Mini V · Armon.ai

How it works

It is the archetype of the compact subtractive synthesizer: everything that on modulars required cables is wired internally in a fixed order.

The fixed chain

Oscillator Bank: three oscillators with triangle, asymmetric triangle (“shark tooth”), sawtooth, square, wide and narrow rectangle waveforms. Oscillator 3 can drop into the sub-audio range (LFO) and stop following the keyboard.
Mixer: balances the three oscillators, the noise (white or pink) and an external input. When the levels are pushed, the mixer saturates and adds harmonics.
24 dB ladder filter: four-pole low-pass; Emphasis is the resonance, Amount of Contour is how much the envelope opens the filter, Keyboard Control is how much the cutoff follows the notes.
Contour generators: two Attack–Decay–Sustain envelopes, one for the filter and one for the volume (Loudness). The release coincides with the Decay if the Decay switch is on, otherwise it is almost instantaneous.

The modulation “wheel”

The modulation wheel sets the amount of a source that is a mix of oscillator 3 and noise (Modulation Mix) sent to the pitch of the oscillators and/or the filter: vibrato, trills, wah, audio FM, random modulation. Oscillator 2 can be synced to oscillator 1 in the Arturia version.

Character and tone

Timbre

Big, warm and “weighty”: three oscillators that are wide when summed even without effects, a 24 dB ladder filter famous for the roundness of its basses and its singing resonance, and a mixer that, when pushed, saturates musically (overload/soft clipping).

Where it sits in the spectrum

Its realm is between 30 and 300 Hz: solid fundamental, deep subs, basses that hold up in a mix. On leads, the resonance falls between 500 Hz and 3 kHz with a “vocal” character. The highs are soft: it is rarely shrill.

Strengths

Basses and leads with very few controls, logical and educational panel.
Oscillator 3 as a third oscillator or as a modulator (LFO or audio FM).
External feedback (output into the mixer) for saturation and grit.
In the Mini V: polyphony and unison, modulation matrix, dedicated LFO, motion recorder, vocal filter, arpeggiator, chorus and delay.

Limitations

ADS envelopes (the decay acts as release only when the Decay switch is on).
Monophonic original with no memories; few modulation destinations without the extended panel.
In polyphony the sound remains “mono-synth”: the pads are nice but less refined than a natively polyphonic synth.

Comparisons

vs ARP 2600 / Odyssey: the ARP is brighter and “sharper”, the Moog darker and fuller.
vs Prophet-5: similar filter in character but the Prophet has 2 oscillators and was born polyphonic.
vs SEM: the SEM is lighter and more flexible in the filter (12 dB multimode); the Mini is bigger.

Architecture

Original (Moog Minimoog Model D, 1970/71–1981)

Monophonic, 44-key keyboard with lowest-note priority; pitch and mod wheel.
3 VCOs: Range LO, 32', 16', 8', 4', 2'; Osc 1/2 waveforms: triangle, triangle-saw, saw, square, wide rectangle, narrow rectangle; Osc 3 with a falling saw instead of the asymmetric waveform and usable as an LFO (Osc 3 Control off).
Mixer with Osc 1/2/3, External Input, Noise (white/pink).
24 dB/octave ladder low-pass filter with Cutoff, Emphasis, Amount of Contour, Keyboard Control 1 and 2, self-oscillating.
2 ADS contours (filter and loudness) with Decay switch; Glide, Modulation Mix (Osc 3/noise), Oscillator Modulation and Filter Modulation switches, A-440.

Signal path

Osc 1 + Osc 2 + Osc 3 + Noise + Ext → Mixer (saturable) → 24 dB ladder filter (contour, keyboard, modulation) → VCA (loudness contour) → output.

What Arturia adds (Mini V3, V Collection 9)

Sync Osc 2 → Osc 1, Osc 2 Control (tracking can be disabled), Osc 3 LowMono, adjustable pulse width on more waveforms.
Polyphony 2–32 voices, Unison with Voice Detune, Play Mode Low/High/Last, Legato.
Soft Clipping (emulation of the overload circuit), external input or output feedback into the mixer.
Extended panel: Motion Recorder (4 tracks of recorded and drawable automation), Vocal Filter (5-vowel formant filter with LFO), LFO (7 waveforms, sync), modulation matrix (8 slots, 15 sources, 35 destinations), arpeggiator, chorus (3 types) and stereo delay.
Note: V Collection 9 includes Mini V3; Mini V4 (2024, with a redesigned panel) is a later product.

