim is added.
Revised · Korg MS-20 Mini
30 Sept 2026 · 03:35 UTC
Revision 3 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: align the adaptation notes with this rendition’s selected chorus and routing; synth and effect settings unchanged.
Revised · Korg MS-20 Mini
30 Sept 2026 · 03:24 UTC
Revision 2 · source version: primary
FX or outboard settings changed.
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: show only intended FX; tailor chorus to this synth and chain, remove assumed rack processing, and add manual-checked optional effect recipes with explicit routing and unauditioned status.
Re-researched
29 Sept 2026 · 09:14 UTC
No write-up sections changed.
Research: 0/100 → 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Rendition added · Korg MS-20 Mini
29 Sept 2026 · 09:13 UTC
Revision 1 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Researched
29 Sept 2026 · 09:11 UTC
First research write-up · sound-research@v2.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"

Full saved write-up

The King of the Streets — Processed Bass

An inferred Lazerhawk-inspired repeating saw bass with a short low-pass envelope and one gentle chorus. Compare eighths and sixteenths by ear; neither is a verified transcription.

Class: mono — one note at a time
Category: Bass
Sound id: signature-lazerhawk-the-king-3fa02a81-processed-bass
Research template: sound-research@v2
Research confidence: 0/100 · unsourced
Requested as: "The King of the Streets — Processed Bass"

Identity

Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. The release listing supports identity only; it is conservatively classified as a tier-3 web listing because the research schema has no release-metadata category.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline immediately below the title (tier 3)

The Sound

Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. Use a low-pass filter with modest resonance and a short positive filter envelope for the initial bite, then a darker body. Start around 4 ms amp attack, 180 ms decay, 35% sustain and 45 ms release; try a 130 ms filter decay with little sustain. These are audition starting points, not calibrated equivalents across instruments. External chorus supplies movement without requiring large oscillator detuning. No opened source established the original oscillators, filter, envelope, synth or modulation. Adam’s chorus/processing and eighth-versus-sixteenth description remains the listening hypothesis to test.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: No opened source supports the specific bass recipe, chorus choice or rhythmic subdivision. Preserve Adam’s note as the brief and test the inferred patch by ear.

History & Provenance

The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Credits: released October 24, 2013 (tier 3)

Heard In · Adapted By

Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline (tier 3)

Performance & Technique

Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. Shorten release if notes blur; raise sustain or gate length if the body disappears. Choose the pitch and register against the reference by ear: no key, exact pitches, tempo or accent transcription is claimed. Finish by checking chorus in mono and matching perceived level before comparing versions.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The subdivision was not verified. Both of Adam’s proposed subdivisions remain explicit audition options.

FX & Chain

Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. MS-20, Neutron and UB-Xa offer an explicit repatch to the JUNE chain because their default or unconfirmed pedal mapping does not provide a trustworthy equivalent. Saved synth profiles and committed physical wiring differ: check the routing note and Patchbay before connecting. No rack processor is assumed connected. EQ and compression start bypassed, with conditional finishing advice per preset. Manual-checked starting settings for Meraki delay, H9 Blackhole, first-generation blueSky, Ventris dual reverb and Wet mk1 appear under Try another effect. These match a musical role, not identical algorithms or knob scales; they remain unauditioned. Test one option at a time, level-match and check the bass in mono. Device manuals support control behavior only; no retrieved source confirms the effects used on the original recording.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The described chorus remains a listening hypothesis. The updated recipes use known owned controls, disclose repatching and keep optional processing separate; audition is still required.

Renditions

Auto-generated from the create-preset fan-out mapping outcomes; regenerated each run.

Behringer DeepMind 12 — "Street Pulse" — mapping confidence 55/100 (medium) — 30 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. Oscillator 2 is a quiet supporting tone, not a second saw.
Arturia MatrixBrute — "Street Pulse" — mapping confidence 48/100 (low) — 52 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. Manually route VCO1/2 to the ladder low-pass filter and ENV1 to its cutoff at a modest positive depth before auditioning. Set the ladder to 24 dB/oct manually; the exposed slope toggle has no polarity definition. Fine tuning and envelope times need ear adjustment.
Korg MS-20 Mini — "Street Pulse" — mapping confidence 58/100 (medium) — 25 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. Oscillators are at the same 16-foot range; trim OSC2 pitch by ear from the centre position.
Behringer Neutron — "Street Pulse" — mapping confidence 45/100 (low) — 27 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. Waveform knob positions are not calibrated in the spec, and RANGE/MODE are exposed only as toggles; those ambiguous controls are deliberately omitted. Use the normalled patch with no cables. Its filter is a two-pole approximation; drive is kept low.
Korg Prologue 8 — "Street Pulse" — mapping confidence 65/100 (medium) — 41 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. The exposed panel contains controls shared with larger models; no unavailable LF compressor is assumed. OSC2 pitch begins centred; add only a very small detune by ear if needed.
Behringer UB-Xa — "Street Pulse" — mapping confidence 60/100 (medium) — 40 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. The saved voice detune is zero; only OSC2 has a small offset.

