I have a folder of over 10,000 Massive presets. Many great sub bass ones in there. Also, if you put a heavy low pass on a lot of regular Massive basses, you can get this sound. Email me at alfieproducer@gmail.com if you want me to send you some!
I have a folder of over 10,000 Massive presets. Many great sub bass ones in there. Also, if you put a heavy low pass on a lot of regular Massive basses, you can get this sound. Email me at alfieproducer@gmail.com if you want me to send you some!
Any sine pitched at the bottom fundemental of your track will suffice.that's really all there is to a sub
Doing fancy shit like adding more harmonics via saturation or distortion or compressing them basically just steals focus away from the fundemental sub frequency
you want more harmonics like 3rds which help pull the perception of bass through on small speakers?have other sounds or a sound fill out that roll,don't have the sine do it
Any sine pitched at the bottom fundemental of your track will suffice.that's really all there is to a sub
Doing fancy shit like adding more harmonics via saturation or distortion or compressing them basically just steals focus away from the fundemental sub frequency
you want more harmonics like 3rds which help pull the perception of bass through on small speakers?have other sounds or a sound fill out that roll,don't have the sine do it
Johnynotknow
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Square/Sine/Triangle waveform..Low pass prefer 24db - Cut off closed - no resonance..no modulation. Level done.
steer clear of detuned multi-oscillator patches, because the ‘beating’ between the two detuned layers may cause the sub-synth’s fundamental frequency to fluctuate unacceptably in level.
Stick with mono patches too, because low-end stereo width can reduce the power and consistency of the bass sound in mono, and will also interfere with vinyl pressing if you’re planning to take that route.
The decision as to whether to filter the sub-synth is purely a question of what kind of low-end tonal enhancement you’re looking for. With a triangle wave, in particular, you might not feel any need to filter it at all, although I do personally find myself employing some kind of low-pass filter to restrict its input to the lower octaves in most cases. The slope of the filter is typically quite critical, though, so if you can find yourself something with a variable roll-off slope, that does give you a useful amount of extra control. However, I wouldn’t use a resonant filter in this kind of application unless that filter is set to track the synth oscillator’s pitch, otherwise the filter’s resonant peak ends up boosting different harmonics as the note pitches change, and this makes the sub-bass synth less likely to blend consistently with the main bass part.
One final point to make is that sub-bass synth parts usually need to be controlled quite tightly in terms of dynamic range, or else they can really eat into your track’s overall headroom. (SO COMPRESSION IS GOOD in this case (Not taking anything away from fundamental if the tone has minimal saturation)
It’s also usually sensible to avoid having a sub-heavy kick sound when there’s a prominent sub-bass synth underpinning the bass line, for similar reasons. There’s only so much space down there, so if you want massive, subby bass, you either have to sacrifice some of the kick’s weight or turn down the overall level of your track to accommodate the low-frequency build-up.
Square/Sine/Triangle waveform..Low pass prefer 24db - Cut off closed - no resonance..no modulation. Level done.
steer clear of detuned multi-oscillator patches, because the ‘beating’ between the two detuned layers may cause the sub-synth’s fundamental frequency to fluctuate unacceptably in level.
Stick with mono patches too, because low-end stereo width can reduce the power and consistency of the bass sound in mono, and will also interfere with vinyl pressing if you’re planning to take that route.
The decision as to whether to filter the sub-synth is purely a question of what kind of low-end tonal enhancement you’re looking for. With a triangle wave, in particular, you might not feel any need to filter it at all, although I do personally find myself employing some kind of low-pass filter to restrict its input to the lower octaves in most cases. The slope of the filter is typically quite critical, though, so if you can find yourself something with a variable roll-off slope, that does give you a useful amount of extra control. However, I wouldn’t use a resonant filter in this kind of application unless that filter is set to track the synth oscillator’s pitch, otherwise the filter’s resonant peak ends up boosting different harmonics as the note pitches change, and this makes the sub-bass synth less likely to blend consistently with the main bass part.
One final point to make is that sub-bass synth parts usually need to be controlled quite tightly in terms of dynamic range, or else they can really eat into your track’s overall headroom. (SO COMPRESSION IS GOOD in this case (Not taking anything away from fundamental if the tone has minimal saturation)
It’s also usually sensible to avoid having a sub-heavy kick sound when there’s a prominent sub-bass synth underpinning the bass line, for similar reasons. There’s only so much space down there, so if you want massive, subby bass, you either have to sacrifice some of the kick’s weight or turn down the overall level of your track to accommodate the low-frequency build-up.
If I'm not mistaken you posted this in one of my threads before...It's great advice. I got better results by generating a sine/square wave in MASSIVE than anything else before.
One thing I still wonder...What's the best way to control the perceived sound of my sub? When I play higher notes, the sound is louder. I tried compressing it but it doesn't really help. Multi band compressor? Any advice?
If I'm not mistaken you posted this in one of my threads before...It's great advice. I got better results by generating a sine/square wave in MASSIVE than anything else before.
One thing I still wonder...What's the best way to control the perceived sound of my sub? When I play higher notes, the sound is louder. I tried compressing it but it doesn't really help. Multi band compressor? Any advice?
Yes its a copy paste fro another thread with exactly the same question! If the OP had used search and typed SUB BASS it would have been one of the first 5 threads.