The controls, one by one

Controllers

Tune: Global tuning.
Glide: Portamento time (activated with the Glide switch to the left of the keyboard).
Modulation Mix: Proportion between Osc 3 and noise in the mod wheel source: fully Osc 3 for vibrato/trills/FM, toward Noise for random modulation.

Oscillator Bank

Oscillator Modulation (switch): Sends the wheel modulation (Osc 3/noise) to the pitch of oscillators 1, 2 and 3; turn it off if you don't want Osc 3 to modulate itself.
Range Osc 1 / 2: Lo (sub-audio), 32', 16', 8', 4', 2' (8' = normal pitch).
Range Osc 3: Same as above plus LowMono: a single LFO for all voices in polyphony (Lo = one LFO per voice).
Frequency Osc 2 / Osc 3: Relative pitch: left click in semitones (±1 octave), right click continuous (±1 semitone); double-click = in tune.
Waveform Osc 1 / 2: Triangle, asymmetric triangle, rising saw, square, asymmetric square (rectangle), pulse; right-click to adjust the width of some waveforms.
Waveform Osc 3: Same as the others but with a falling saw instead of the asymmetric triangle (useful as a modulation ramp).
Sync: Syncs Osc 2 to Osc 1: the pitch stays that of 1, Osc 2 changes the harmonics.
Osc. 2 Control: Keyboard tracking of Osc 2 on/off (drone).
Osc. 3 Control: Keyboard tracking of Osc 3 on/off: off + Range Lo = fixed-frequency LFO.

Mixer

Volume Osc 1 / 2 / 3 + switch: Level of each oscillator and a quick mute switch.
External Input Volume + 3-position switch: Off, Mini V output fed back into the mixer (feedback: saturation and grit) or external audio input.
Overload: Overload indicator for the external input.
Noise Volume + switch: Noise level.
White / Pink: White noise (more highs) or pink noise (more lows).
Soft Clipping: Turns on the emulation of the mixer overload circuit: as you raise the volumes the sound saturates like the original (more CPU in polyphony).

Modifiers: Filter

Filter Modulation (switch): As on the original, sends the wheel modulation (Osc 3/noise) to the filter cutoff.
Keyboard Control 1 / 2: Cutoff key tracking: 1 = a major third per octave, 2 = a fifth per octave, both = full tracking (pivot on F0).
Cutoff Frequency: Cutoff of the 24 dB ladder low-pass.
Emphasis: Resonance; at maximum the filter self-oscillates (sine wave).
Amount of Contour: How much the filter envelope moves the cutoff.
Attack Time: Filter envelope attack.
Decay Time: Filter envelope decay (and release if the Decay switch is on).
Sustain Level: Filter held level.

Modifiers: Loudness Contour

Attack Time: Volume attack.
Decay Time: Decay (and release with Decay on); at maximum the note stays held.
Sustain Level: Volume held level.

Output

Volume: Output VCA level.
Polyphonic: Switches between monophonic/polyphonic.
Voices: Number of voices 2–32.
Unison: All voices on the same note.
Voice Detune: Slight detuning between voices (thickness even in polyphony).

Left of the keyboard and wheels

Glide (switch + pedal jack): Turns on portamento; can be controlled by pedal.
Decay (switch + pedal jack): Turns on the release equal to the Decay; when off, the sound closes almost immediately when the key is released.
Legato: Legato notes don't retrigger the envelopes (the original uses Low priority).
Bend (switch): Disconnects the pitch wheel from the oscillators so it can be used in the matrix.
Range: Pitch bend range.
Pitch Bend wheel / Mod wheel: Bend and amount of Osc 3/noise modulation to the oscillators and/or filter.
Play mode (bottom bar): Low, High, Last in monophonic mode.

Extended: Motion Recorder

Activation: Turns on the motion recorder.
Tracks 1–4 + destination: One destination per track (frequencies, PWM, levels, cutoff, emphasis, contour amount, glide, MixMod, LFO, pan, vocal filter X/Y or Off).
Quantize: Quantizes the curve to the tempo (steps, S&H effects).
Amount: Depth of the recorded modulation.
Curve Editor: locators and Loop: Start/end points and loop of the curve.
Tool: Pencil, eraser, line, exponential curve, noise, sine, square.

