Sub boom
- Thread starter dan1
- Start date
willbedford
Composer - Sample Library Developer
I made this sub boom sample a few years ago. I use it in pretty much everything I write.
http://bit.ly/1RyMPTm
Enjoy
http://bit.ly/1RyMPTm
Enjoy
afterlight82
Active Member
loads in project alpha and 8dio libs of the drop I believe, but I roll my own
the sub boom there are a bunch in omnisphere, but really, low pass filter any decently recorded soft bass drum sample to taste, if you need it to be "roomy" the old trick is a lex 960 large plate on a send (7 secs approx) (or emulation, or any lex plugin version) with the early reflections off, pre delay low, filter off super low end and add to taste until you get the desired relationship between attack and release. Job done. You can get interesting results adding a compressor on the reverb too and side chaining it from the original sound to take off about 3 db with a quick attack and then controlling the release time as it breathes back in (so the "boom" itself feels bigger).
Also depends on whether you want "attack" on it. If you want more attack, find a sample with more attack, either from a higher velocity layer or whatnot. If you want it electronic, find an 808 sound that's not quite long enough, add tail with verb above, saturate to taste (if you like), compress gently (mind the attack and release to glue the verb in). The massey limiter plugin is great for taming it. Or there's a bunch of pre-rolled ones in omnisphere under hits. Different kicks ambient-ed up have success in different measures. You need to find one where the top end of it sounds decent in "space" or where you're just going to filter it off, it matters less. If it's stereo, phase is important (check it).
basically decide whether you want organic or synthetic, find a sound that has the quality you want, filter off the top, add tail, make sure you've not got a balled up low end (or anything sub 20hz) and you're done. Plus, make sure you line up your transients with anything else, especially other layered bass stuff on the downbeat.
For loud booms, layer a soft and a loud bass drum, high pass filtering off a touch of the loud one (but not too much) and adding tail to taste. if you need a whoosh in, find a good whoosh or reverse stuff and line it up (add a touch of delay (short, 1/8 note, and only just audible) and a little plate verb (high passed) to even the reverse, as reverse dry into super wet boom sounds weird unless you're going for it). Delays can add interest. There's so little point pulling a sub bass boom from a library, although if you're in a hurry the 10 minutes it takes to create it can be annoying and there's loads of good ones out there. I have a patch of 10-20 that I just know "work". It's kind of bread and butter, if you don't have a "boom" track in your template then...well, make one.
the sub boom there are a bunch in omnisphere, but really, low pass filter any decently recorded soft bass drum sample to taste, if you need it to be "roomy" the old trick is a lex 960 large plate on a send (7 secs approx) (or emulation, or any lex plugin version) with the early reflections off, pre delay low, filter off super low end and add to taste until you get the desired relationship between attack and release. Job done. You can get interesting results adding a compressor on the reverb too and side chaining it from the original sound to take off about 3 db with a quick attack and then controlling the release time as it breathes back in (so the "boom" itself feels bigger).
Also depends on whether you want "attack" on it. If you want more attack, find a sample with more attack, either from a higher velocity layer or whatnot. If you want it electronic, find an 808 sound that's not quite long enough, add tail with verb above, saturate to taste (if you like), compress gently (mind the attack and release to glue the verb in). The massey limiter plugin is great for taming it. Or there's a bunch of pre-rolled ones in omnisphere under hits. Different kicks ambient-ed up have success in different measures. You need to find one where the top end of it sounds decent in "space" or where you're just going to filter it off, it matters less. If it's stereo, phase is important (check it).
basically decide whether you want organic or synthetic, find a sound that has the quality you want, filter off the top, add tail, make sure you've not got a balled up low end (or anything sub 20hz) and you're done. Plus, make sure you line up your transients with anything else, especially other layered bass stuff on the downbeat.
For loud booms, layer a soft and a loud bass drum, high pass filtering off a touch of the loud one (but not too much) and adding tail to taste. if you need a whoosh in, find a good whoosh or reverse stuff and line it up (add a touch of delay (short, 1/8 note, and only just audible) and a little plate verb (high passed) to even the reverse, as reverse dry into super wet boom sounds weird unless you're going for it). Delays can add interest. There's so little point pulling a sub bass boom from a library, although if you're in a hurry the 10 minutes it takes to create it can be annoying and there's loads of good ones out there. I have a patch of 10-20 that I just know "work". It's kind of bread and butter, if you don't have a "boom" track in your template then...well, make one.
afterlight82
Active Member
basically equation is
sample with sound quality you want somewhere in there + low pass filter + verb (with judicious high pass filter) + dynamics taming + trim to taste and bounce out = sub bass boom happiness.
Plus the old adage of if it's a heavily in one key track or needs to be tuned, if the bass drum sample you are using has a discernible pitch (best way to tell this by shifting it up exactly two octaves or three so you can hear it properly) then try and tune it to the track or moment. Works for EDM guys and works for us too. (p.s. don't pitch too far and use a decent shifting algorithm if you do, ideally, find a sample that's already in the right place as shifting is always going to screw with phase and other stuff, but kontakt seems to handle it well...also try and avoid eq and use just straight high quality filters as this is one place where you want the phase to be accurate)
sample with sound quality you want somewhere in there + low pass filter + verb (with judicious high pass filter) + dynamics taming + trim to taste and bounce out = sub bass boom happiness.
Plus the old adage of if it's a heavily in one key track or needs to be tuned, if the bass drum sample you are using has a discernible pitch (best way to tell this by shifting it up exactly two octaves or three so you can hear it properly) then try and tune it to the track or moment. Works for EDM guys and works for us too. (p.s. don't pitch too far and use a decent shifting algorithm if you do, ideally, find a sample that's already in the right place as shifting is always going to screw with phase and other stuff, but kontakt seems to handle it well...also try and avoid eq and use just straight high quality filters as this is one place where you want the phase to be accurate)
Last edited:
afterlight82
Active Member
(ps sub booms work well in mono, there's not really much "stereo" going on down there to speak of, and you should ALWAYS check a sub bass sample in mono...basically, nothing should change or else you're going to have trouble in different environments - plus if you're wanting to be super careful, it's usually a good idea to check there's nothing going on below the range of your speaker with a spectrum analyzer, because that's just going to nerf your 2-buss and dynamic range and piss off the mastering or mix engineer...plus it's just wasted headroom)
Goldblattxo
New Member
Can I use this on a track I'm working on?I made this sub boom sample a few years ago. I use it in pretty much everything I write.
http://bit.ly/1RyMPTm
Enjoy
Sounds boomtiful.
