MODO BASS Tutorial: IK Multimedia’s Physically Modeled Bass

A Physically Modeled Bass Instrument

IK Multimedia’s MODO BASS is a bass instrument that uses physical modeling.
Unlike a sample-based instrument, it simulates playing nuances and changes in sound in real time, offering natural, flexible expression.
In this article, we explain its features and how to use them.

MODO BASS Video: Overview

Questions and Answers from YouTube

Which bass instrument would you recommend for slap, hammer-ons, pull-offs, finger playing and picking? Is there one that covers everything?

MODO BASS is certainly a good option. If you want an alternative, how about Trilian?https://www.youtube.com/watch?v=HIaO29CSUf8

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How does it compare with Trilian?

In my personal view, it feels like a combination of Trilian’s sound quality and the flexibility of Scarbee’s Bass series. Its sound is not overly flashy and sits easily in a track.

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Main Features of MODO BASS

• An early physically modeled bass instrument
• Realistic, usable sound
• A wide range of expressions via keyswitches
• Very flexible sound design
• Low disk and memory use and fast loading

Bass Models and Presets

First and foremost, there is a generous selection of bass models.
This is one area where the advantages of physical modeling are fully exploited.

The instrument opens on the Model tab.
Choose from the bass models lined up across the top of the screen.

Presets are available for each model and for different playing styles.

Basic Techniques in PLAY STYLE

The PLAY STYLE tab lets you fine-tune many aspects of the playing style.
All of these parameters can also be changed during a song using keyswitches or MIDI CC.
We will explain the details below.

FINGER / PICK / SLAP

As their names suggest, these select fingerstyle, pick playing or slap.
The options in the following sections change slightly depending on this selection.

MUTING / STROKE / TOUCH (SCRATCH)

The MUTING knob lets you adjust the amount of muting as a percentage.
This is another benefit of physical modeling.

STROKE and TOUCH (SCRATCH) change according to the selected playing style.

FINGER – STROKE

• Alternate: Play alternately with the index and middle fingers.
• Middle: Play only with the middle finger.
• Index: Play only with the index finger.

FINGER – TOUCH

• Normal: Play with normal force.
• Hard: Play firmly to make the strings vibrate strongly.
• Soft: Play gently for a softer sound.

PICK – STROKE

• Alternate: Alternate downstrokes and upstrokes.
• Down: Use downstrokes only.
• Up: Use for passages where you specifically want upstrokes.

PICK – SCRATCH

• Normal: Use a normal pick attack.
• Hard: Strike more deeply with the pick for a scraping effect.

SLAP – TOUCH

• Auto: Selects an appropriate technique based on position, string and phrase.
• Slap: Strike the string with the thumb.
• Pull: Hook and pull the string with the index finger.

LET RING / FINGERING / OPEN STRING

• LET RING: Allows the previous note to continue when another note is played on the same string.
• FINGERING: Sets the basic fingering behavior. First Position stays within five frets, Easy approximates a bassist’s typical movement, and Nearest moves to the closest fret or string.
• OPEN STRING: When off, open strings are avoided within phrases for smoother playing.

NOISE

• DETACH NOISE: Sets the noise level when a finger releases a string.
• SLIDE NOISE: Sets the amount of friction noise during slides.

STRING: Number and Type of Strings

The STRING tab lets you change tuning and string count instantly, as well as the type and age of the strings.

FINGERBOARD / STRINGS / DROP / ACTION

• FINGERBOARD: Choose fretted or fretless.
• STRINGS: Choose four, five or six strings.
• DROP: Turn drop-D tuning on or off.
• ACTION: Set the distance between the strings and neck. Lower action makes fret noise more likely.

TYPE / GAUGE / AGE

• TYPE: Choose roundwound or flatwound strings.
• GAUGE: Choose Heavy, Medium or Light.
• AGE: Set the age of the strings. “Broken in” means they have been played enough to settle in.

A4 REFERENCE

Set the A4 reference frequency used for tuning.
Double-click and enter a value to change it.

ELECTRONICS: Controlling the Electrical System

The ELECTRONICS tab lets you adjust pickup volume and customize the pickups and circuit.

Choosing Pickups and Adjusting Volume

Use the VOLUME knobs to balance the pickups to taste.

You can also replace each pickup with one from another bass model.

Drag a pickup on the body illustration to change its position.

PIEZO

Adjust the output level of the piezo pickup.
Piezo pickups are common on acoustic instruments and some electric basses. Raising the level adds their clear attack and acoustic character.

CIRCUIT

Choose an ACTIVE or PASSIVE circuit.

Passive provides a TONE control; Active provides EQ controls.
Each also has its own tonal character, so choose to suit the music.

Sound Design and Programming with MODO BASS

Now that we have covered the basics, let’s look at shaping the sound with amps and effects and programming a performance.

MODO BASS Video: Sound Design and Programming

Switching Between Amp and FX

The STUDIO tab shows a studio-style view with an amp and effects pedals.
Click the amp image to open its settings.

Click the pedals to open the FX settings.

Choosing and Setting Up an Amp

Let’s start with the amp.
Click below AMP MODEL to choose Tube or Solid State.

