How to Write Synth Funk Bass Lines in Dorian Mode on a Roland SH-101

Bass players can use three major modes (Ionian, Lydian, and Mixolydian) derived from the major scale to create bass lines over any chord progression; the Ionian mode uses the standard major scale, Lydian sharpens the fourth note, and Mixolydian flattens the seventh note, with each mode providing different tonal colors that can be applied to specific chords in a progression (Ionian on the I chord, Lydian on the IV chord, and Mixolydian on the V chord in a key).

Modes are subsets of parent scales that create distinct musical flavors and emotions; this lesson demonstrates six practical ways to apply modes on bass guitar: (1) Playing Dorian mode over ii-V chord progressions creates melodic bass lines, (2) Using Dorian mode in funk bass playing produces the characteristic funk sound, (3) Employing Mixolydian mode over dominant seventh chords in major blues bass lines, (4) Applying Lydian mode over borrowed chords (chords outside the key) adds exotic color, (5) Using modes in walking bass lines for jazz chord progressions like ii-V-I, and (6) Writing original bass lines by selecting modes based on desired emotional and stylistic outcomes.

Modes are interchangeable with scales and can be applied to different chords in a progression to create bass lines; for example, in the key of A natural minor, you can use D Dorian over the D chord, G Mixolydian over G7, C Ionian over C, F Lydian over F, B Locrian over Bm7b5, and E Phrygian Dominant over E7, with the simplest approach being to play the root followed by the first three notes of the scale descending up the octave.

Standard chord progressions (I-IV-V-VI) create storytelling but pull music toward popular music conventions. To establish a vibe and stay there, musicians must step away from major and minor scales. Modes are predecessors to modern scales, created by starting on any note of a major scale and going up an octave. The seven modes are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. The Dorian mode is created by lowering the third and seventh notes of the major scale by one semitone each, making it particularly useful in electronic music and Hip-Hop.

The Lydian mode (fourth mode) is identified when encountering two major chords with a whole tone distance (4th and 5th degrees), creating a 'majestic' sound with the characteristic augmented fourth. The Mixolydian mode (fifth mode) is identified when encountering two major chords in reverse order (5th and 4th degrees), creating a dominant sound with the characteristic minor seventh. The Aeolian mode (sixth mode) is identified when encountering a minor chord followed by two major chords, creating a 'minor sad' sound. The instructor notes that heavy metal music is constructed approximately 80-90% on the Aeolian mode due to its tragic quality. The characteristic notes (sharp 11 for Lydian, minor seventh for Mixolydian, minor sixth for Aeolian) give each mode its distinctive quality.

This section covers mixing two common electronic bass types. For synth bass, the advantages include MIDI control over attack, timbre, and sustain. The section explains how to position synth bass in the subbase range and resolve conflicts with kick drum through EQ. Chorus effect is introduced as a tool for adding width and retro color to synth bass. For the 808 (an elongated kick drum sound), the section covers side chain compression to prevent masking with the kick drum, and saturation to add higher frequencies for better translation on smaller speakers. The key insight is that each bass type requires different approaches based on its characteristics and frequency placement.

A typical bass processing chain for funk music includes: CLA Bass for low-end and sub frequencies, distortion/saturation for upper mids, compression for sustain, and EQ to soften the tone. A gate removes fret noise and background buzzing. Sub harmonic saturation adds texture. This creates a plunky, functional bass sound that cuts through the mix.

This extensive section covers advanced signal processing techniques used in professional mixing. Sidechain compression between kick and bass enhances groove feel but should always be AB tested - sometimes letting kick and bass compete naturally feels better. Sidechaining can also be applied to music buses containing pads and sustained chords to add rhythmic interest. The most common bass mixing mistake is overprocessing - applying excessive plugins and changing the sound too much. Each bass type requires different approaches. Multiband saturation allows targeting specific frequency ranges rather than saturating the entire low-end. Effective acoustic guitar compressors include VT7 by DW Fern (strong holding compressor), R Compressor by Waves, AE600 multiband by McDSP (compresses muddy low-mids while preserving high-end), and KH Comp by Black Rooster Audio.

To process bass: (1) Group all bass layers; (2) Apply sidechaining to duck slightly when kick plays; (3) Use a drum bus (saturated compressor) to thicken the bass; (4) Use A/B testing to compare with and without processing; (5) The drum bus adds thickness without just increasing volume.

Saturation adds harmonics and warmth to sounds. For bass, saturation enhances low-end character. The saturator has a filter section and a base section that controls how much low-end is pushed into the saturator. Adjusting these parameters allows fine-tuning of distortion characteristics. After adding saturation, sub-bass may be lost and should be boosted with EQ. Sidechaining the bass to the kick creates a pumping effect that prevents frequency masking. Adjusting threshold, ratio, and release controls the intensity. Using only the high-end of the kick as input source can create smoother curves.

The most common Dorian progression is 1-4 (C minor to F), which can be extended to C minor 7 to F7. This is the most common funk chord progression and also the most common jazz chord progression. Other effective progressions include 1-2 (C minor to D minor) for a darker sound, and 1-7-4 (C minor to Bb to F) or 1-3-4-7 (C minor to Eb to F to Bb). To write in Dorian for funky, bluesy, or fusion music, start with Dorian as the foundation. Guitar riffs in Dorian sound slightly brighter than typical minor sounds. A common addition is the flat 5 (blues note), which enhances blues and rock feel. Dorian can be combined with other scales like melodic minor for complex textures, and used in fusion-inspired modal progressions.

Two chord progression patterns establish the Dorian sound: minor one chord to major four chord (Dm-G), and minor one chord moving up two frets to minor two chord (Dm-Em). Both progressions work because they establish the home chord and introduce the characteristic major sixth. Using a droning bass note while changing chords above it creates strong modal flavor. The chords available in D Dorian are the same as in C major: Dm, Em, Fmaj7, Gmaj7, Am, and Bdim. A single Dm6 chord encapsulates the Dorian sound.

The Dorian mode features several common chord progressions. The i7 to IV7 progression (Am7 to D7) is super common across many styles and can create a disco-funk feel. The i7-ii7-III7 progression (Am7 to Bm7 to Cmaj7) is a classic sound found in jazz, soul, and pop music. When soloing over these progressions, focus on bringing out the mode's color by playing the major sixth degree (F#) over the i7 chord to establish the Dorian sound, then use chord tones (roots, thirds, fifths) over remaining chords.

Dorian mode songs use specific diatonic chords: first (minor), second (minor), third (major), fourth (major dominant with minor seventh), fifth (minor), sixth (minor), and seventh (half-diminished). The fourth chord is the most characteristic, using the raised sixth note. 'Oye Cómo Va' by Carlos Santana demonstrates this with Am7-D7 progression in A minor. The D7 chord (fourth degree) creates the Dorian sound. Songs can also use the second chord (minor) or sixth chord (half-diminished) to establish Dorian flavor. The key principle is that any chord containing the raised sixth note can create the Dorian sound.

This segment covers two essential lead layers. The rave lead mirrors sub bass notes but is pitched up an octave, using a square wave (pitched down two octaves) with saw wave, low-pass filter at max cutoff, drive, and second saw wave with heavy detuning and unison. Set sine to three (octave and perfect fifth up). Add noise for texture. Effects include hyper expander with very low rate and detuning for wide stereo sound. The buzzy layer creates chord stacks using multiple patches playing different notes (total of four notes), using triangle waves with custom wave tables, unison with small detuning, band-pass filter, organ noise (45 semitones), distortion, phaser, and heavy OTT.