That makes a difference, because what is good for the LP modulation might es well be bad for the HP. I get the best results with two filters, if I treat them as separate units with separate modulation sources. This provides just more options to work with.
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In which case. Iāll give it a go. 
My cases are often formant like sounds, which I try to generate. If I modulate two filters independently, very unique and interesting sounds can evolve.
For the bass case I would say, we have VCO --> F1 --> F2. If the timing is not right, the resonance of F2 might just not find enough spectrum to emphasize. And the direction of modulating F1 and F2 vs the spectrum might sometimes be better, if F1(+) and F2(-) are working antiparallel, if this makes any sense.
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Another note, I guess it was mentioned in the other bass thread. The osc1 feedback can boost the low end even more. You have to dose it carefully and maybe have to adjust cutoff, overdrive and key tracking, cause they all interact with the feedback. But it can give you some great results for basses
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Why not use an individual out for bass and use a external compressor, Heat, etc?
N.
Canāt use an individual out on A4. There isnāt one!
Btw - I think Iām now getting there. I invested in an AK and am now splitting out a bass channel, which means I can EQ it on my QU24.
Continued down the path of using hi-pass on the MMF and think Iāve now started hitting a sweet-spot.
Thanks all!
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You said you plan on limiting your setup to just āOT, RTYM, and AKā hence the post about using an individual out for bass. Having an A4 and AK, it seems like the logical thing to do, but maybe if you really wanted to use the A4ā¦you could route an individual channel out of OB to your mixout.
N.
True - apologies. I had another thread going on, elsewhere, which pre-dated my very recent purchase of the AK.
In this thread, I did already mention ācan split out a channel of the AK for bassā.
How about use the 1band eq to boost the bass around 80hz
I reckon high pass, with resonance works better. Removes some of the wasted energy at the very low end. Iāve usually got my kicks down at the really low end.
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Is this for live work or studio?
If studio,
A sharp EQ bump + a high pass (use a pair of bands for sharper filtration) in your DAW (Ableton EQ8 is great at this),
Add in a sharp EQ cut in the Kick of that same frequency bump. Works wonders.
Both live and studio.
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Do you have a single voice to spare? Could do a neighbor routing to get the 2nd multi-mode filter to do the peaking band.
Not really got any spare on a minimal set-up.