[ Sound Bank ] LOWEND101 (Available) Booklet content reveal every week!


Sneak Peek 06 (LOWEND101)

Patch name : AciDished
RECIPE : Nothing crazy there Transistor Pulse OSC2 feedback in OSC1, Slightly delayed on the filter attack, a bit of delay and reverb… then you know it already for the modulations :stuck_out_tongue:

I will add a couple of TB recreation in this pack some close and some acidified Bass
Of course if you have a HEAT you will be able to achieve most of the TB Styles don’t forget Distortion with TB…


Sneak Peek 07 (LOWEND101)

Patch name : BodyLand


Sneak Peek 08 (LOWEND101)

Patch name : LoHiEndArp


Sneak Peek 09 (LOWEND101)

Patch name : ChicaGUA


The test I apply for whether a bass tone is low enough is if the mirror in the next room can be heard vibrating through the walls. It is…


Glad i pass your test :champagne:


LOWEND Synthesis

Understand the Basics

The most difficult in sound synthesis is the same for the writer it’s the blank page syndrome. And when you start: you listen to the raw sound, click on all the page, watch the number of features in your arsenal! Ok, ok, that’s good, but what do we start with? Damn it’s overwhelming :frowning:

So my first advise and it is more important if you are beginners, if it’s not always easy to have an idea in mind of the sound you would like create at least, sit in front of your synth with a idea of the sound family you will try to shape. (Drum, Bass, Brass, Pluck, Lead, Pad, Stab, or whatever…)

Each of this family had characteristics and you need to understand on your synth how to use its tools to shape and sculpt your RAW sound to mimic those characteristics. Subtractive synthesis is like pottery or modeling clay, you start with a block of material and we will do something by removing, refining, infusing movement, brought color, varnish it … and something fundamental: giving expressivity.

Why i say that it’s because you will put yourself and your synth in a pitch range to start with.

Also short sounds are generally more easy to understand, I don’t say it’s more easy to do because it’s the precision of a watchmaker here that will make the difference

Important Step in LOWEND Sound Synthesis

  1. If you can always design sounds through a limiter in between of its outputs and your monitors, headphone, your hears. (you can use your computer, a digital mixer…) If you can’t… Act yourself as the Limiter and Limit yourself : I warn you sound design can go crazy with resonance and other things you can seriously damage your ears ! So protect it the most you can!

  2. We place our synth in the range of the instrument that we want to create, if it’s a Bass you can Tune your OSC one or two octave lower (-12 or -24) or you can transpose your keys and design 2 octave lower without to Tune your OSC. I do not have recommendations here as far as i can tell it’s subjective from Sound Designer to Sound Designer.

  3. We use Waveforms Types, Mixing those, Adding a Sub or not and other shaping tool on the Analog Four to get as close to a matching tone

  4. We use Amp Envelope to shape the sound according to its characteristics if it’s a Bass like a plucky Bass we probably set our ADSR to Attack : 0, Decay : Middle, Sustain : 0, Release : 30% - Don’t forget on the Analog Four you have 12 different Envelope Shapes. (consisting of six basic shapes each with two different trigging behaviors.)

  5. At this point, of course your sound is a Bass, but maybe not FAT enough, probably don’t very interesting or sexy as well. Now it’s time make your Bass more interesting, it’s shaping the sound and giving it character. (Filter Envelope or LFO, Filter Types, ADSR, PWM, AM, FM, Bend, Pitch Envelope, Feedback, Legato, Unison, Glide… gives to your sound a Character and also will make your Bass more FAT)

  6. Then you will probably want to put some mouvement in the sound (if it’s a Bass maybe you won’t… it’s depend) Again Envelope and LFO… Filter Cutoff modulation, PWM and you can go crazy also etc… Arpeggiator can be useful, as well as FX. (But as I said if it’s a Bass there’s probably less to do here opposed to a Evolving Pad or Atmosphere)

  7. This last point if kind of the Mouvement part but I would like to insist here. You need to think to your sound played by a keyboard… you don’t want to make a Static sound right? why? you ask me why? ok, I think because it’s boring! And trust me, you must put a lot of effort, particularly in Electronic Music to get as far as you can about all the boring aspect of this music. That’s EXPRESSIVITY and you have few things for that (other than performance macro where you make things more interesting Live but it’s more modulations… than expressivity or playability) Think how part of your sound must react to the different sweet spot according to Velocity, Pressure, Mod Wheel, Pitch Wheel… Aftertouch… and program them :champagne:

Of course, you can reply to me hey your Sneak Peak is a bit Static and you’ll be right, because expressivity and playability are not programmed for now.


Advises on SUB BASS

Sometimes when trying to get a sub bass you didn’t get it very low. A trick is to give it movement by modulation it’s pitch envelope slightly (you can modulate its level too), when there’s movement you start to feel it better.

You can with use of the poly configuration and Unison get a useful configuration for more comfortable Layering options :


  1. Check Voice 1 and 2

  2. Allocation : Unison

  3. Check : Use TRK Sounds (Your Sub Patch on Trk1, Your Mid and Hi range of the Top part of your Bass)

Reset values for Detune and Spread if you setup a Layering Configuration where Trk1 is the SUB and Trk2 is Mid and Hi of your Bass Design.


