True but there are 2 things that make it a little more complicated on the a4. The waveform, especially the saw gets thinner pulsewidth in the lower registers, cutting out alot of bass. The other problem is the filter decreasing the volume fast when closing.
Well, Iāve tried some of all the numerous tips you guys posted. Still havenāt found that special bass that just getās into your stomach and out of your neck. But Iāll have to give it some more time.
and yes, the mix of course, but no 
Iām actually not sure if ādeep bassā means the same thing for everyone. E.g. a friend of mine thinks the Minibrute has a really deep and good base and Iām willing to agree to a certain level, but I still think it lacks something in the bottom, itās like it is a bit hollow. Maybe the Monotribe has twisted my mind. Or maybe I should just sell all my gear, move to the countryside and become a farmer insteadā¦anyway!
Thanks for all the answers and I would love to see a vid on this SB-Six.
and yes, the mix.
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if you like the bass from your Monotribe, you can use it as a voice for the A4, sequencing it via CV and routing it back inā¦ just in case you havenāt tried this yet. Youāll need some amplification between the MT and the A4 cuz the MTās output is a bit quietā¦
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My godā¦ didnāt know that the MT actually had CV control. Then I read your post, and then I googled.
Seems like I need to get me a cable!
Thanks
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Maybe yall need better/louder subs. haha
I was just playing around with mine and if i have FLT2 in HP2 mode with freq between 28-31 and Res anywhere above 60ā¦ my house rattles. Multiple settings elsewhere in the patches, and always, if i have FLT2 set up like this it becomes insta-bass-of-deathā¦ thats a bit over exaggerated, but it gets ābigā to the point where i cant quite do much else in any lower frequency range.
It might not sound as CRAZY as some of the retarded over compressed over mastered stuff out there āthe kidsā are listening to these days, but the A4 definitely sounds as big and bad as a lot of other synths ive had my hands onā¦ if not more biggerer and badderer.
At this point im afraid that when my AK shows up, my house might explode from all the āfiner tuned BASSNUTSCRAZYBROWNNOTE circuitryā.
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Maybe you need a Moog 
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Touche`
OK, try thisā¦
OSC1:
Level: 80
WAV: TRP
SUB: Off
PW: -20
Filter:
Filter1: Fully open, no rez, overdrive, tracking or EG depth.
Filter2: Frq: 36
Res: 45
TYP: LP2
TRK: +16
DEP: +5
AMP:
ATK: 0
DEC: 127
SUS: 127
REL: to taste. I have it at 30
EnvF:
ATK: 0
DEC: 55
SUS: 0
REL: Match the VCA EG release.
If that isnāt enough, mix in the Sub Osc, or Add OSC2. See if that helps.
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And my life is now complete. Thanks man, I managed to get some really nice bass with that very precise tutorial.
To celebrate Iāll share this link to magic fantastic TB-303 music.
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Cool, glad it worked out for you 
TM-404 is fantastic!
Sounds great, thanks. Iām new to the A4 and iām super impressed how good/deep a bass tone I can get from just 1 Osc dialled in as above.
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Totally!
this is a good point - probably the first thing you should think of rather than the instrument in question (whatever it is)ā¦ proper bass sounds can be teased out of anything if your engineering chops are good enough
it also depends on if you are mixing for a live situation or for recording ā¦ live is generally easier somewhat because you have volume and dynamics on your side (putting aside issues of the sound system and the space itself)ā¦ but in both situations the most key thing ive discovered in getting deep powerful bass, is to give it its own channel or bus in the mixer - this requires analog summing of some sort, a mixer or whatever
in the A4 thats a problem because there is only 1 stereo output for all 4 sounds - so the only thing you can do to fix that is to plan all sounds around the bass, meaning you crank the bass up fairly loud and turn all the other sounds down quite a bit lower, so the bass is super prominent - then mix everything together from there
bass sounds produce the most āenergyā in terms of human perception of raw sonics, they take up the most space in a mix and displace everything else to a certain degree because they are the frequencies which are felt most physically - so if bass is important to your music, you should give it the attention it needs, which is good separation and isolation in the overall mix - otherwise you run the risk of drowning it out because everything else has to be turned up louder than it needs to be in order to hear whats going on
ideally i give the bass its own bus, the drums their own bus, then one for leads and one for pads/fxā¦ analog summing is no joke, its pretty essential in my book - but even if you are mixing everything in software or one device you can approximate this to some degree
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i also found that leaving filter1 open was better for making deep bass. my approach is similar:
- triangle wave in the 50-100Hz range
- filter1 cutoff open
- filter2 set to LP2 or BP, cutoff roughly tuned to the fundamental of the note, resonance in the 30-50 range
at this point you should have something pretty close to a sine wave. if you need even fewer harmonics just bring the filter1 cutoff down. if youāre like me and want more harmonics, you can: - use the overdrive on the filter
- use vibrato, PWM
- add reverb (you need to make sure you have some sort of attack for this to do much good)
and of course, you can use envelopes and LFOs to add motion to any parameter. hth
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^
That makes a great deep bass!
Thanks.
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Bumping this thread because there are some great patches in these replies. Wow! Love Secretmusicās mono tribe-ish bass, especially.
Yep !
Iās like painting. How a color is being perseved has alot to do with the color next to it.
It also happened to me many times that Iwas playing on octave ( or even 2 ) to low when creating a sound and not getting enough punch. Then playing an octave higher and ā¦ BINGO !
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Depending on whether you are happy to lose a track - I can get some tasty deep basses using the filters in serial (also gain an osc/suboscs too). I use a keyfollowing peak filter in the first filter to boost the bass freq up, then an Äŗp2 on the second (or both lps). Knocks hard enough that my launchpad is vibrating its way across my desk at least XD
Get a Minitaur.
Does anyone know whether the DSI pro 2 does good bass straight out of the box, or do you have to fiddle and tinker like on the A4 to get some decent bass out of it?
You could aswell advice us to get a sample-pack and an cheap sampler - or to get a Harley and sample it - Buth ai ! then youāll have to fiddle again.
My advice - donāt get a synth if you donāt wanne put in some effort - there are other solutions if you find no joy in fiddeling. Thereās like a thousand Workstation - type keyboards - with like a 100.000 presets - theyāll almost do everything for you just pushing on key !
Personally this "out of the box " - stuff dousnāt interest me at all.
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