Lore

VCO 1

WAVE FORM

sawtooth

PW

50%

SCALE

16'

VCO 2

WAVE FORM

sawtooth

PITCH

50%

SCALE

16'

VCO MIXER

VCO 1 LEVEL

65%

VCO 2 LEVEL

25%

VC HPF

CUTOFF FREQUENCY

0%

PEAK

0%

VC LPF

CUTOFF FREQUENCY

32%

PEAK

15%

MODULATION GENERATOR

WAVE FORM

—

FREQUENCY

—

ENVELOPE GENERATOR 1

DELAY TIME

—

ATTACK TIME

—

RELEASE TIME

—

ENVELOPE GENERATOR 2

HOLD TIME

0 ms

ATTACK TIME

4 ms

DECAY TIME

160 ms

SUSTAIN LEVEL

25%

RELEASE TIME

45 ms

FREQUENCY MODULATION

MG/T.EXT

0%

EG1/EXT

0%

HPF CUTOFF MOD

MG/T.EXT

0%

EG2/EXT

0%

LPF CUTOFF MOD

MG/T.EXT

0%

EG2/EXT

35%

EXTERNAL SIGNAL PROCESSOR

SIGNAL LEVEL

—

LOW CUT FREQ

—

HIGH CUT FREQ

—

CV ADJUST

—

MASTER

PORTAMENTO TIME

0 ms

MASTER TUNE

50%

PATCH BAY

Patch bay

—

FX & outboard

Chain A: DeepMind 12 — Lush Pads & Strings

Repatch required. Deliberately use JUNE-60 in Chain A for repeatable chorus. The MS-20 normally feeds Pedal Chain 1 / Chain D; this recipe requires repatching and leaves its distortion, phaser and delay out.

Default route & patching

Committed wiring: Korg MS-20 → Pedal Chain 1 → AR22 inputs 3

Saved synth profile: Chain D: MS-20 Mini — Raw & Aggressive

Recipe chain: Pedal Chain 3 · The saved passive DI is a ProD2. Black Lion Audio Auteur is a separate mic preamp.

Pedal Chain 1: existing path; effective level unresolved at this connection.

Review the route on Patchbay ↗

Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. inferred

✓ use · × bypass · ? unresolved · + optional

Why use this chorus?

Inferred, not auditioned. Gentle chorus without a long tail.

chorus · slot 1

TC Electronic JUNE-60 V2 Chorus

Device reference ↗Mapping low · not numerically scored

Inferred, not auditioned. Gentle chorus without a long tail.

3 saved controls · — means no saved value

TC Electronic JUNE-60 V2 Chorus

I

ON

II

OFF

MONO/STEREO

—

BYPASS

OFF

INT LFO

—

INT IN LVL

—

EQ, compression & finishing

× EQ · Bypass

Start flat. For this short saw bass, try a broad −2 dB cut around 250 Hz (Q about 0.7) only if the lower mids mask the groove. If rumble remains, audition a 25–30 Hz high-pass and check the lowest note. Use DAW EQ or a deliberately patched EQ; no rack EQ is assumed connected.

× Compression · Bypass

First use the synth envelope and even MIDI velocities. If peaks vary, audition 2:1, attack 15–25 ms, release 80–120 ms; set threshold by 1–3 dB gain reduction and match output level. Check release against the actual tempo. These are targets for a suitable compressor, not transferable hardware dial percentages.

+ Saturation · Optional

Add only enough drive to make the bass audible on small speakers, with matched bypass loudness. A DAW saturator is the simplest audition path. Use the T-Comp only after deliberately patching it; the earlier 15% suggestion did not establish a physical route. Keep sub-bass weight and note separation.

Try another effect

Audition one option at a time. These are starting settings for this sound; use Improve to save a preferred result.

chorus

delay

reverb

Street Pulse

Behringer Neutron

Patch sheet ↗Device reference ↗Research 0/100Mapping 45/100 · low

Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. Waveform knob positions are not calibrated in the spec, and RANGE/MODE are exposed only as toggles; those ambiguous controls are deliberately omitted. Use the normalled patch with no cables. Its filter is a two-pole approximation; drive is kept low.

27 saved controls · — means no saved value

Demo this preset

Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.

Behringer Neutron · Primary · Single notes · 4/4

Listen for a firm low end, even attacks and space between notes. Compare eighths and sixteenths.

How to play it

Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.

Why this preset? Sources, design & revisions

Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.

01
The reference
Retrieved sources · scope below
Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. … Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made. The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.
- The King of the Streets — official Bandcamp release listing ↗Credits: released October 24, 2013
02
The sound → the decisions
Design inference · unsourced
Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. … Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. … Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. …
03
On this synth & chain
inferred · rendition design
Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. … Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. Deliberately patch Neutron into the JUNE-60 Chain A profile. No normalled Neutron route is recorded; choose a recording return on Patchbay.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.

Research & revision history · 6 saved events

Updates

The saved research and rendition history.

Re-researched
30 Sept 2026 · 03:35 UTC
Changed write-up sections: Summary, FX chain.
Research: 0/100 → 0/100
Stated reason: SM301: reconcile the shared research with the six saved processing recipes. Preserve unsourced confidence and original attribution limits; no original artist equipment or listening claim is added.
Revised · Behringer Neutron
30 Sept 2026 · 03:35 UTC
Revision 3 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: align the adaptation notes with this rendition’s selected chorus and routing; synth and effect settings unchanged.
Revised · Behringer Neutron
30 Sept 2026 · 03:24 UTC
Revision 2 · source version: primary
FX or outboard settings changed.
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: show only intended FX; tailor chorus to this synth and chain, remove assumed rack processing, and add manual-checked optional effect recipes with explicit routing and unauditioned status.
Re-researched
29 Sept 2026 · 09:14 UTC
No write-up sections changed.
Research: 0/100 → 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Rendition added · Behringer Neutron
29 Sept 2026 · 09:13 UTC
Revision 1 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Researched
29 Sept 2026 · 09:11 UTC
First research write-up · sound-research@v2.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"

Full saved write-up

The King of the Streets — Processed Bass

An inferred Lazerhawk-inspired repeating saw bass with a short low-pass envelope and one gentle chorus. Compare eighths and sixteenths by ear; neither is a verified transcription.