Advises on Mixing that SUB BASS (Trk1)

Live or Studio you must have in mind to get that Sub (Trk1) in Mono, so if you have a MK1 you can in Studio with the help of Overbridge. If you have a Analog Keys and a Analog Four MK2, route your Sub Bass on its own output to your mixer (or with Overbridge). Set it in Mono on your mixer or in Studio with an Utility dedicated for that purpose. For Trk2, your mid and hi you can spread it (if it’s what you want of course, it’s a common practice in Trap, DubStep with those metallic wobble Bass - like NI Razor Bass I’m sure you know what kind of bass I’m speaking)

So now you’ve dedicated a Trk for your Sub Bass, it’s more convenient because you open up to yourself all common practices on the Analog Four to get that Sub Bass just right. The Sub will not have to go through the filters… at least the same way. You can get a Sine for your Sub Bass with the Self Resonating Filter technique (it will require a spectrum-oscilloscope therefore to set-it up but a pitch table will be in the LOWEND101 Booklet to help you a bit with that. But it’s better if you analyzed your A4 regarding to the fact as it’s analog it can vary from A4 to A4)

Be careful with Kick + Sub Bass conflict in frequency that’s a hard one in mixing, but there’s a lot of techniques to solved that issue.


Tips and Tricks (General LOWEND Design)

  • it’s Always easy to destroy a sound :joy: !!! When designing ALWAYS save each interesting iterations of your Sound Design - like myREEZbass-01, myREEZbass-02, myREEZbass-03 (etc)

  • Set Performance Macro each time you discover a range of sweet spots (range where sonically the Patch behaves in an interesting way)

  • Eliminating Clicking and Popping : 1/ in a Daw with the help of fade in-out curve envelopes. 2/ By Tweaking the ADSR (Amp or Filter Env depend) and adding a little bit of delay on the Attack. (Sometimes it’s work that way sometimes it’s not - pay attention to effects it can make things worst or sometimes can add rhythm and drowns the problem…)

  • If your Sub is too low and your have difficulties to heard it, put Trk2, Trk3 and Trk4 Lower in level and boost signals on your mixer or in your DAW :wink: An external EQ can help too !

  • To get this vintage Bass : Don’t forget to inject a bit of noise on the attack portion of your sound, warning : read the manual on the noise (at first I find it hard to use but it’s because it’s a kind of multi-types noise bi-polar knob where lowpass filtered noise from negative values and hipass filtered noise from positive values…) 0 is white noise - no filter, -32 is pink noise, -64 is red noise…



Long Sound Design, Looping Enveloppes

To me it was obvious the options of sequencer was the key to making some long evolving sounds… but i see people complain… Of course you can play your A4 externally you can also entering more in the power of the Elektron Sequencer and with few tricks get something very useful for Evolving Textures, Soundscapes, Drones etc…

This video is courtesy of Iq Nill, not me. Thanks to him to bring those tips

Looping envelopes, Elektron Analog Four + long notes.

@umonox : should prepare something too in the Drones section soon, can’t wait :wink:


Have to say a big thanks man, was having problems with the bass being right and this is perfect so cheers


U welcome @Ianh54 :wink:


Sneak Peek 10 (LOWEND101)

Patch name : TeeBeeDEETROID

Note : Dear Elektronauts the Bass Sound is intentionally mixed higher in level… better previewing experience. You can listening on purpose only the bass at 4.30 until the END


I think some more videos should be produced sharing your knowledge on other things - pads in particular is another area i struggle with. :slight_smile:


At some point it should be… For now i focused on Bass and Lowend materials because i struggled too, few years ago. As i need to challenge myself to be productive, i challenge myself with this one.

LOWEND101 is one chapter of something bigger… as i said. As i am a big fan of Soundscapes, Textures, Strings, Pads and Weird noises, i will probably make something in this area as well. (Maybe to celebrate my birthday in February, a signature soundpack with video tutorials)


Great little groove!!


Thanks Zwolf :wink:


Sunday Sneak Peek 11 (LOWEND101)

Patch name : OrganZILLA

Notes: Patch made with SINEWAVE-TP01 (Template)


I added a couple of Sinewave Templates (different way to make it). There’s Perceived Sinewave perfect for a Sub Bass… and there’s Clean Sinewaves but they require tricks to make it working. Included the self resonating filter trick which comes with a Frequency Tune Table in the Booklet (which is better on its own voice as a LAYER for sound design purpose).

All Sinewave are crafted with an oscilloscope


Sneak Peek 12 (LOWEND101)

Patch name : ASUCATOM-101

Notes: Patch made with 808BASS-TP (Template)

Recreate from This but with Bass inside (yeah it’s LOWEND soundpack so…). You can get more congas style by Filtering the low and mixing the upper Oscillator higher


Oh my. Now that’s a track I haven’t heard in a very long time!