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chicago 4×4 909 floor under a moog acid-bass riff in A minor. tape on for warmth, delay off — keep the 303 dry like the original.

moog-only bass pattern walking root-5-b7-root in Bb minor — bernie worrell's expressive monosynth phrasing. add drive to taste.

909 4×4 at 130 with a moog string-stab figure walking i-VI-III-VII in C minor. juan atkins / model 500 / underground resistance dna. plate on for the warehouse.

76bpm. sparse 909 (kick 1, snare 3) + sustained moog sub on 1 of each bar. delay carries the song — that's the whole lesson. delay + plate on by default. drive optional for that ratty bbd character.

half-time pocket at 140 (feels like 70). kick on 1+3, snare on 3 only, hi-hat 16ths with a triplet roll. moog 808-sub slides root → 5. tape on for cohesion. this is the atlanta template.

Prince 1984 template — Linn LM-1 drums alone at 109bpm. Kick on 1 and 3, snare on 2 and 4, single hi-hat on every 8th, NOTHING ELSE. The original record famously had NO BASS — just drums + synth. The lesson is what you leave OUT. Plate on for the warehouse room sound; never delay (Prince records were dry, not dub).

A Guy Called Gerald 1988 UK acid house template — TR-707 4-on-the-floor at 122bpm + Moog acid bass in A minor. Brighter pop-machine kick + cowbell ping on every offbeat + claps on 2/4. Tape on for warmth, plate on for the rave room.

78bpm dub pocket with the moog grandmother on sub-bass duty. 909 kick on 1 + snare on 3, hat lift on the and-of-4. delay + plate on so the snare blooms into the next bar. swap moog→hookesub via the override panel to hear nick's actual analog grandmother on the bass.

112bpm 16th-note arpeggio in A minor over a 909 four-on-the-floor. The arp walks A → C → E → G → A → E → G → C across the bar. tape on for cohesion. swap moog→hookeclav or hookelead via the override panel to hear the actual grandmother play it.