Class: mono — one note at a time
Category: Bass
Sound id: signature-lazerhawk-the-king-3fa02a81-processed-bass
Research template: sound-research@v2
Research confidence: 0/100 · unsourced
Requested as: "The King of the Streets — Processed Bass"

Identity

Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. The release listing supports identity only; it is conservatively classified as a tier-3 web listing because the research schema has no release-metadata category.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline immediately below the title (tier 3)

The Sound

Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. Use a low-pass filter with modest resonance and a short positive filter envelope for the initial bite, then a darker body. Start around 4 ms amp attack, 180 ms decay, 35% sustain and 45 ms release; try a 130 ms filter decay with little sustain. These are audition starting points, not calibrated equivalents across instruments. External chorus supplies movement without requiring large oscillator detuning. No opened source established the original oscillators, filter, envelope, synth or modulation. Adam’s chorus/processing and eighth-versus-sixteenth description remains the listening hypothesis to test.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: No opened source supports the specific bass recipe, chorus choice or rhythmic subdivision. Preserve Adam’s note as the brief and test the inferred patch by ear.

History & Provenance

The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Credits: released October 24, 2013 (tier 3)

Heard In · Adapted By

Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline (tier 3)

Performance & Technique

Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. Shorten release if notes blur; raise sustain or gate length if the body disappears. Choose the pitch and register against the reference by ear: no key, exact pitches, tempo or accent transcription is claimed. Finish by checking chorus in mono and matching perceived level before comparing versions.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The subdivision was not verified. Both of Adam’s proposed subdivisions remain explicit audition options.

FX & Chain

Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. MS-20, Neutron and UB-Xa offer an explicit repatch to the JUNE chain because their default or unconfirmed pedal mapping does not provide a trustworthy equivalent. Saved synth profiles and committed physical wiring differ: check the routing note and Patchbay before connecting. No rack processor is assumed connected. EQ and compression start bypassed, with conditional finishing advice per preset. Manual-checked starting settings for Meraki delay, H9 Blackhole, first-generation blueSky, Ventris dual reverb and Wet mk1 appear under Try another effect. These match a musical role, not identical algorithms or knob scales; they remain unauditioned. Test one option at a time, level-match and check the bass in mono. Device manuals support control behavior only; no retrieved source confirms the effects used on the original recording.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The described chorus remains a listening hypothesis. The updated recipes use known owned controls, disclose repatching and keep optional processing separate; audition is still required.

Renditions

Auto-generated from the create-preset fan-out mapping outcomes; regenerated each run.

Behringer DeepMind 12 — "Street Pulse" — mapping confidence 55/100 (medium) — 30 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. Oscillator 2 is a quiet supporting tone, not a second saw.
Arturia MatrixBrute — "Street Pulse" — mapping confidence 48/100 (low) — 52 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. Manually route VCO1/2 to the ladder low-pass filter and ENV1 to its cutoff at a modest positive depth before auditioning. Set the ladder to 24 dB/oct manually; the exposed slope toggle has no polarity definition. Fine tuning and envelope times need ear adjustment.
Korg MS-20 Mini — "Street Pulse" — mapping confidence 58/100 (medium) — 25 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. Oscillators are at the same 16-foot range; trim OSC2 pitch by ear from the centre position.
Behringer Neutron — "Street Pulse" — mapping confidence 45/100 (low) — 27 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. Waveform knob positions are not calibrated in the spec, and RANGE/MODE are exposed only as toggles; those ambiguous controls are deliberately omitted. Use the normalled patch with no cables. Its filter is a two-pole approximation; drive is kept low.
Korg Prologue 8 — "Street Pulse" — mapping confidence 65/100 (medium) — 41 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. The exposed panel contains controls shared with larger models; no unavailable LF compressor is assumed. OSC2 pitch begins centred; add only a very small detune by ear if needed.
Behringer UB-Xa — "Street Pulse" — mapping confidence 60/100 (medium) — 40 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. The saved voice detune is zero; only OSC2 has a small offset.

Lore

OSCILLATORS

TUNE

50%

OSC MIX

28%

TUNE

50%

SHAPE

—

SHAPE

—

RANGE

—

RANGE

—

OSC SYNC

OFF

PARAPHONIC

OFF

WIDTH

50%

WIDTH

50%

VCF

FREQ

30%

MODE

—

RESO

15%

KEY TRK

—

MOD DEPTH

0%

ENV DEPTH

38%

LFO

KEY SYNC

—

RATE

—

SHAPE

—

DELAY

TIME

—

REPEATS

0%

MIX

0%

OVERDRIVE

DRIVE

8%

TONE

40%

LEVEL

60%

OUTPUT

VOLUME

—

NOISE

0%

VCA

VCA BIAS

0%

ENVELOPE 1

A

4 ms

D

180 ms

S

35%

R

45 ms

ENVELOPE 2

A

0 ms

D

130 ms

S

0%

R

40 ms

SAMPLE & HOLD

RATE

—

GLIDE

—

SLEW RATE LIMITER

SLEW

—

PORTA TIME

0 ms

ATTENUATORS

1

—

2

—

PATCH BAY

Patch bay

—

FX & outboard

Chain A: DeepMind 12 — Lush Pads & Strings

Repatch required. Deliberately patch Neutron into the JUNE-60 Chain A profile. No normalled Neutron route is recorded; choose a recording return on Patchbay.

Default route & patching

Committed wiring: No normalled route is recorded for this synth.

Saved synth profile: None assigned.

Recipe chain: Pedal Chain 3 · The saved passive DI is a ProD2. Black Lion Audio Auteur is a separate mic preamp.

Review the route on Patchbay ↗

Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. inferred

✓ use · × bypass · ? unresolved · + optional

Why use this chorus?

Inferred, not auditioned. Gentle chorus without a long tail.

chorus · slot 1

TC Electronic JUNE-60 V2 Chorus

Device reference ↗Mapping low · not numerically scored

Inferred, not auditioned. Gentle chorus without a long tail.

