The above settings are just a suggestion and great starting point. This is completely up to personal taste and desired results. ![]() Once you have the correct filter routing system setup you can then use the cutoff point of each filter to determine exactly how much of the higher frequency content you would like to allow for the sine through filter 1 and the smooth square through filter 2 respectively. The total filter section mix fader is in the middle position between both mix 1 and mix 2. Filter 2's output fader must be brought up so that the filter can be heard. The input fader for the filter buss routing is in the bottom position indicating that it is operating in parallel routing mode. Our routing faders for Osc 1 and Osc 2 are routed to filter 1 and filter 2 respectively. In order for this sort of true parallel filter routing to work we must first make sure that: The first filter controls exactly how much of the pure sine that we want to allow to come through while the second filter controls how much of the high end of the smooth square that we allow to pass through. Go ahead and select lowpass4 filters for both filter 1 and 2. This is the most important part of this sound as it determines how you control these raw harmonics. Now it's time to sculpt it into our desired outcome. That's it for the tone generation part of the sound. We are personally using this as our choice to add in subtle harmonics as I find it provides just the right amount of subtle smoothness that I enjoy in a sub bass. You can see it has the characteristics of a. They didn't call it smooth square without a good reason. Here is what a smooth square from Massive looks like in spectrum view played at C1 by itself.Īnd the same smooth square in a freeze frame of an oscilloscope. Last but not least we have routed our smooth square to filter 2 which we will cover in more detail in the filter section as well as cover the macro in the macro section. This is something you can adjust to your own personal taste. Turning the amplitude down while listening you can hear the smooth square starts to play a lot nicer with the sine. ![]() If you play the current sound you may notice that the smooth square doesn't sound so in place right? That's where we use more of our blending and mixing skills to get it 'inside' the sine. This is something that I will often do in order to reach those upper harmonics easier. We have left the pitch at a neutral 0 which makes it an octave above the sine wave we have already included in our patch. This isn't always the case with wavetables in Massive but is more specific to the smooth square wavetable. Here is what a sine from Massive looks like in spectrum view played at C1 by itself.Īdding subtle upper harmonics with the smooth square waveformįor our 2nd oscillator the smooth square wave is selected with the Wt-position turned all the way to the left to reduce the amount of harmonics from the wavetable. We have our sine routed to filter 1 which we will cover in more detail inside the filter section as well as cover the macro in the macro section. Here we start off with a sine down one octave (this patch is meant to be played from C1 and above for best results). While the sine is basic don't let that fool you, a pure sine can pack a lot of low-end beef by itself that will knock your socks off. Now I say 'right' amount of harmonics because there is no right or wrong in music of course but after studying and analyzing other sub basses I've found that you don't want to go crazy on harmonics as it will take away a lot of the perceived bass and power of the fundamental sine wave (unless you are going for that kind of sound). It's the extra higher frequency harmonics that allow for the sub to cut through the mix and be heard better on monitoring systems that aren't able to output frequencies that low such as phone or laptop speakers. The fundamental frequency is the base foundation note that represents the pitch that is played and the harmonics are the following frequencies that support the fundamental. ![]() This blog post is inspired by the sub bass questions within our facebook group community Knowledgeable Producers Q&A.Ī key to having a great audible sub bass is to make sure that it has a nice solid and clean fundamental as well as the 'right' amount of harmonic content. One of the best ways to start working on this is by making sure that your sub bass is up to standards. ![]() Has anyone ever told you that your track lacks weight or isn't 'heavy' enough? These are classic problems that go hand and hand with the low-end and its theory. The last NI Massive sub bass patch you will ever need.
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