Dubstepforum.com

just use sine waves and add camel phat to boost it and cut the frequencies above 100hz and set it to mono

Dahneboy wrote:just use sine waves and add camel phat to boost it and cut the frequencies above 100hz and set it to mono

I like this theory I never thought of throwing camel phat on my sub I usually just saturate it with Abletons tools.

How high up do you want the harmonics to go frequency wise? and how loud in relation to the fundamental do you want them?

I tend to favor around 40hz on my subs. No EQ, No FX - using 1 oscillator for the sine wave.

See my sig for an example.

Sub tip:

Seen as a lot of music gets played on cheap earbuds where the sub is lost, sometime layer your clean sine with a square wave with low amplitude. Often adding a big amount of drive on a distortion unit, but only allowing a touch of dry/wet through gives your sub much more bite on weak systems / earbuds / laptops.

It does loose a little power on big rigs that can handle the sub properly, but it's not something most people will really notice.

peace

I know i shouldnt be worrying about it as much but im very curious on how to get the sub bass you can hear and feel in a way it doesnt interfere with the synth ontop like the video below. im reffering how to do it in fl studio and massive but any tips would help i would appreciate

Often it's as simple as using a HPF on the upper bass instrument and layering a sine or square wave underneath so that the sub is clear to come through, big and bold.

Simple!

There's another sub bass thread on the 1st page which is 13 pages long so have a good read!

Thanks man! & and will check it out

It also has a lot to do with the notes used as some notes will either be too high to not interfere with your kick / main bass and some notes will lose all their power when they go too low.

Dahneboy wrote:I know i shouldnt be worrying about it as much

Ya why would anybody really care about a sub bass

I guess you would want a sine wave witha a little bit of square or triangle in it. in the 0-1 scale... F to A (plz correct me if I'm wrong) and add some distortion to it, so it comes 'louder' in the mix. And thenuse filter cutoffs for whichever frequencies you need to cut depending on your other synths

joegrizzly wrote:

Dahneboy wrote:I know i shouldnt be worrying about it as much

Ya why would anybody really care about a sub bass

I guess you would want a sine wave witha a little bit of square or triangle in it. in the 0-1 scale... F to A (plz correct me if I'm wrong) and add some distortion to it, so it comes 'louder' in the mix. And thenuse filter cutoffs for whichever frequencies you need to cut depending on your other synths

ok man and I dont think distortion is a good idea xD

I got it down, but thanks anyways

Try adding a saturator like Sausage fattner or a freeware one like Ferric to spice your sub a bit.

rockonin wrote:Try adding a saturator like Sausage fattner or a freeware one like Ferric to spice your sub a bit.

camel phat works too

Dahneboy wrote:

joegrizzly wrote:

Dahneboy wrote:I know i shouldnt be worrying about it as much

Ya why would anybody really care about a sub bass

I guess you would want a sine wave witha a little bit of square or triangle in it. in the 0-1 scale... F to A (plz correct me if I'm wrong) and add some distortion to it, so it comes 'louder' in the mix. And thenuse filter cutoffs for whichever frequencies you need to cut depending on your other synths

ok man and I dont think distortion is a good idea xD

Just a subtle amount of distortion leave the real distortion for your mids

joegrizzly wrote:

Dahneboy wrote:

joegrizzly wrote:

Dahneboy wrote:I know i shouldnt be worrying about it as much

Ya why would anybody really care about a sub bass

I guess you would want a sine wave witha a little bit of square or triangle in it. in the 0-1 scale... F to A (plz correct me if I'm wrong) and add some distortion to it, so it comes 'louder' in the mix. And thenuse filter cutoffs for whichever frequencies you need to cut depending on your other synths

ok man and I dont think distortion is a good idea xD

Just a subtle amount of distortion leave the real distortion for your mids

Ahhhhh yes its all about sexy Ni Massive

Burgeamon wrote:It also has a lot to do with the notes used as some notes will either be too high to not interfere with your kick / main bass and some notes will lose all their power when they go too low.

Notes loosing power is largely to do with room acoustics and speaker driver capabilities. The information is still 'there' theoretically it just gets lost/translated too much before it reaches your ears.

Also, technically a Sub should never be high enough to interfere with a kick, if it is it isn't a sub, it's just Bass. I.E. an instrument with it's pitch register in the Bass Region. Sub Bass is just that, Below the Bass register, Sub-sonic, it should be felt more than heard, anything as high as 80-100Hz isn't sub really.

sorry to be a tnuc

Tip: Sample a cycle or two from the decay phase of an acoustic Bass -> Lush Tones a-qwan

hey man, since your on fl try out 3xosc for a sub. sine wav, course pitch all the way down and hit an E3. this sub will hit right around 42 hz or so and sit nicely under your kick and well below your midrange. you can use notes up to around c4 without it interfering with anything. make sure to shape your volume envelope with a bit of attack and release to avoid an popping. also, to get a warm, thick sounding sub run it through a saturator (send most of mine through tessla) to get a large sound without taking away from the power

subtractive eq'in on the midrange/hipitch bassline(s) where the sub is prominent. also subtle distortion or saturation on the sub is works well.