Extended: Vocal Filter

Cursor (ball) and vowels A E I O U: Position among the five formants; the vowels can be reordered.
LFO radius: Dragging the ball sets the circle of the automatic movement.
Gain: Balance between direct and filtered signal.
Q: Bandwidth of the 5 band-pass filters (high = thin, whistling).
LFO (rate) + LFO on/off: Speed and activation of the automatic movement.

Extended: LFO

Rate: Speed.
Waves: Sine, falling saw, rising saw, square, noise, random, triangle.
Midi Sync: Synchronization to the host tempo; destinations only through the matrix.

Extended: Modulation Matrix

On/Off: Turns on the matrix.
8 slots: Source / Destination / Amount

Extended: Arpeggiator

Speed + Midi Sync: Free or tempo-synced speed.
Play: Starts the arpeggio.
Off / Hold / Mem: Hold: notes stay until the next chord; Mem: stores the notes played.
Mode: Ascending, descending, back and forth, random, order of key press.
Octave / Repeat: Octaves per cycle and repetitions of each octave.

Extended: Chorus and Delay

Chorus: Rate, Depth, Dry/Wet, Type: Three types of stereo chorus, from the simplest to the deepest.
Delay: Time Left / Time Right, FeedB Left / FeedB Right, Dry/Wet, Midi Sync: Stereo delay with independent times and feedback per channel and sync.

Sound design tips

Ladder filter

Amount of Contour vs Cutoff: for a bass that “speaks”, Cutoff at 20–35% and medium Contour (4–6 out of 10) with a filter Decay of 150–400 ms. If you raise the Contour, lower the Cutoff: otherwise the bass becomes an open, buzzy saw.
Emphasis: past halfway the ladder loses fundamental: for resonant basses compensate with an oscillator one octave down or with Keyboard Control to keep the peak on the note.
Keyboard Control: for leads across several octaves turn on both (full tracking); for basses often just one or none, so the low notes stay full and the high ones don't become shrill.

ADS envelopes and Decay switch

Remember that the release exists only with the Decay switch: with Decay on and a long Decay, notes “keep sounding” after release; for tight sequenced basses turn it off.
Attack vs decay: for a bass with “punch”, Loudness Attack 0–3 ms, filter Attack 0 and short Decay; a filter Attack of 20–50 ms softens the click without losing definition.
Decay and tempo: at 100 BPM a sixteenth note lasts 150 ms: match the filter Decay to 1/16 or 1/8 for basses that breathe with the groove.

Oscillators and frequencies

Three oscillators in unison with 3–7 cents of difference = enormous thickness, but down low the slow beating makes the volume “wobble”: for sub bass use a single clean oscillator (triangle or square) and the others an octave up.
The useful sub sits between 40 and 80 Hz: with Range 32' many notes end up below 30 Hz and waste headroom.
Mixer saturation (high volumes + Soft Clipping or external feedback) adds harmonics between 500 Hz and 3 kHz: a bass like this can be heard even on small speakers.

Modulation

Osc 3 in Lo, Osc 3 Control off, Modulation Mix fully Osc 3: classic vibrato or trills on the mod wheel; with Osc 3 in the audio range the same chain does FM.
For a “soloist” vibrato use the Extended panel LFO on the matrix, leaving Osc 3 as the third oscillator.

Glide, velocity, polyphony

Glide 50–150 ms with Legato: slides only where you play legato (Moog funk style).
Velocity and aftertouch exist only through the matrix: Velocity → CutOff or EG VCF Lev with a moderate amount.
In polyphony use a low Voice Detune: big pads without losing intonation.

Common mistakes

Osc 3 Control turned off unintentionally: oscillator 3 always plays the same note.
Oscillator Modulation on with the mod wheel up: unintended vibrato.
Mixer volumes all at maximum with Soft Clipping: unwanted distortion.

Presets to recreate

Flash Light — Moog bass

Bass · Parliament — Flash Light (1977)

The chromatic, meaty, swaggering bass of Flash Light. On the original, Bernie Worrell builds it with three or four Minimoogs wired together and plays all the keyboards on the track; here with the Mini V, which is its direct emulation, using the three oscillators as if they were several instruments stacked.