3 saved controls · — means no saved value

TC Electronic JUNE-60 V2 Chorus

I

ON

II

OFF

MONO/STEREO

—

BYPASS

OFF

INT LFO

—

INT IN LVL

—

EQ, compression & finishing

× EQ · Bypass

Start flat. For this short saw bass, try a broad −2 dB cut around 250 Hz (Q about 0.7) only if the lower mids mask the groove. If rumble remains, audition a 25–30 Hz high-pass and check the lowest note. Use DAW EQ or a deliberately patched EQ; no rack EQ is assumed connected.

× Compression · Bypass

First use the synth envelope and even MIDI velocities. If peaks vary, audition 2:1, attack 15–25 ms, release 80–120 ms; set threshold by 1–3 dB gain reduction and match output level. Check release against the actual tempo. These are targets for a suitable compressor, not transferable hardware dial percentages.

+ Saturation · Optional

Add only enough drive to make the bass audible on small speakers, with matched bypass loudness. A DAW saturator is the simplest audition path. Use the T-Comp only after deliberately patching it; the earlier 15% suggestion did not establish a physical route. Keep sub-bass weight and note separation.

Try another effect

Audition one option at a time. These are starting settings for this sound; use Improve to save a preferred result.

chorus

delay

reverb

Street Pulse

Korg Prologue 8

Patch sheet ↗Device reference ↗Research 0/100Mapping 65/100 · medium

Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. The exposed panel contains controls shared with larger models; no unavailable LF compressor is assumed. OSC2 pitch begins centred; add only a very small detune by ear if needed.

41 saved controls · — means no saved value

Demo this preset

Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.

Korg Prologue 8 · Primary · Single notes · 4/4

Listen for a firm low end, even attacks and space between notes. Compare eighths and sixteenths.

How to play it

Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.

Why this preset? Sources, design & revisions

Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.

01
The reference
Retrieved sources · scope below
Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. … Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made. The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.
- The King of the Streets — official Bandcamp release listing ↗Credits: released October 24, 2013
02
The sound → the decisions
Design inference · unsourced
Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. … Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. … Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. …
03
On this synth & chain
inferred · rendition design
Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. … Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. Use the CE-2W in saved Chain B for this audition. The committed wiring currently routes Prologue through the T-Comp to AR22, so this recipe requires repatching; Chain B has no confirmed physical bay association.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.

Research & revision history · 6 saved events

Updates

The saved research and rendition history.

Re-researched
30 Sept 2026 · 03:35 UTC
Changed write-up sections: Summary, FX chain.
Research: 0/100 → 0/100
Stated reason: SM301: reconcile the shared research with the six saved processing recipes. Preserve unsourced confidence and original attribution limits; no original artist equipment or listening claim is added.
Revised · Korg Prologue 8
30 Sept 2026 · 03:35 UTC
Revision 3 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: align the adaptation notes with this rendition’s selected chorus and routing; synth and effect settings unchanged.
Revised · Korg Prologue 8
30 Sept 2026 · 03:24 UTC
Revision 2 · source version: primary
FX or outboard settings changed.
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: show only intended FX; tailor chorus to this synth and chain, remove assumed rack processing, and add manual-checked optional effect recipes with explicit routing and unauditioned status.
Re-researched
29 Sept 2026 · 09:14 UTC
No write-up sections changed.
Research: 0/100 → 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Rendition added · Korg Prologue 8
29 Sept 2026 · 09:13 UTC
Revision 1 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Researched
29 Sept 2026 · 09:11 UTC
First research write-up · sound-research@v2.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"

Full saved write-up

The King of the Streets — Processed Bass

An inferred Lazerhawk-inspired repeating saw bass with a short low-pass envelope and one gentle chorus. Compare eighths and sixteenths by ear; neither is a verified transcription.

Class: mono — one note at a time
Category: Bass
Sound id: signature-lazerhawk-the-king-3fa02a81-processed-bass
Research template: sound-research@v2
Research confidence: 0/100 · unsourced
Requested as: "The King of the Streets — Processed Bass"

Identity

Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. The release listing supports identity only; it is conservatively classified as a tier-3 web listing because the research schema has no release-metadata category.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline immediately below the title (tier 3)

The Sound

Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. Use a low-pass filter with modest resonance and a short positive filter envelope for the initial bite, then a darker body. Start around 4 ms amp attack, 180 ms decay, 35% sustain and 45 ms release; try a 130 ms filter decay with little sustain. These are audition starting points, not calibrated equivalents across instruments. External chorus supplies movement without requiring large oscillator detuning. No opened source established the original oscillators, filter, envelope, synth or modulation. Adam’s chorus/processing and eighth-versus-sixteenth description remains the listening hypothesis to test.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: No opened source supports the specific bass recipe, chorus choice or rhythmic subdivision. Preserve Adam’s note as the brief and test the inferred patch by ear.

History & Provenance

The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Credits: released October 24, 2013 (tier 3)

Heard In · Adapted By

Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline (tier 3)

Performance & Technique

Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. Shorten release if notes blur; raise sustain or gate length if the body disappears. Choose the pitch and register against the reference by ear: no key, exact pitches, tempo or accent transcription is claimed. Finish by checking chorus in mono and matching perceived level before comparing versions.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The subdivision was not verified. Both of Adam’s proposed subdivisions remain explicit audition options.

FX & Chain

Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. MS-20, Neutron and UB-Xa offer an explicit repatch to the JUNE chain because their default or unconfirmed pedal mapping does not provide a trustworthy equivalent. Saved synth profiles and committed physical wiring differ: check the routing note and Patchbay before connecting. No rack processor is assumed connected. EQ and compression start bypassed, with conditional finishing advice per preset. Manual-checked starting settings for Meraki delay, H9 Blackhole, first-generation blueSky, Ventris dual reverb and Wet mk1 appear under Try another effect. These match a musical role, not identical algorithms or knob scales; they remain unauditioned. Test one option at a time, level-match and check the bass in mono. Device manuals support control behavior only; no retrieved source confirms the effects used on the original recording.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The described chorus remains a listening hypothesis. The updated recipes use known owned controls, disclose repatching and keep optional processing separate; audition is still required.

