How to Create LFO Wobble Bass and Sub in Ableton Analog

Sub bass seems typically exist at the sub frequency band that spans from approximately 60Hz down to 20Hz.

More frequently, sub bass will occupy your mix from the 40Hz to 60Hz variety. You can attempt to go lower than 40Hz, but most speakers will not be able to correctly articulate frequencies that low.
Additionally, human hearing isn't too sensitive to frequencies under 20Hz, so sounds within this range are generally felt more than heard which offers a feeling of power. Sub seems that extend below 20Hz are known as infrasound.

The most frequent approach to creating sub bass is using a simple sine wave an octave or two under your basic bass notes. A sine wave will provide you a pure tone with the harsh high harmonics that saw or square waves create. You can also layer waveforms to make a thicker and stronger sound. Sine wave subs are only harmonics which are extremely clean-sounding, but do not necessarily push the low-end to its whole potential. You can achieve more weighty sub frequencies by subtly blending in a square wave with a sine wave to make a more heavy noise for example. Additionally, if you're using an FM synthesizer, you may add another sine wave to regulate the initial oscillator to make a little additional punch.

Fixing your sub bass sounds is also vital to achieving a strong low end. You can get more from your sub bass with a few easy mixing strategies which will help control and improve your sub frequencies. First, it's crucial that you're using decent speakers or headphones to listen to your sub bass satisfactorily.

Sub bass can be overpowering and can quickly use up a great deal of headroom which makes it hard for different sounds to cut through the mix. Below are some normal sub bass treatment moves which will help shape your speaker rumblers.

EQing is a vital step in shaping your sub bass. It's highly advisable to cut higher frequencies above 100Hz to 200Hz to make space for different sounds in your mix. The objective is to focus on low frequencies and eliminate any high frequencies which may clutter the mixture. Furthermore, you might want to eliminate any infrasound frequencies the human ear cannot hear that uses an unnecessary quantity of headroom also. An EQ roll off below 40Hz can help attain clarity and punch. Typically, eliminating ultra low frequencies will really make you sub bass sound louder. Additionally, it's essential to know about any extra EQ moves. Boosting the sub bass array can make the sound too effective and quickly consume your available headroom, whereas cutting a lot of the sub bass range will weaken and thin out the noise. It also imperative that you eliminate any low frequencies on all your other noises in the mix to make space for your sub bass.

Applying saturation is another frequent treatment that could beef up your low end by introducing extra harmonics. It is often suggested to apply saturation before you cut frequencies with the EQ to be sure you eliminate any unnecessary high frequencies your saturation/distortion plugin generates.

Compression is another move that's vital for controlling your sub bass and giving your audio some extra punch. Medium-fast attack times and medium-fast release times will guarantee your sub bass is smooth and constant when controlling any spikes that can result in clipping. There are no magic preferences, so it is vital that you use your ears and decision to dial in the perfect amount of compression that is appropriate for your requirements. Additionally, another compressor set up to sidechain out of your kick or a different sidechain source is also highly suggested to rapidly attenuate the volume so that your kick can cut through the mix.

Lastly, it's very important to make sure your sub bass is mono for a number of reasons. A mono signal will have more punch and presence in relation to a sign that's spread across the stereo field. Additionally, most club speakers are mono, so you will eliminate a whole lot of your low-end power making your path seem weak when played alongside commercial masters. It's also sensible to check your mixture with a frequency analyzer and a stereo analyzer to visually inspect your sub bass.

Sub Bass Layering

Maintaining the sub bass different from the other bass components is a frequent technique used to attaining a strong and clean low end. Simply, copy the MIDI notes or record the very same notes from the other bass components to create another sub bass track. However, it's essential to know about the envelope settings in your sub bass track. If the envelopes do not closely match another bass parts, you might notice that two sounds are away and that they seem awkward. You can also hear unwanted pops or clicks. 1 approach to make sure your envelopes match would be to replicate your bass part to make another instance of the exact same bass sound on a new channel with the identical patch settings, then alter the oscillators to a simple sine wave. This way you'll have a clean sub bass using the very same envelopes and dynamic characteristics that layers effortlessly. Finally, ensure that you eliminate any low frequencies from the major bass part which overlap the bass to guarantee clarity and presence.