A dedicated monophonic sub-bass oscillator that bypasses the effects, main filter, etc, would be perfect here, and is the kind of feature that would add credence to the ‘bass synth’ tag. It’s capable of a broad array of cone-shaking tones, ranging from highly synthetic to more organic, thanks to those built-in samples. The user is not allowed to distribute the program. Instant access over lot’s of great sounding deep bases that immediately sit nice in the mix!! It’s also a fine general purpose synth for pads and leads. The central panel can display either the step sequencer or the Free Mods section, which offers a further envelope and LFO to be assigned to parameters of your choosing, plus a four-slot mod matrix. Not as bass-centric as it could have been.
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Rob Papen and RPCX is not liable for any claims or damages whatsoever, including property damage, personal injury, intellectual property infringement, loss of profits, or interruption of business, or for any special, consequential or incidental damages, however caused.
For details on how to use subboobmass in general, please look at your music software host documentation.
More unusual are the 39 sample-based waveforms that subboomabss unique to SBB. Moving on to that step sequencer, the Tie, Slide, Tune and Velocity rows can be used to enter one-key basslines, complete with slides and rests, etc. The user is not allowed to distribute the program. This demo product will be usable in your host music software for 30 days time in total.
It’s also a fine general purpose synth for pads and leads. You can play in a tune step-sequencer-style, via your MIDI keyboard, too. The demo software is provided to the user “as is”.
After this period the sound stops. So how does SubBoomBass fare as a bass synth? Furthermore, since the unison mode is global ie, you can’t make an oscillator exempt subboombaas it subboombxss, it can cause wavering bass levels. General features include adjustable swing and glide time, latch like holding a sustain pedallocking of the subboombasz so that changing presets doesn’t trash your carefully crafted patternplus setting of the number of pattern steps and the speed from a quarter to four times the tempo.
Two panels at the bottom of the interface conceal further options. This software instrument is great for Hip Hop and RnB but can also be used for Dubstep, video game music, film scores and more For starters, they offer 16 of the same analogue-modelled waveforms as Predator: Rob Papen’s first three soft synths – Albino, Blue and Predator – were of the general purpose virtual analogue variety, but the last one we looked at, RG, was decidedly different, being a sample-based “rhythm guitar synth”.
While there’s no formula for devising bass synths, we still feel that there are areas in which SubBoomBass could be more conducive to making bass sounds.
For instance, for the common technique of layering a rock-solid, pure sub tone with a complex, effected mid-range sound, you’d have to use the Split mode… but then you’ve only got one oscillator, one filter and one effect for each part of the sound, which isn’t much.
The first filter has low-pass, band-pass, high-pass and notch modes in 6dB, 12dB, 18dB and 24dB flavours, as well as comb and vowel filters. Also, in this demo, all bank and preset loading or saving is disabled.
Sbboombass, there’s no escaping the fact that those sampled waveforms are about the only thing that defines this as any more of a bass synth than Predator it’s basically a cutdown version of it.
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There’s an optional Easy mode, with a reduced set of controls – omitting fundamentals such as oscillator levels, although it’s adequate for tweaking presets. SubBoomBass has got more to satisfy bass hounds than most synths and is particularly suited to urban styles.
Rob Papen SubBoomBass 2 virtual synthesizer
The rightmost panel conceals a pair of effects slots arranged in series, unless using Split routingwith a whopping 23 on offer, including delays, reverb, modulation, filtering, bitcrushing, trancegate, compression, stereo enhancement, EQ, amp simulation, distortion and more. A dedicated monophonic sub-bass oscillator that bypasses the effects, main filter, etc, would be perfect here, and is the kind of feature that would add credence to the ‘bass synth’ tag.
It also has a dedicated envelope and LFO with various waveshapes and tempo sync – the LFO is handy for making wobbly bass noises, and the phase can be reset on each new note. Rob Papen and RPCX makes no warranties, either express or implied, with respect to the software and associated materials provided to the user, including but not limited to any warranty of fitness for a particular purpose. These have been created by pitching down samples of various instruments, mostly of the percussive variety, with sources including kick drums, toms, xylophones, congas, djembe, bass guitars, etc.
Following the oscillators is a simple distortion stage – you can drive the signal to warm it up, or slam it to create new timbres – then a dual-filter setup, running either in series, parallel or split mode ie, a filter and effect for each oscillator.
Speaking of which, there are hundreds of quality presets. eubboombass
It’s capable of a broad array of cone-shaking tones, ranging from highly synthetic to more organic, thanks to those built-in samples. Sound generation begins with the synth’s pair of oscillators, and these are the biggest selling point of SubBoomBass. I’ve loved the subboombass from the start!