Renditions

Auto-generated from the create-preset fan-out mapping outcomes; regenerated each run.

Behringer DeepMind 12 — "Street Pulse" — mapping confidence 55/100 (medium) — 30 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. Oscillator 2 is a quiet supporting tone, not a second saw.
Arturia MatrixBrute — "Street Pulse" — mapping confidence 48/100 (low) — 52 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. Manually route VCO1/2 to the ladder low-pass filter and ENV1 to its cutoff at a modest positive depth before auditioning. Set the ladder to 24 dB/oct manually; the exposed slope toggle has no polarity definition. Fine tuning and envelope times need ear adjustment.
Korg MS-20 Mini — "Street Pulse" — mapping confidence 58/100 (medium) — 25 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. Oscillators are at the same 16-foot range; trim OSC2 pitch by ear from the centre position.
Behringer Neutron — "Street Pulse" — mapping confidence 45/100 (low) — 27 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. Waveform knob positions are not calibrated in the spec, and RANGE/MODE are exposed only as toggles; those ambiguous controls are deliberately omitted. Use the normalled patch with no cables. Its filter is a two-pole approximation; drive is kept low.
Korg Prologue 8 — "Street Pulse" — mapping confidence 65/100 (medium) — 41 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. The exposed panel contains controls shared with larger models; no unavailable LF compressor is assumed. OSC2 pitch begins centred; add only a very small detune by ear if needed.
Behringer UB-Xa — "Street Pulse" — mapping confidence 60/100 (medium) — 40 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. The saved voice detune is zero; only OSC2 has a small offset.

Lore

MASTER

—

TIMBRE

MAIN/SUB BALANCE

—

TYPE

—

PANEL

—

CONTROL

PORTAMENTO

0%

VOICE SPREAD

0%

VOICE MODE DEPTH

0%

OCTAVE

OCTAVE −

—

OCTAVE +

—

SUB / PGM FETCH

SUB ON / PGM FETCH

OFF

VOICE MODE

POLY

OFF

MONO

ON

UNISON

OFF

CHORD

OFF

SELECT

—

ARPEGGIATOR

ON / LATCH

OFF

TEMPO

—

RANGE

—

TYPE

—

VCO 1

WAVE

sawtooth

OCTAVE

16'

PITCH

50%

SHAPE

0%

PITCH EG

—

INT

50%

VCO 2

WAVE

sawtooth

OCTAVE

16'

PITCH

50%

SHAPE

0%

SYNC / RING

OFF

CROSS MOD DEPTH

0%

MULTI ENGINE

TYPE SELECT

—

OCTAVE

—

TYPE

—

SHAPE

—

MIXER

VCO 1

70%

VCO 2

25%

MULTI

0%

VCF

CUTOFF

30%

RESONANCE

16%

EG INT

68%

DRIVE

0%

LOW CUT

OFF

KEYTRACK

50%

AMP EG

ATTACK

4 ms

DECAY

180 ms

SUSTAIN

35%

RELEASE

45 ms

EG

ATTACK

0 ms

DECAY

130 ms

SUSTAIN

0%

RELEASE

40 ms

LFO

WAVE

—

MODE

—

RATE

—

INT

0%

TARGET

—

MOD EFFECT

SELECT

—

ON / OFF

OFF

SPEED

—

DEPTH

—

DELAY / REVERB

MODE

OFF

TIME

—

DEPTH

—

L.F. COMP

GAIN

—

ON / OFF

—

PERFORMANCE

PITCH

—

MOD

0%

FX & outboard

Chain B: Korg Prologue 8 — Clean Textures & Atmosphere

Repatch required. Use the CE-2W in saved Chain B for this audition. The committed wiring currently routes Prologue through the T-Comp to AR22, so this recipe requires repatching; Chain B has no confirmed physical bay association.

Default route & patching

Committed wiring: Prologue 8 → Mindprint T-Comp → AR22 inputs 13,14

Saved synth profile: Chain B: Korg Prologue 8 — Clean Textures & Atmosphere

Review the route on Patchbay ↗

Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. inferred

✓ use · × bypass · ? unresolved · + optional

Why use this chorus?

Inferred, not auditioned. Rate/depth are physical dial fractions; start near 9 and 10 o’clock and refine by ear.

chorus · slot 2

Boss CE-2W Waza Craft Chorus

Device reference ↗Mapping low · not numerically scored

Inferred, not auditioned. Rate/depth are physical dial fractions; start near 9 and 10 o’clock and refine by ear.

4 saved controls · — means no saved value

Boss CE-2W Waza Craft Chorus

RATE

25%

DEPTH

30%

MODE

Standard

PEDAL

ON

EQ, compression & finishing

× EQ · Bypass

Start flat. For this short saw bass, try a broad −2 dB cut around 250 Hz (Q about 0.7) only if the lower mids mask the groove. If rumble remains, audition a 25–30 Hz high-pass and check the lowest note. Use DAW EQ or a deliberately patched EQ; no rack EQ is assumed connected.

× Compression · Bypass

First use the synth envelope and even MIDI velocities. If peaks vary, audition 2:1, attack 15–25 ms, release 80–120 ms; set threshold by 1–3 dB gain reduction and match output level. Check release against the actual tempo. These are targets for a suitable compressor, not transferable hardware dial percentages.

+ Saturation · Optional

Add only enough drive to make the bass audible on small speakers, with matched bypass loudness. A DAW saturator is the simplest audition path. Use the T-Comp only after deliberately patching it; the earlier 15% suggestion did not establish a physical route. Keep sub-bass weight and note separation.