Oscillators: Osc 1 Range 16', saw; Osc 2 Range 16', saw, Frequency +5 cents; Osc 3 Range 32', square, Osc 3 Control ON.
Mixer: Osc 1 at 10, Osc 2 at 8, Osc 3 at 6; Noise 0; Soft Clipping ON.
Filter: 24 dB/oct low-pass ladder, Cutoff Frequency 25%, Emphasis 3/10, Amount of Contour 5/10, Keyboard Control 1 ON.
Filter envelope: Attack 0 ms, Decay 300 ms, Sustain 30%.
Loudness Contour: Attack 0 ms, Decay 500 ms, Sustain 80%; Decay switch OFF (immediate release).
LFO and modulation: Oscillator Modulation OFF, Filter Modulation OFF (no vibrato).
Voice and glide: monophonic, Play mode Low; Glide 60 ms with Glide switch and Legato ON.
Effects: no chorus or delay; a light compressor outside the synth.

Fusion lead with glide

Lead · 1970s jazz-fusion

Singing, big jazz-fusion solo: three oscillators, a filter that follows the keyboard, legato glide and vibrato on the wheel.

Oscillators: Osc 1 Range 8', saw; Osc 2 Range 8', asymmetric square, Frequency +7 cents; Osc 3 Range 4', saw.
Mixer: Osc 1 at 10, Osc 2 at 8, Osc 3 at 3; Noise 0.
Filter: 24 dB/oct ladder, Cutoff 45%, Emphasis 4/10, Amount of Contour 4/10, Keyboard Control 1 and 2 ON.
Filter envelope: Attack 30 ms, Decay 700 ms, Sustain 60%.
Loudness Contour: Attack 5 ms, Decay 1 s, Sustain 90%; Decay switch ON (400 ms release).
LFO and modulation: Extended LFO sine 5.5 Hz → Osc 1-2-3 pitch in the matrix, amount controlled by the ModWheel.
Voice and glide: monophonic, Play mode Last; Glide 90 ms with Legato ON; pitch bend Range 2 semitones.
Effects: dotted 1/8 stereo Delay (Dry/Wet 20%); Chorus OFF.

Clean sub bass

Sub bass · Trap, modern hip hop

Deep, stable sub for trap, hip hop, pop and house: a single triangle and an almost fixed filter.

Oscillators: Osc 1 Range 16', triangle; Osc 2 and Osc 3 disabled.
Mixer: Osc 1 at 10, the others OFF; Noise 0; Soft Clipping OFF (light ON only if you need presence on small speakers).
Filter: 24 dB/oct ladder, Cutoff 30%, Emphasis 0, Amount of Contour 1/10, Keyboard Control OFF.
Filter envelope: Attack 0 ms, Decay 200 ms, Sustain 100%.
Loudness Contour: Attack 2 ms, Decay at maximum, Sustain 100%; Decay switch ON with the Loudness Decay acting as the tail (150 ms).
LFO and modulation: none.
Voice and glide: monophonic, Play mode Last; Glide 40 ms with Legato ON for slides.
Effects: none.

Octave sequenced bass

Bass / Sequence · Electronic disco, italo disco

Bass of repeated octaves in sixteenth notes, the engine of electronic disco and italo disco.

Oscillators: Osc 1 Range 16', saw; Osc 2 Range 8', saw (one octave up), Frequency +3 cents; Osc 3 disabled.
Mixer: Osc 1 at 10, Osc 2 at 7; Noise 0.
Filter: 24 dB/oct ladder, Cutoff 30%, Emphasis 4/10, Amount of Contour 5/10, Keyboard Control 1 ON.
Filter envelope: Attack 0 ms, Decay 150 ms, Sustain 10%.
Loudness Contour: Attack 0 ms, Decay 200 ms, Sustain 40%; Decay switch OFF.
LFO and modulation: none; Extended Arpeggiator ON, Midi Sync, Speed 1/16, Mode Up, Octave 2, Hold.
Voice and glide: monophonic, Glide OFF.
Effects: stereo Delay 1/16 (feedback 20%, Dry/Wet 15%).

G-funk — high lead with portamento

Lead · Snoop Doggy Dogg — Gin and Juice (1994); Dr. Dre — The Chronic (1992)

The high, whistling lead with portamento typical of G-funk. Dr. Dre uses the Minimoog Model D for deep basses and whining leads, as in Snoop Doggy Dogg's Gin and Juice, and on The Chronic he adds to many tracks a high Moog synth line modeled on the Funky Worm solo by the Ohio Players (which on the original is an ARP Pro Soloist). Here with the Mini V.