- In response to your question First confirm it isnt your room. Take a spectrum analyser and simply look at the DB of fundamental peak is it the same or close to on all of your notes? If no then you have an envelope. Yes compression could defo help in this respect. The real question is how high?
If I'm not mistaken you posted this in one of my threads before...It's great advice. I got better results by generating a sine/square wave in MASSIVE than anything else before.
One thing I still wonder...What's the best way to control the perceived sound of my sub? When I play higher notes, the sound is louder. I tried compressing it but it doesn't really help. Multi band compressor? Any advice?
I use the Sonnox Supressor for this. You can isolate a frequency range that you want it to compress, so you don't squash the whole signal. Incredibly effective for this!
One final point to make is that sub-bass synth parts usually need to be controlled quite tightly in terms of dynamic range, or else they can really eat into your track’s overall headroom. (SO COMPRESSION IS GOOD in this case (Not taking anything away from fundamental if the tone has minimal saturation
Hmmmmm,well.synths have no dynamics unless you make them.if you have the synths adsr sustain all the way up it's not going to alter in volume apart from anything you perceive as louder due to octaves overlapping (which is an arrangement issue) and or your room.
Unless the synth has non-linearities (which still you could just record a few bars of the pattern and comp together the best takes that tie in well together) which would cause the volume and timbre to change overtime (dynamics) i don't see how compression would be benefical,at all if we are talking about vst's,VA's,most modern synths with ADSR's or controlled with midi and retriggerable oscillators
Furthermore i will add that compression may have been a necessity if you could incorporate a sidechain eq,but considering it is only really the FUNDEMENTAL in a sub that would be rather daft.so,that leaves velocity (or volume automation as the nature of an envelope to control one fundemental of a sub is not likely to be very complex due to the rather undetailed information in the spectrum of a sub.the fundemental of whatever key your track is in) to control any (however unlikely) discrepancies in the dynamics of the sub.
When I arrange sub bass synth parts, which is usually with midi for me, I always lower the velocity on the lower notes a little more than the higher notes.
Since lower notes usually eat up more headroom than the higher notes, I do what I do in editing the velocity of the midi notes. When I bounce to audio.. the sub bass wav is usually pretty equal in size from note to note.
Hmmmmm,well.synths have no dynamics unless you make them.if you have the synths adsr sustain all the way up it's not going to alter in volume apart from anything you perceive as louder due to octaves overlapping (which is an arrangement issue) and or your room.
Unless the synth has non-linearities (which still you could just record a few bars of the pattern and comp together the best takes that tie in well together) which would cause the volume and timbre to change overtime (dynamics) i don't see how compression would be benefical,at all if we are talking about vst's,VA's,most modern synths with ADSR's or controlled with midi
Furthermore i will add that compression may have been a necessity if you could incorporate a sidechain eq,but considering it is only really the FUNDEMENTAL in a sub that would be rather daft.so,that leaves velocity to control any (however unlikely) discrepancies in the dynamics of the sub
Johnynotknow
You're spot on. Generally a lot of people don't create true sub patches instead they add a sub osc or simply filter a richer wave form without taken away enough top end with the low pass. Often they will also have some envelope not only on.the filter but on the vca. These are the dynamics I'm referring to. I can't fault your response though. Welcome.
You're spot on. Generally a lot of people don't create true sub patches instead they add a sub osc or simply filter a richer wave form without taken away enough top end with the low pass. Often they will also have some envelope not only on.the filter but on the vca. These are the dynamics I'm referring to. I can't fault your response though. Welcome.
My power has been out since Monday due to Hurricane Sandy. My only internet is through my iPhone. I will send the patches to everyone who emailed me as soon as I'm up and running again. Sorry!
Capitalizing on UVI/MachFive's built in wavetable and analog synthesis, Pure Sine focuses on bringing pure sines, pulses, saws, square, and triangle waves used in today's modern hip-hop, R&B, trance, dub-step, and urban genres. Pure Sine's interface focuses on the most important synthesis controls in order to quickly program leads, basses, kicks, 808s, pads, effects, blips and a new urban stacked sine pad used in live gigs and on many pop albums. The only samples used for the sound creation are the EP's and strings to produce the sine pad, but the rest of the waveforms are produced using MachFive's extensive wavetable and analog synthesis algorithms.
Pure Sine takes advantage of UVI's advanced scripting engine to provide an extensive GUI and built-in scripts to take advantage of the classic analog sounding legato, portamento, and glide functions needed to produce the classic slide/glide sound for synth basses and leads that do not re-trigger if played in a legato fashion.
Main Features:
• ASDR Envelope.
• Mono/Poly Mode.
• Legato Mode.
• Glide Time slider.
• Sub Oscillator switch and level.
• Able to adjust the pitch bend up/down amount.
• Mod Wheel LFO for classic "Wobble" bass sound.
• LFO able to sync to host DAW.
• MIDI Learn function for all controls.
• Octo switch for instant octave bass and lead sounds.
• New Advanced portamento functions for continuous glide
• 4-Band EQ.
• Tape Delay effect.
• Dedicated Octave Buttons for high leads and low basses.
• Works with UVI Free Player.
Video Demo:
Audio Demos:
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