Try another effect

Audition one option at a time. These are starting settings for this sound; use Improve to save a preferred result.

chorus

delay

reverb

Street Pulse

Behringer UB-Xa

Patch sheet ↗Device reference ↗Research 0/100Mapping 60/100 · medium

Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. The saved voice detune is zero; only OSC2 has a small offset.

40 saved controls · — means no saved value

Demo this preset

Play a short exercise to hear the attack, movement and release. These are original audition patterns, not transcriptions of the reference song.

Behringer UB-Xa · Primary · Single notes · 4/4

Listen for a firm low end, even attacks and space between notes. Compare eighths and sixteenths.

How to play it

Import the MIDI into your DAW, route its track to the synth showing this preset, and loop the selected bars. Tempo and key are exercise settings. C4 means MIDI note 60; some DAWs label octaves differently. The MIDI sends notes on channel 1 and contains no patch change. It does not load the preset or trigger hardware from this page.

Why this preset? Sources, design & revisions

Follow the decisions from reference to recipe. Excerpts below link to the full write-up. A recording link confirms identity, not the original gear or settings.

01
The reference
Retrieved sources · scope below
Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. … Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made. The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.
- The King of the Streets — official Bandcamp release listing ↗Credits: released October 24, 2013
02
The sound → the decisions
Design inference · unsourced
Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. … Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. … Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. …
03
On this synth & chain
inferred · rendition design
Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. … Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. Deliberately patch UB-Xa into the JUNE-60 Chain A profile. Its committed route is Pedal Chain 4, whose pedal sequence is unconfirmed; do not assume it contains JUNE-60.
04
Listen → improve → revise
Awaiting listening review
These settings have not been marked auditioned. Use Demo this preset, compare the attack, low end and movement, then use Improve to record what you hear. A saved revision is not proof of a listening test.

Research & revision history · 6 saved events

Updates

The saved research and rendition history.

Re-researched
30 Sept 2026 · 03:35 UTC
Changed write-up sections: Summary, FX chain.
Research: 0/100 → 0/100
Stated reason: SM301: reconcile the shared research with the six saved processing recipes. Preserve unsourced confidence and original attribution limits; no original artist equipment or listening claim is added.
Revised · Behringer UB-Xa
30 Sept 2026 · 03:35 UTC
Revision 3 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: align the adaptation notes with this rendition’s selected chorus and routing; synth and effect settings unchanged.
Revised · Behringer UB-Xa
30 Sept 2026 · 03:24 UTC
Revision 2 · source version: primary
FX or outboard settings changed.
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
No control values changed; mapping write recorded. Write-up unchanged.
Research: 0/100
Stated reason: SM301: show only intended FX; tailor chorus to this synth and chain, remove assumed rack processing, and add manual-checked optional effect recipes with explicit routing and unauditioned status.
Re-researched
29 Sept 2026 · 09:14 UTC
No write-up sections changed.
Research: 0/100 → 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Rendition added · Behringer UB-Xa
29 Sept 2026 · 09:13 UTC
Revision 1 · source version: primary
Request this revision
Copy into your connected Codex or Claude conversation. Review the differences and give a restore reason before saving.
First saved rendition. Write-up unchanged.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"
Researched
29 Sept 2026 · 09:11 UTC
First research write-up · sound-research@v2.
Research: 0/100
Stated reason: Research the Processed bass part in Lazerhawk's track The King of the Streets. Owner-described repeating bass with chorus and processing; exact subdivision and original patch are unverified. Declared class: mono. Use this track as the research direction and this part name as the role. Distinguish documented traits from inferred settings. chorused and processed bass line that's 16th or 8th based in the track "King of the Streets"

Full saved write-up

The King of the Streets — Processed Bass

An inferred Lazerhawk-inspired repeating saw bass with a short low-pass envelope and one gentle chorus. Compare eighths and sixteenths by ear; neither is a verified transcription.

Class: mono — one note at a time
Category: Bass
Sound id: signature-lazerhawk-the-king-3fa02a81-processed-bass
Research template: sound-research@v2
Research confidence: 0/100 · unsourced
Requested as: "The King of the Streets — Processed Bass"

Identity

Lazerhawk’s official release page identifies The King of the Streets, from Skull and Shark. This sound targets the repeating, chorused bass described by Adam. It is an inferred recreation, not an original artist patch. The release listing supports identity only; it is conservatively classified as a tier-3 web listing because the research schema has no release-metadata category.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline immediately below the title (tier 3)

The Sound

Inferred design, not documented original settings. Use one note at a time in a low register. Start with a saw oscillator; where the instrument supports it, add a quieter second oscillator at the same octave with only slight detuning. Keep noise, glide and pitch modulation off. Use a low-pass filter with modest resonance and a short positive filter envelope for the initial bite, then a darker body. Start around 4 ms amp attack, 180 ms decay, 35% sustain and 45 ms release; try a 130 ms filter decay with little sustain. These are audition starting points, not calibrated equivalents across instruments. External chorus supplies movement without requiring large oscillator detuning. No opened source established the original oscillators, filter, envelope, synth or modulation. Adam’s chorus/processing and eighth-versus-sixteenth description remains the listening hypothesis to test.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: No opened source supports the specific bass recipe, chorus choice or rhythmic subdivision. Preserve Adam’s note as the brief and test the inferred patch by ear.