Oscillators: Osc 1 Range 4', triangle (whistle) or saw (more aggressive whine); Osc 2 Range 4', same wave, Frequency +4 cents; Osc 3 Range Lo, triangle, Osc 3 Control OFF (acts as LFO).
Mixer: Osc 1 at 8, Osc 2 at 4, Osc 3 OFF in the mixer; Noise 0.
Filter: 24 dB/oct ladder, Cutoff 70%, Emphasis 1/10, Amount of Contour 1/10, Keyboard Control 1 and 2 ON.
Filter envelope: Attack 2 s, Decay 1 s, Sustain 100% (very slow, almost imperceptible opening).
Loudness Contour: Attack 0 ms, Decay at maximum, Sustain 100%; Decay switch ON with 40 ms release.
LFO and modulation: Osc 3 at about 5 Hz, Modulation Mix fully Osc 3, Oscillator Modulation ON: vibrato comes in with the mod wheel.
Voice and glide: monophonic, Play mode Last; Glide 120 ms with Legato ON; pitch bend Range 2 semitones; play legato in the C5–C6 register.
Effects: light Chorus type 1 (Dry/Wet 15%) → Delay 1/8 (Dry/Wet 12%); short plate on a send.

G-funk — round Moog bass

Bass · Snoop Doggy Dogg — Gin and Juice (1994)

The round, deep synth bass of G-funk, played by hand with legato and slides. Dr. Dre uses the Minimoog Model D for these basses; here with the Mini V, over slow grooves between 90 and 100 BPM.

Oscillators: Osc 1 Range 16', triangle; Osc 2 Range 32', square; Osc 3 Range 16', saw, Osc 3 Control ON.
Mixer: Osc 1 at 10, Osc 2 at 6, Osc 3 at 3; Noise 0.
Filter: 24 dB/oct ladder, Cutoff 25% (about 250 Hz), Emphasis 1/10, Amount of Contour 3/10, Keyboard Control OFF.
Filter envelope: Attack 0 ms, Decay 500 ms, Sustain 60%.
Loudness Contour: Attack 0 ms, Decay at maximum, Sustain 100%; Decay switch ON with 60 ms release.
LFO and modulation: none.
Voice and glide: monophonic, Play mode Last; Glide 40 ms with Legato ON for octave slides.
Effects: no internal effects; light tape saturation and little compression outside the synth.

Fat monophonic brass

Brass · Progressive rock, synthpop

Warm solo brass from progressive rock: three detuned saws and a slow filter attack.

Oscillators: Osc 1, 2 and 3 Range 8', saw; Osc 2 Frequency +6 cents, Osc 3 Frequency -6 cents.
Mixer: all three at 7–8; Noise 0; Soft Clipping ON.
Filter: 24 dB/oct ladder, Cutoff 25%, Emphasis 2/10, Amount of Contour 6/10, Keyboard Control 1 ON.
Filter envelope: Attack 120 ms, Decay 600 ms, Sustain 50%.
Loudness Contour: Attack 20 ms, Decay 600 ms, Sustain 90%; Decay switch ON (300 ms release).
LFO and modulation: Extended LFO sine 5 Hz → pitch via ModWheel.
Voice and glide: monophonic, Glide 30 ms.
Effects: Chorus type 2 (Dry/Wet 25%) → Delay 1/4 (Dry/Wet 10%).

Autobahn — bass with echo

Bass · Kraftwerk — Autobahn (1974)

The soft bass and the octave riff with echo of Autobahn. On the original, Kraftwerk play the bass and an octave riff on a Minimoog, with an analog echo; the ARP Odyssey handles lead, effects and sweeps. Here with the Mini V.

Oscillators: Osc 1 Range 16', triangle (saw for more presence); Osc 2 Range 16', saw, Frequency +3 cents; Osc 3 disabled.
Mixer: Osc 1 at 10, Osc 2 at 3; Noise 0.
Filter: 24 dB/oct ladder, Cutoff 30%, Emphasis 2/10, Amount of Contour 4/10, Keyboard Control 1 ON.
Filter envelope: Attack 0 ms, Decay 400 ms, Sustain 30%.
Loudness Contour: Attack 0 ms, Decay 600 ms, Sustain 60%; Decay switch ON (100 ms release).
LFO and modulation: none; during the track open the Cutoff by hand (or record the gesture in the Motion Recorder).
Voice and glide: monophonic, Glide OFF.
Effects: stereo Delay 1/8 (feedback 35%, Dry/Wet 30%) for the echo; no chorus. The Odyssey lead goes on the ARP 2600 V.