Each amp has a different settings panel.
The Tube amp has the following parameters:

①(Red) GAIN: Sets the amount of amplification and distortion.
②(Blue) BASS/MID/TREBLE: A three-band EQ for broad tonal adjustment.
③(Green) MID FREQ: Selects the frequency targeted by the MID control.
④(Purple) PUNCH: Produces a compressed effect similar to heavy compression.
⑤(White) HARM: Adds strong overdrive-like distortion for a distinctive tone.

The Solid State amp has these parameters:

①(Red) GAIN: Sets amplification and distortion.
②(Blue) BASS/MID/TREBLE: Three-band EQ for broad tonal adjustment.
③(Green) GRAPHIC EQ: Fine-tune the sound across ten bands.
④(Purple) LIMIT: A limiter that can produce a heavily compressed sound.

Both amps share the following three balance controls:

• PIEZO: Adjusts the piezo pickup output level.
• STOMP OUT: Adjusts the level sent directly to the line output without the amp.
• AMP: Adjusts the level of the amped sound.

FX Settings

Next, let’s look at effects.
As shown, four effects can be connected in a chain.

Their detailed controls appear in the settings panel.
You can also choose the effect type for each position from a list.

The settings for the effect selected in PEDAL BOARD appear on the right.

Let’s look at the compressor as an example.
It is simple, with a GAIN REDUCTION display that shows how much compression is being applied.

Click each pedal’s footswitch to turn its effect on or off.

Viewing and Setting MIDI CC and Keyswitches in the Control Tab

The Control tab displays the instrument’s main controls and lets you configure MODO BASS for a MIDI controller.
The steps are:

①(Red): Select a function, such as a playing technique or articulation.
②(Blue): Choose the control type under TYPE.
③(Green): Set its value under VALUE.
④(Purple): Choose the operating mode with LATCH.

TYPE (KS / CC / PW / AT)

TYPE selects the control type.
Available types depend on the function. The four types are:

• KS (Keyswitch): Use a MIDI note to switch a function or articulation.
• CC (Control Change): Use a MIDI controller knob or slider to adjust parameters such as volume or pan in real time.
• PW (Pitch Wheel): Change pitch smoothly.
• AT (Aftertouch): Change tone or volume using pressure after a key is pressed.

VALUE

VALUE is the setting that determines how the selected control operates; the available values depend on TYPE.

For KS, specify a MIDI note from C-2 to E7.
For example, assign A0 to SLAP and press A0 to select slap playing.
It is best to use a key outside the performance range.

For CC, specify a controller number from 0 to 119.
For example, assign MIDI CC#1 (modulation wheel) to VIBRATO to adjust vibrato depth in real time using the wheel or entered values.

LATCH

LATCH sets the control’s operating mode.
When on, each received signal toggles the function; when off, it remains active only while the signal is held.

BEND / SLIDE / SLIDE RANGE

BEND is the string-bending technique and is assigned to MIDI CC#5 by default.
With MIDI CC values, 0 corresponds to −4 semitones, 127 to +4 semitones and 64 to no bend.

SLIDE is the slide technique and is controlled by the pitch wheel by default.
SLIDE RANGE sets the slide range in semitones.

VIBRATO / VIBRATO RATE

As with many instruments, VIBRATO is assigned to CC#1 (modulation) by default.
VIBRATO RATE adjusts its speed.

Other MIDI Control Changes

①(Red) LEGATO SLIDE: Slides at a specified speed. Details follow below.
②(Blue) MUTING: Changes the strength of right-hand muting.
③(Green) LET RING: Lets notes continue to ring naturally; assigned to the sustain pedal by default.
④(Purple) LEFT HAND POS.: Changes the fretting-hand position. Keyswitches F5–E7 provide the same operation.
⑤(White) PLUCK POSITION: Changes the position where the string is plucked.
⑥(Orange) CHORD MODE: MODO BASS is normally monophonic; this temporarily enables chords.

Other Keyswitches

①(Red) PIZZICATO/FINGER, PICK and SLAP: Switch techniques. Select FINGER for electric bass and PIZZICATO for double bass.
This keyswitch uses a toggle and remains active until another technique is selected.
②(Blue) HAMMER ON / PULL OFF: Enables hammer-ons and pull-offs while held.
③(Green) GHOST MODE: Produces short, percussive notes with little sense of pitch.
④(Purple) HARMONICS: Plays harmonics, emphasizing overtones.
⑤(White) INDEX/DOWN STROKE and MIDDLE/UP STROKE: Select index or middle finger, down or up pick stroke, or slap or pull.
⑥(Yellow) FORCE C–B STRING: Select a string using the key corresponding to its open pitch.
⑦(Orange) STOP ON DETACH: Adds the hand sound of stopping the string at MIDI note-off.
⑧(Pink) DB SLAP NOISE and DB STOP STRING: Add neck-strike noise and a percussive string-stop sound in double-bass slap mode.

Programming with MIDI CC and Keyswitches

Now that we have covered the controls, let’s put them to use.
Here are examples of techniques used in the video’s sample track.