History & Provenance

The official Bandcamp credits date the release to 24 October 2013. No original patch sheet or exact-track production account was retrieved. The attempted DRIVERADIO interview returned HTTP 403 and is not used as evidence. None of the six studio synths or the chosen effects is attributed to Lazerhawk’s original production.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Credits: released October 24, 2013 (tier 3)

Heard In · Adapted By

Reference recording: The King of the Streets on Skull and Shark by Lazerhawk. The linked release page verifies the recording’s identity. A bass entry time, isolated stem and note transcription have not been verified; no claim of listening analysis is made.

research: 25/100 · low · sources: The King of the Streets — official Bandcamp release listing — Track title and album/byline (tier 3)

Performance & Technique

Inferred audition procedure. Send a short single-note MIDI pattern at your project tempo, with internal arpeggiators off. Compare straight 1/16 and 1/8 patterns separately; these are test alternatives, not asserted facts about the record. Start with gate lengths around 45–55% of each step so the envelope retriggers clearly. Shorten release if notes blur; raise sustain or gate length if the body disappears. Choose the pitch and register against the reference by ear: no key, exact pitches, tempo or accent transcription is claimed. Finish by checking chorus in mono and matching perceived level before comparing versions.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The subdivision was not verified. Both of Adam’s proposed subdivisions remain explicit audition options.

FX & Chain

Inferred processing, not an original artist chain. Start with one chorus and keep delays, reverbs and extra modulation bypassed so short notes remain separate. DeepMind 12 uses JUNE-60 mode I; MatrixBrute uses H9 #2 Liquid chorus; Prologue uses CE-2W Standard mode with gentle rate and depth. MS-20, Neutron and UB-Xa offer an explicit repatch to the JUNE chain because their default or unconfirmed pedal mapping does not provide a trustworthy equivalent. Saved synth profiles and committed physical wiring differ: check the routing note and Patchbay before connecting. No rack processor is assumed connected. EQ and compression start bypassed, with conditional finishing advice per preset. Manual-checked starting settings for Meraki delay, H9 Blackhole, first-generation blueSky, Ventris dual reverb and Wet mk1 appear under Try another effect. These match a musical role, not identical algorithms or knob scales; they remain unauditioned. Test one option at a time, level-match and check the bass in mono. Device manuals support control behavior only; no retrieved source confirms the effects used on the original recording.

research: 0/100 · unsourced · sources: owner note (direction)

Owner note: The described chorus remains a listening hypothesis. The updated recipes use known owned controls, disclose repatching and keep optional processing separate; audition is still required.

Renditions

Auto-generated from the create-preset fan-out mapping outcomes; regenerated each run.

Behringer DeepMind 12 — "Street Pulse" — mapping confidence 55/100 (medium) — 30 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The panel map exposes one shared envelope slider set and no explicit voice-mode setting. Apply the saved contour to both VCA and VCF envelopes manually; single-note playing supplies the mono role. Oscillator 2 is a quiet supporting tone, not a second saw.
Arturia MatrixBrute — "Street Pulse" — mapping confidence 48/100 (low) — 52 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. H9 #2 Liquid chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The supplied map has no named oscillator-to-filter routing or modulation-matrix destination ids. Manually route VCO1/2 to the ladder low-pass filter and ENV1 to its cutoff at a modest positive depth before auditioning. Set the ladder to 24 dB/oct manually; the exposed slope toggle has no polarity definition. Fine tuning and envelope times need ear adjustment.
Korg MS-20 Mini — "Street Pulse" — mapping confidence 58/100 (medium) — 25 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Use the normalled signal path without patch cables. The MS-20 low-pass response and shared EG2 contour give a rougher attack than a typical four-pole bass; reduce resonance if it thins the fundamental. Oscillators are at the same 16-foot range; trim OSC2 pitch by ear from the centre position.
Behringer Neutron — "Street Pulse" — mapping confidence 45/100 (low) — 27 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Before auditioning, manually select sawtooth on both oscillators, matching low ranges and LP filter mode. Waveform knob positions are not calibrated in the spec, and RANGE/MODE are exposed only as toggles; those ambiguous controls are deliberately omitted. Use the normalled patch with no cables. Its filter is a two-pole approximation; drive is kept low.
Korg Prologue 8 — "Street Pulse" — mapping confidence 65/100 (medium) — 41 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. CE-2W Standard chorus supplies the single chorus. Follow the FX recipe routing note before connecting pedals. The two-pole filter is a brighter approximation of the intended rounded bass; keep drive off and tune cutoff by ear. Use the main timbre only. The exposed panel contains controls shared with larger models; no unavailable LF compressor is assumed. OSC2 pitch begins centred; add only a very small detune by ear if needed.
Behringer UB-Xa — "Street Pulse" — mapping confidence 60/100 (medium) — 40 control(s) — Inferred and unauditioned. Play separated single MIDI notes; compare 1/16 and 1/8 at your own tempo. JUNE-60 mode I supplies the single chorus. Follow the FX recipe routing note before connecting pedals. Keep unison stacking off and send separated single notes. The supplied spec lacks a calibrated oscillator octave selector, so set both oscillator frequencies to the same low register by ear before using this patch. The saved voice detune is zero; only OSC2 has a small offset.

