The Roland TB-303 is best known for a single thing: acid basslines. That unmistakable, squelchy resonance, the hypnotic sequences, and the modulating filter sweeps have defined entire genres. But here’s the thing—the 303 is more than just a bass machine. With the proper programming, it can be a lead synth, a percussion generator, a source of deep sub-bass, and even an ambient sound design tool. It’s been used in everything from techno and electro to ambient and experimental music. Whether you’re after crisp percussive clicks, droning textures, or liquid-like glides, the 303 can do it all.
This guide breaks down the techniques to create 303-based sounds, complete with step-by-step programming tips and real-world track references. And to wrap it up, we’ll show you how layering four TB-303s can take your sound design to another level.
Table of Contents
Acid Basslines: The Classic Move
The acid bassline is the backbone of 303 programming. This sound is all about movement—squelchy, dynamic filter sweeps combined with pitch bends and note slides that create a fluid, almost organic feel. A well-programmed acid bassline breathes life into a track, making it pulse and evolve rather than sitting statically in the mix. Without movement, the 303 risks sounding flat and uninspired. Whether it’s a raw, stripped-down groove or a layered wall of resonance, acid basslines made the TB-303 famous.
How to program it:
- Oscillator: Set to saw wave for a biting, aggressive tone.
- Sequencing: Create a 16-step pattern with note slides to keep things fluid.
- Filter: Start with the cutoff low, resonance high, and slowly open it up over time.
- Accent: Drop accents on key notes for emphasis.
- Variation: Add minor tweaks to pitch and timing to avoid repetition.
Tracks that nail it:
- Phuture – “Acid Tracks” (1987)
- Hardfloor – “Acperience 1” (1992)
Liquid Movement: Slides and Legato Leads
One of the defining characteristics of the TB-303 is its ability to glide smoothly between notes, giving sequences a liquid, expressive quality. Used creatively, legato leads can add an almost vocal-like presence to a track, making a 303 feel like it’s singing rather than just pulsing out bass notes. This technique works exceptionally well in faster-paced acid and techno, adding extra depth to high-energy sequences. Slides also make it possible to create lead lines that weave in and out of the mix rather than simply sitting underneath a kick drum.
How to program it:
- Oscillator: Switch to a square wave for a rounder, more expressive tone.
- Sequencing: Keep the slides long and avoid sharp note breaks.
- Filter: Set the cutoff mid-range and avoid high resonance to keep things smooth.
Tracks that nail it:
- The Chemical Brothers – “Setting Sun” (1996)
- Luke Vibert – “I Love Acid” (2003)
Resonant Filter Sweeps to Add Texture and Atmosphere
Most TB-303 programming focuses on basslines, but by playing in a higher octave and pushing the resonance, you can create sweeping textures that sit above the mix rather than below it. High-resonance filter sweeps work well for adding movement and energy to a track without needing a full melody or bass sequence. Instead of acting as a core musical element, they serve as a textural layer that fills space and creates tension. This technique is especially effective in ambient, techno, and experimental music. Adding delay and reverb extends the sweep into a broad, atmospheric effect, and MIDI automation can help shape the motion dynamically over time.
How to program it:
- Octave: Set the sequence to a higher octave range to pull the TB-303 out of bass territory.
- Filter: Keep resonance high and sweep the cutoff slowly to create a moving, evolving tone.
- Effects: Add delay and reverb to enhance the sound and the atmosphere.
- Automation: Use MIDI automation to control the filter sweep in real time for added variation.
- Accent and Glide: Sparingly apply accents and slides to introduce subtle shifts in the sweep’s intensity.
Tracks that nail it:
- The Orb – “Little Fluffy Clouds” (1990)
- Speedy J – “De-Orbit” (1992)
Percussive Clicks and Pops: The 303 as a Drum Machine
Most people think of the TB-303 as purely a bass synth, but with some clever programming, it can double up as a percussive sound source. Short, snappy notes can act as hi-hats, toms, or even synthetic claves, adding rhythmic complexity and drive to a track. This trick works particularly well in minimal and stripped-back techno, where micro-rhythms make all the difference. The key to getting a percussive feel is controlling the envelope and keeping decay times short.
How to program it:
- Oscillator: Stick to saw wave for sharper transients.
- Envelope: Shorten decay and zero sustain to make it snappy.
- Filter: Set cutoff high and resonance low for clean, clicky sounds.
- Sequencing: Keep note lengths ultra-short and scatter them across the grid.
Tracks that nail it:
- Plastikman – “Spastik” (1993)
- AFX – Various tracks from the “Analord” series
Sub-Bass Rumbles: Pushing the Low End
While the 303 is mainly used for midrange sequences, it can deliver serious low-end weight when programmed correctly. Using the square wave and keeping the filter mostly closed results in a deep, rolling bassline that sits well under minimal techno or dub-influenced tracks. This technique is ideal for giving your mix a foundation without taking up too much space, ensuring the bassline provides depth without overpowering the groove.
How to program it:
- Oscillator: Use the square wave for smoother bass.
- Filter: Close the cutoff almost all the way down.
- Resonance: Keep it low—too much will make it too nasal.
- Glide: A touch of glide helps notes flow together.
Tracks that nail it:
- Basic Channel – “Phylyps Trak” (1993)
- Ricardo Villalobos – “Dexter” (2003)
Zaps, Chirps, & Bubbles: 303 as a Sound FX Machine
By cranking up the resonance and tweaking the filter, the TB-303 transforms into a sound effects powerhouse. Whether sci-fi zaps, bubbly underwater tones, or high-frequency blips, the 303 can inject movement and unpredictability into a mix. These types of sounds add texture and atmosphere, breaking up the repetition of standard acid sequences. When used sparingly, they can be subtle ear candy; if pushed further, they can become the focal point of a track.
How to program it:
- Oscillator: Either wave will work, but saw is punchier.
- Filter: Max out resonance and play with the cutoff manually.
- Decay: Keep it short for quick zaps, or extend it for bubbling sounds.
- Randomization: Apply accents unpredictably for movement.
Tracks that nail it:
- Aphex Twin – “Boxing Day” (1995) – 303 weirdness dialed up to 11.
- Drexciya – “Bubble Metropolis” (1993) – Uses filtered 303s for underwater sounds.
Stacking Four TB-303s: The Ultimate Setup
If one TB-303 can do all this, imagine what happens when you run four simultaneously. This is the beauty of using GALAXIAS Super Instrument in Roland Cloud. It provides you with four tracks that you can add to any Roland Cloud instrument for a richer, layered sound in the one DAW track. For this sound design experiment, we highly recommend you try out GALAXIAS and add 4 x 303 together (TB12-12?)
The key to creating a super TB-303 is layering the instruments with different roles. Try this layering below as a starting point and tweak from there!
- 303 #1 – Sub Bass – Low-end square wave bass, cutoff down.
- 303 #2 – Acid Lead – Resonant saw wave with slides.
- 303 #3 – Percussion & Clicks – Short-decay stabs.
- 303 #4 – Background Textures – Long-held notes with reverb.
Tracks that nail it:
- Hardfloor – “Lost in the Silver Box” (1994) – Classic multi-303 layering.
- Ceephax Acid Crew – “Commuter” – Acid taken to ridiculous levels.
