Shruthi with SMR4mk2 filter and FM8.
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Boomstar 5089 - It’s an absolute beast
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Waldorf - Wave/Microwave1
Roland - MKS-50/alpha Juno
Control Synthesis - Deep Bass Nine
Braintec - Transistorbass 3
Marion Systems - ProSynth/MSR-2
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Maybe a FEW overtones?
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Sines are great as sub osc for adding weight and punch.
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But if you are listening on a a small speaker the sound vanishes. I suppose all sound is composed of sine waves regardless, but I like a little overdrive on a bassline that starts with a sine.
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Actually the sin wave machine is pretty amazing for sub bass.
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True this! I wanted to buy a 5089 years ago as I was getting into synth bass playing, but needed presets for live gigs.
So… I bought a Moog Sub Phatty. I must’ve done in the region of 300 gigs on synth bass with my Phatty and it’s brilliant. So that’s my constant go to for live. (for anyone interested, I find the Minitaur tends more to a kind of squelchy sound, and the Sub 37 errs on the smooother side - with the Phatty being somewhere between the two, and the most willing to get dirrrrty!).
In the studio though, I’ve recently been using Peak, which shifts some serious air when dialled in. But it can get to be a bit much in a mix if you’re not careful.
So my lesser known weapon is… The Boomstar SE80. I have real fun playing baselines with that thing!
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Also, worth noting, the Phatty (and all Moog?) allows you to play the filter which is super useful
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I use Bass Station 2 and Microvolt 3900 has some serious welly to it. Pulse 2 can also kick out some serious bass but not using it at the moment.
And then Steady State Fate Zero Point Oscillator with Ritual Electronics Alter is my bass growler in Eurorack.
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For some odd reason the 5089 is the only synth I’ve ever had the chance to plug in to a really big system (a co-incidence of happening to have it and an sq1 with me and being at a very large venue being rigged for a large act)
It is an experience I remember fondly. Plugging it all in, slowly edging up the volume and then wow. 15 minutes of monster explorations before the crew advised that was enough, I was reaching the licence limits.
99.99% of my experience is either headphones or not-loud-enough-to-disturb-conversations level in coffee shop sized premises. Playing any synth or instrument for that matter in a truly big arena is a phenomenal out of body experience, even if virtually unpopulated.
It’s a pity we all don’t get to try out kit in such a way. It’s like you are releasing the angry animal that has been caged on your desktop for a few sweet minutes before disconnecting and taking it back to sleepy town.
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Absolutely! The 5089 will be huge fun on a proper system! I’m glad you had that experience 
I’ve been lucky enough to play on some serious rigs, festivals etc, and it’s always great when the engineers high five you afterwards for the sheer monstrous low end your synth has been pushing out 
And my week-in, week-out stuff luckily tends to be on Funktion One or D&B rigs with subs under the stage, so I can feel it through my feet 
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When I think I’m composing something good, I’m usually halfway through and start picking up on harmonics that are working well and modifying their story. But it is always on headphones or very timid monitors,
Shame one can’t rent out a football stadium and a huge rig for jammin and creating in every Sunday afternoon. 
you don’t know half of what is really going on until you’ve heard the large version of what your kit is capable of pumping out
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why better?
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Analog: Vermona Mono Lancet - amazing for classic analog bass patches
FM: Yamaha DX11 - it’s a keyboard TX817 with an added pitch envelope. I have a tweaked version of the Wood Bass preset that I use all the time.
Left-field: Machinedrum sine machine. Just a touch of amplitude modulation and I’m good to go.
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I don’t own one but I would assume the same reason a pro one was bassier than a prophet 5. The gainstaging on a mono is just more predictable, means they tune it so you can drive the filter harder and still have headroom on the master VCA. At least that’s my understanding of it. Similarly the pro2 and pro3 while having P6/Ob6 style filters but can push them harder due to the architecture.
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When I had my Waldorf Pulse 2, it did some great, rumbly basslines. It was a more clean analog sound if I remember correctly. My other deep bassline generator has been the Yamaha Reface CS. If you sweep the freq and resonance at a specific level, it can get very deep and powerful.
I prefer mid bass bass more than sub bass these days so my Ambika or Digitone do a very good job for those duties.
A banjo, micro tuned to the frequency of Mars, ran through a dirty-dog sine wave escalator, and then filtered through a ham sandwich.
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Got a few reliables:
Octatrack with half decent single cycle waveforms gets there easily.
System 1m: both the standard and sh2 engines are capable down low
Behri Model D and/or Pro1: self explanatory
Mam mb33 mk2: sub Osc and PW sound great
For sub bass, Monomachine, Korg z1 and even the machinedrum also seem to get there no sweat.
I was also surprised how nice it can be!
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