Billie Jean — synth bass

Bass · Michael Jackson — Billie Jean (1982)

The synth bass that comes in with the chord sequence of Billie Jean and doubles Louis Johnson's electric bass line. On the original it is a Minimoog; here with the Mini V.

Oscillators: Osc 1 Range 16', saw; Osc 2 Range 16', square, Frequency +4 cents; Osc 3 disabled.
Mixer: Osc 1 at 9, Osc 2 at 6; Noise 0; Soft Clipping ON with high volumes for slight distortion.
Filter: 24 dB/oct ladder, Cutoff 22%, Emphasis 2/10, Amount of Contour 4/10, Keyboard Control 1 ON.
Filter envelope: Attack 0 ms, Decay 180 ms, Sustain 25%.
Loudness Contour: Attack 0 ms, Decay 250 ms, Sustain 50%; Decay switch OFF for short notes.
LFO and modulation: none.
Voice and glide: monophonic, Glide OFF; staccato eighth notes on the same line as the electric bass.
Effects: no internal effects; in the mix, under the electric bass, with a high-pass at 40 Hz.

Saturated 808 with glide

Bass · Trap, rage, drill

A heavy, saturated synthetic 808 with slides between notes, to be synthesized from scratch instead of using a sample.

Oscillators: Osc 1 Range 32', triangle; Osc 2 Range 16', triangle (one octave up); Osc 3 disabled.
Mixer: Osc 1 at 10, Osc 2 at 2 (audible even on small speakers); Noise 0; Soft Clipping ON.
Filter: 24 dB/oct ladder, Cutoff at maximum, Emphasis 0, Amount of Contour 0, Keyboard Control OFF.
Filter envelope: not used.
Loudness Contour: Attack 0 ms, Decay 1.8 s, Sustain 0% (tail that fades out) or 100% for held 808s; Decay switch ON.
LFO and modulation: matrix EG VCF → pitch of Osc 1 and 2 with an amount of +12 semitones and filter Decay at 30 ms for the attack hit.
Voice and glide: monophonic, Play mode Last; Glide 90 ms with Legato ON.
Effects: heavy distortion and clipper outside the synth; EQ with a boost at 55 Hz, high-pass at 25 Hz, mono below 120 Hz.

In genres and records

Funk, P-funk, soul, R&B: the Minimoog enters Black music mainly with Stevie Wonder; Bernie Worrell builds the bass of Parliament's Flash Light with three or four Minimoogs wired together, and on Michael Jackson's Billie Jean a Minimoog doubles the electric bass. Fat basses and leads.
Jazz and jazz-fusion: Sun Ra recorded it as early as 1970 on My Brother the Wind; Herbie Hancock, Chick Corea, Dick Hyman, Jan Hammer, George Duke and Joe Zawinul are among the users. Solos with glide and pitch bend.
Progressive rock: Keith Emerson pairs it with his modular Moog, Rick Wakeman uses five on stage; users include Yes, Rush, Toto and Pink Floyd (Richard Wright plays it on Welcome to the Machine). Solo leads and basses.
German electronic music and kosmische: Kraftwerk use it on Autobahn (bass and octave riff) and The Man-Machine; Tangerine Dream and Klaus Schulze. Basses and sequences.
Disco: ABBA and Giorgio Moroder among the users of the late 1970s. Basses and arpeggios.
Synthpop and new wave: Gary Numan, Ultravox, Vince Clarke, Depeche Mode (on the bass of Enjoy the Silence), Blondie.
Hip hop and G-funk: Dr. Dre uses the Minimoog Model D for deep basses and high, whining leads, for example in Snoop Doggy Dogg's Gin and Juice.
1990s electronic music: The Chemical Brothers, The Orb, 808 State, Air, Nine Inch Nails, Jean-Michel Jarre, Vangelis.
House, techno, electro, synthwave: sequenced basses and leads.
Pop, film and modern trap: sub basses and soft basses.