Lore

KEYBOARD

SPLIT

OFF

DOUBLE

OFF

LOWER

—

UPPER

—

DOWN

—

UP

—

TRANSPOSE

—

CHORD

OFF

ARP

OFF

AUTO

—

SETTINGS

—

HOLD

OFF

MANUAL

VOLUME

—

BALANCE

—

MASTER TUNE

—

OSC 2 ONLY

—

VINTAGE

—

PERF LFO

RATE

—

TEMPO SYNC

—

WAVEFORM

—

DEPTH

0%

CONTROL

PORTAMENTO

0%

BEND

—

UNISON

OFF

VOICES

—

OSC 1

FREQUENCY

—

saw

ON

pulse

OFF

tri

OFF

VOICE DETUNE

0 cents

OSC 1 / LFO INVERT

—

OSC 2

FREQUENCY

—

saw

ON

pulse

OFF

tri

OFF

OSC 2 DETUNE

3 cents

SYNC

OFF

PW / MOD ROUTING

PULSE WIDTH

—

FREQ

—

F-ENV PW

—

MOD FILTER

—

FILTER

FREQUENCY

30%

RESONANCE

18%

MODULATION

40%

NOISE

0%

OSC 1

ON

HALF

ON

OSC 2

ON

FULL

OFF

4 POLE

4-pole

TRACK

ON

FILTER ENVELOPE

ATTACK

0 ms

DECAY

130 ms

SUSTAIN

0%

RELEASE

40 ms

MOD 1 DELAY

—

MOD 1 ATTACK

—

TRIG POINT

—

LOUDNESS ENVELOPE

ATTACK

4 ms

DECAY

180 ms

SUSTAIN

35%

RELEASE

45 ms

MOD 2 DELAY

—

MOD 2 ATTACK

—

PEDAL RELEASE

—

MODULATION

LFO RATE

—

OSC 1

0%

OSC 2

0%

FREQ

—

FILTER

0%

MOD DEPTH 1

—

WAVEFORM

—

TEMPO SYNC

—

QUANTIZE

—

INVERT

—

TRACK

—

MOD LFO PHASE

—

VOLUME

0%

DEPTH 2

—

PERF LFO PHASE

—

PERFORMANCE LFO

WAVEFORM

—

OSC 1

—

OSC 2

—

VOLUME

—

DEPTH 1 PHASE

—

QUANTIZE

—

INVERT

—

ENV MOD

—

SEQUENCER

SHIFT

—

REST / TIE

—

RECORD

—

STOP

—

PLAY / PAUSE

—

SETTINGS

—

APPEND

—

CUR LAST

—

RESTART

—

PERFORMANCE

PITCH

—

MOD

0%

FX & outboard

Chain A: DeepMind 12 — Lush Pads & Strings

Repatch required. Deliberately patch UB-Xa into the JUNE-60 Chain A profile. Its committed route is Pedal Chain 4, whose pedal sequence is unconfirmed; do not assume it contains JUNE-60.

Default route & patching

Committed wiring: UB-Xa → Pedal Chain 4 → AR22 inputs 9,10

Saved synth profile: None assigned.

Recipe chain: Pedal Chain 3 · The saved passive DI is a ProD2. Black Lion Audio Auteur is a separate mic preamp.

Review the route on Patchbay ↗

Short saw bass with one gentle chorus. Delay, reverb and extra modulation are bypassed to preserve eighth- or sixteenth-note separation. Optional effects are audition variations, not claims about the original recording. inferred

✓ use · × bypass · ? unresolved · + optional

Why use this chorus?

Inferred, not auditioned. Gentle chorus without a long tail.

chorus · slot 1

TC Electronic JUNE-60 V2 Chorus

Device reference ↗Mapping low · not numerically scored

Inferred, not auditioned. Gentle chorus without a long tail.

3 saved controls · — means no saved value

TC Electronic JUNE-60 V2 Chorus

I

ON

II

OFF

MONO/STEREO

—

BYPASS

OFF

INT LFO

—

INT IN LVL

—

EQ, compression & finishing

× EQ · Bypass

Start flat. For this short saw bass, try a broad −2 dB cut around 250 Hz (Q about 0.7) only if the lower mids mask the groove. If rumble remains, audition a 25–30 Hz high-pass and check the lowest note. Use DAW EQ or a deliberately patched EQ; no rack EQ is assumed connected.

× Compression · Bypass

First use the synth envelope and even MIDI velocities. If peaks vary, audition 2:1, attack 15–25 ms, release 80–120 ms; set threshold by 1–3 dB gain reduction and match output level. Check release against the actual tempo. These are targets for a suitable compressor, not transferable hardware dial percentages.

+ Saturation · Optional

Add only enough drive to make the bass audible on small speakers, with matched bypass loudness. A DAW saturator is the simplest audition path. Use the T-Comp only after deliberately patching it; the earlier 15% suggestion did not establish a physical route. Keep sub-bass weight and note separation.

Try another effect

Audition one option at a time. These are starting settings for this sound; use Improve to save a preferred result.

chorus

delay

reverb

Improve this preset

Demo this preset

The reference

The sound → the decisions

On this synth & chain

Listen → improve → revise

Updates

Re-researched

Revised · Behringer DeepMind 12

Revised · Behringer DeepMind 12

Re-researched

Rendition added · Behringer DeepMind 12

Researched

The King of the Streets — Processed Bass

Identity

The Sound

History & Provenance

Heard In · Adapted By

Performance & Technique

FX & Chain

Renditions

Lore

ARP / SEQ

LFO 1

LFO 2

OSC 1

OSC 2

NOISE

POLY

VCF

VCA

HPF

ENVELOPES

MASTER

PERFORMANCE

TC Electronic JUNE-60 V2 Chorus

Behringer DUAL-PHASE Authentic Dual Phase Shifter · Bypass

Walrus Audio Meraki Stereo Analog Dual Delay · Bypass

Eventide H9 Max (instance #1) · Bypass

× EQ · Bypass

× Compression · Bypass

+ Saturation · Optional

Juno-style pulse width inferred

Gentle analog movement inferred

Controlled digital chorus inferred

Quiet eighth-note shadow inferred

Blackhole · small dark halo inferred

blueSky · restrained modulated plate inferred

Ventris · room with a quiet hall layer inferred

Wet mk1 · subtle short ambience inferred

Demo this preset

The reference

The sound → the decisions

On this synth & chain

Listen → improve → revise

Updates

Re-researched

Revised · Arturia MatrixBrute

Revised · Arturia MatrixBrute

Re-researched

Rendition added · Arturia MatrixBrute

Researched

The King of the Streets — Processed Bass

Identity

The Sound

History & Provenance

Heard In · Adapted By

Performance & Technique

FX & Chain

Renditions

Lore

VCO 1

VCO 2

VCO 3

AUDIO MOD

MIXER

NOISE

VCF 1 · STEINER

VCF 2 · LADDER

FILTER MASTER