Rob Papen SubBoomBass User Manual
Contents
1. and samples e There are two additional choices and e The setting silences the oscillator for that step e Same as uses the setting as defined in the main oscillator section Using the sequencer Osc mode is an excellent way to achieve wave sequencing effects and to create rhythmic patterns with SubBoomBass RE Listen to patch seq Sequence 5b to hear an example of sequencer driven waveform selection Sequencer Performance Controls The dials and buttons below the sequencer grid alter performance related aspects of the sequencer such as timing dynamics and rhythm Swing This controls the swing factor of the sequence It is the difference in timing between consecutive notes and it gives a more human swing feel to the sequence The SubBoomBass RE sequencer is setup with a default of 1 16 note When using swing the steps 2 4 8 10 12 14 16 are moved backwards towards the triplet note value In case you need 8th note swing please set the sequencer speed to half the original tempo This applies also to other settings and swing functions you might need Slide The slide control determines the glide time it takes to move from the pitch in one step to the pitch of the next step This setting is relevant only for those steps that have glide enabled in the grid Velocity Key This controls whether the sequencer velocity parameter settings are controlled by the sequencer step settings at 0 or the pressed key s velo2. you can adjust the amount of time it takes to do this The first part is known as the attack stage this is the time it takes to reach 100 The second part is known as the decay this is the time it takes to reach the sustain the final stage level If this level of sustain is for instance 50 the decay goes down to 50 and stays there Finally when you release the key the envelope goes to 0 during the period that you have set An extra feature of SubBooomBass RE s envelopes is Fade Fade adds a second part to the sustain when it is positive the sustain level goes up to 100 over a set period if it is negative the sustain level falls to 0 over a set period The amp envelope controls how the main volume of each note sounds Attack An envelope always rises from 0 to 100 and back down to 0 when the key is released Attack controls how fast it rises to 100 So if you open the Attack knob it takes longer to go from 0 to 100 With Attack closed the envelope starts at 100 Decay After the attack stage with the envelope at 100 the decay stage is reached Decay reduces the envelope level to the sustain level over a set time So if you use a long decay it takes longer to reach the sustain level If the sustain level is 100 the Decay has nothing to fall to and so the sustain stage is reached immediately after the attack Sustain This is the level of the sustain stage After the attack and decay stage the envelope reaches the susta
3. Filter 1 Wet Dry Mix Chorus 1 Wet Dry Mix Flanger 1 Wet Dry Mix Wah Delay 1 Wet Dry Mix Low Fi 1 Wet Dry Mix Waveshaper 1 Wet Dry Mix Autopan 1 Wet Dry Mix Bass 1 Wet Dry Mix EQ 1 Wet Dry Mix Ensemble 1 Wet Dry Mix Multi Distort 1 Wet Dry Mix FX 2 Type 188 Mono Delay 2 Wet Dry Mix Comb Filter 2 Wet Dry Mix Chorus 2 Wet Dry Mix Flanger 2 Wet Dry Mix Wah Delay 2 Wet Dry Mix Low Fi 2 Wet Dry Mix Waveshaper 2 Wet Dry Mix Autopan 2 Wet Dry Mix Bass 2 Wet Dry Mix EQ 2 Wet Dry Mix Ensemble 2 Wet Dry Mix Multi Distort 2 Wet Dry Mix Seq Retrigger Seq Latch Seq Note Length Seq Host Sync Seq Vel Keyboard FX Split Note CC1 4 7 10 16 21 amp 84 95 are all used internally and should not be used to control parameters v1 01
4. LFOs in SubBoomBass RE Waveform Sine Triangle Saw Up Saw Down Square and S amp H Sinus and Triangle are most often used for pitch because they produce a smooth modulation signal The other waveforms are more suitable for FX sounds or special sounds Sync If you turn Sync on the Speed of the LFO will be based on the tempo of the host This enables it to synchronise with the song tempo To find the right setting you need to adjust the Speed parameter Speed This control determines how fast or slow the LFO is running Amount The Amount parameter controls the depth strength of the vibrato effect At the maximum setting the pitch goes up down by one semitone sine triangle and S amp H waves and up only by one semitone for the square and saw waves Amount control This is where you can adjust how much the LFO s Amount value is changed by the modulation source and also which modulation source is used It can be a positive or a negative amount and thus lets you increase the modulation or decrease the modulation Look at patch bass Class 20 as an example In this patch the Mod Wheel is assigned with 32 amount So if you open the Mod Wheel the LFO modulation of the pitch will increase You hear this as an increasingly stronger vibrato effect Free modulation section This section consists of an Envelope an LFO and a Modulation matrix with 4 slots The free modulation section gives you additional soundshaping options For