Legato Slide from a Ghost Note

Enable LEGATO SLIDE between the starting and ending notes of the slide.
The slide speed is determined by the velocity of the destination note: a higher velocity produces a faster slide.
If it does not work, try enabling LEGATO SLIDE slightly before the first note.

Slides only occur on the same string, so use a string-selection keyswitch too.
The example also selects FINGER and adds a ghost note with GHOST MODE, combining techniques to give the phrase a bouncing feel.

Hammer-Ons

For smooth-sounding fast phrases, hammer-ons and pull-offs are useful.
Enable the HAMMER ON / PULL OFF keyswitch and make sure there is no gap between the notes.
An upward movement creates a hammer-on, while a downward movement creates a pull-off.
The notes rise in the example, so a hammer-on is applied.

Slides Using Pitch Bend

A short slide at the start of a phrase can add expression.
Enter a note below the target pitch, then use Pitch Bend to bring it up to the desired pitch.
Keep in mind that the pitch change does not appear in the piano roll.

Playing Chords

When playing in the upper register, such as in a bass solo, you might use sustained chords.
The soft harmonies of the bass’s upper register can be striking.
Enable CHORD MODE to play chords.
Here, modulation is also used to add vibrato.

Features Added in MODO BASS 2

So far we have covered the basic features and operation.
Features vary between versions, but many controls are shared, so the guide can be useful whichever version you use.
Finally, let’s look at the main features added in MODO BASS 2.

MODO BASS 2 Video: New Features

Fretless Basses

The earlier version had 14 bass models; MODO BASS 2 added eight, bringing the total to 22.
Highlights include fretless and upright basses.

Fretless basses have no frets on the fingerboard, allowing flexible playing and a distinctive soft sound.
They can also be challenging to play, making them an aspirational instrument for bassists.

The Fretless Jazz model shown above is modeled on the fretless Fender Jazz Bass used by legendary bassist Jaco Pastorius, making full use of physical modeling.
Other models include a fretless Music Man-style bass.

With no frets, the slides sound exceptionally smooth.

In the MIDI, legato slide is applied continuously and overlapping notes allow fluid slides.

In the STRING tab, FINGERBOARD can switch between Fretless and Fretted, so it can be interesting to make a fretted model fretless.
This is one of the possibilities physical modeling offers.

Upright Basses

Another long-awaited addition is the upright bass.

There are two models; let’s hear each one.

These sound very well realized.
To my ears, string vibration and body resonance may be a little behind sampled instruments, but their flexibility more than makes up for it and can enable previously difficult expressions.

Using an upright bass adds a MICS settings tab.
Here you can adjust microphone type, position and distance, the piezo mix, and room microphones.

Effects and amp sounds can also be applied in the STUDIO tab.

The PLAY STYLE tab offers PIZZICATO and SLAP.
Upright slap is often used in rockabilly.
Its sound is percussive because the strings strike the fingerboard.

Choose steel or nylon strings; nylon has fewer overtones and a softer tone.

More Realistic Slap and Pick Playing

For other bass models too, the slap and pick algorithms have been enhanced to deliver a more realistic playing feel.
First, listen to the slap phrase.

This is a considerable improvement.
In my opinion, slap was a slight weakness in version 1, and version 2 addresses it well.

Next is pick playing.
With LET RING, which suits this technique, the strings seem to resonate more naturally than in version 1.

Patterns

Finally, let’s look at patterns.
MODO BASS 2 adds a PATTERNS tab, where you can search for and use a variety of performance patterns.

Filter by genre, song section, playing style, length, key and time signature.
It is useful to see the phrases visually as well.
Many phrases have the polished feel of a bassist’s performance, making them useful when bass lines are difficult to write or when exploring an unfamiliar genre.

BPM can synchronize to the DAW or be entered manually.
Double-time and half-time settings are also available.

Drag a favorite pattern onto a track as MIDI.

That concludes our overview of the MODO BASS 2 updates.
Alongside fretless and upright models and the pattern feature, the update feels like a steady refinement of version 1.
As you use it, you may notice many smaller improvements.

At the time of this review, the lineup included a full version with all bass models and a lower-priced SE edition limited to four models. Check current availability and terms.

• MODO BASS 2 (Full Version)
• MODO BASS 2 SE

* Upgrade from MODO BASS 1 or crossgrade from other IK Multimedia products here

The official site also offers a free version to download. Check current availability and terms.

If you are interested, take a look!

Frequently Asked Questions

Q1. How does MODO BASS differ from a sample-based instrument?

MODO BASS uses physical modeling to simulate performance nuances and variations in real time. Sample-based instruments play recorded sounds. The two approaches offer different strengths; modeling allows flexible control over many performance details.

Q2. What can I set in the PLAY STYLE tab?

You can choose finger, pick or slap techniques and adjust details such as muting, touch, release noise and slide noise. The article describes controlling these settings during a song with keyswitches or MIDI CC.

Q3. Can I change the number and tuning of the strings?

Yes. The STRING tab lets you choose four, five or six strings, drop-D tuning, string type, gauge and age, as well as the reference tuning frequency. Available options can vary by model and version.