5. This is useful for making deep pad sounds if you use 1 8 Left and 1 4 right settings The Feed Equal option makes it possible to have equal feedback fade time even if the left and right delay are have other length settings Right Delay Right length of the delay set in tempo based settings E E GC CrossFeed Feedback between the left right delay Eee SS HP Filter High pass filter frequency IE SE Feed Equal Equal on makes that both L and R feedback do fade way equal regardless which length you use Comb The Comb Filter effect uses two joined comb filters where the output of one is fed back into the other one Comb filters that are very short in delay and has a frequency which in turn determines the length of this delay Comb 1 Feed Comb Filter 1 Feedback amount Comb 2 Freq Comb Filter 2 Frequency Comb 2 Mod Comb Filter 2 Feedback modulation amount Reverb This effect reproduces the sound of acoustics in rooms using different sizes and reflections Size Reverb room size LP Filter Low pass filter frequency Spread Stereo spreading amount Chorus The chorus is a modulated delay signal which is useful for thickening up the sound and making it sound fatter Width Maximum change or modulation to chorus length Spread Difference in speed between the left and right hand channels Widen Stereo widening amount Chorus Delay This is a combined chorus delay Specially developed in case you want to use another e
6. activating the Split button available on the back panel Filter mode The secondary filter modes Filter 2 are a subset of the filter modes that are available for the main filter section Please see the previous section for a listing and description of the filter modes The available Filter 2 modes are e Bypass e 6dB LowPass e 6dB HighPass e 12dB LowPass e 12dB HighPass e 24dB LowPass e 24dB HighPass Amplifier section The audio that comes from the Filter section continues through the Amp section This section amplifies the signal and controls the volume and panning An important controller of the Volume is the Volume Envelope This controls the volume level of the sound over time contour The Amp section also contains the velocity control This sets the response of SubBooomBass RE to the velocity of the keyboard or sequencer Volume This sets the overall volume of the patch Pan This sets the overall panning of the patches from all the way to the left to centred to completely to the right Velocity This sets the level at which note velocity controls the patch volume It applies to notes played on a keyboard and those triggered by the sequencer if selected Volume Envelope This envelope controls the volume contour over time An envelope is a time based modulation inside a synthesizer If you press a key it moves from 0 up to 100 and back to 0 when you release the key By using the Volume Envelope
7. button will bring up the patch browser allowing you to load in patches from other folders The Save Patch button saves the current patch The C3 button previews the current patch The Midi In indicator lights up when SubBoomBass RE receives Midi data for example when you play notes on a connected midi controller Pitch Bend Controls The pitch bend wheel applies pitch bend to the currently played sound The Bend Down and Up controls determine the maximum pitch change when you move the pitch bend wheel all the way down or up It ranges from Off to a maximum of 48 semitones 4 octaves up or down Mod Wheel This applies a mod wheel MIDI Controller 1 control signal to the currently selected SubBooomBass RE patch Play section In the Play Mode section you control how SubBooomBass RE responds to notes played either polyphonic or monophonic or set them to be triggered by the internal sequencer The section also contains the portamento settings Play modes Mono Mono2 Legato Legato2 Seq Poly Unison Synthesizer is in monophonic mode and uses 1 voice Only a single note can be played at a time pressing another key releases the previous note Synthesizer is in monophonic mode 2 and uses 1 voice only If you have a key pressed down and then press another key the new note plays and if you then release this note the original held note is retriggered Synthesizer is in monophonic mode and uses 1 voice S
8. starts only if you open up the drive amount Try it out yourself and open the resonance Q to hear the difference in sound with both distortion modes Cutoff Frequency Modulation Envelope Adds a positive or negative Cutoff frequency Envelope amount The Envelope is part of the Filter section itself Keep in mind that if you use negative modulation the effect of the envelope is reversed Velocity Adds a positive or negative Cutoff frequency modulation by the amount of velocity used If SubBooomBass RE is in arpeggiator mode Play mode the arpeggiator velocity settings are active Keytrack Adds a positive or negative Cutoff frequency modulation by the keyboard note position With positive amount the Cutoff frequency is increased the higher you play the keyboard With negative amounts the Cutoff frequency is reduced the higher you play the keyboard LFO Adds negative or positive Cutoff frequency modulation by the Filter LFO Mod Wheel Adds negative or positive Cutoff frequency modulation by the Modulation Wheel Filter Envelope The Filter Envelope is assigned to the main filter Cutoff Frequency of SubBooomBass RE and the amount is controlled by the Env amount in the Filter section An envelope is a time based modulation section in a synthesizer If you press a key it moves from 0 up to 100 and back to 0 when you release the key Between this you can adjust the time how it does do this The first part is known as
9. time Release After you have released a key note the release stage starts The envelope then decays from the sustain level to 0 the amount of time this takes is set by the release knob VEL gt TIME This controls how the envelope responds to the velocity of notes pressed If you use a positive amount the envelope times get shorter for higher velocities If you use a negative amount the envelope times get longer for higher velocities KT gt TIME This controls how the envelope responds to the notes pressed If you use a positive amount the envelope times get shorter for higher notes If you use a negative amount the envelope times get longer for higher notes Destination This is where you can select the target of the Envelope modulation Listen to patch Wide Notch In this patch the modulation Envelope controls the cutoff frequency of Filter 2 Amount This is where you can select the amount of the Envelope modulation This can be positive or negative modulation depending on the selected parameter Listen to patch bass catch ladder in the first folder Again in this patch the fine pitch of Oscillator1 is modulated Increase or decrease the amount to hear how this changes the sound Amount control Envelope This is where you select the controller for controlling the amount Envelope parameter With amount you can set the how deep it controls the amount Envelope1 parameter This can be a positive or negative amount S
10. will be reduced by 12dB The Cutoff frequency can be static at one frequency but you can also modulate the Cutoff frequency with the Filter Envelope Keyboard tracking Modulation Wheel and LFO Therefore there is a line on SubBooomBass RE front end which shows that these controls alter the Cutoff frequency The modulation doesn t move the Cutoff control knob from its initial position but if you add any kind of modulation change the silver colour control knobs the Cutoff frequency is internally modulated Resonance Q Resonance Q of Filter 2 For an explanation of filter resonance please see the Resonance explanation in the main Filter section Signal Path Routing The filter path switch sets the routing of the oscillator signals through the two filter sections Main and F2 It allows you to set the two filter sections in series in parallel or split configurations In the Series setting both oscillator signals go to the main filter The output of the main filter is subsequently fed to Filter 2 Filter 2 feeds into the amplifier section The Parallel configuration feeds both oscillators to both filters simultaneously The output signals of both filters are then mixed again and passed on to the amplifier The Split configuration routes Oscillator 1 through the Main Filter and Oscillator 2 through Filter 2 In Split mode there is an additional facility to assign each oscillator filter combination to its own effect This is achieved by
11. Attack controls how fast it rises to 100 So if you open the Attack control knob it takes longer to go from 0 to 100 With Attack closed the envelope starts at 100 Decay After the attack stage with the envelope at 100 the decay stage is reached Decay reduces the envelope level to the sustain level over a set time So if you use a long decay it takes longer to reach the sustain level If the sustain level is 100 the Decay has nothing to fall to and so the sustain stage is reached immediately after the attack Sustain Next we have the sustain stage After the attack amp decay stage the envelope reaches the sustain stage and remains here for as long as you have a key pressed down The sustain level is the level of this sustain stage Sustain level in the Free Envelope means that the level amount selected in the destination parameter stays for as long as you hold down the key s Sustain fade If the fade is set to off the sustain remains at the sustain level i e it is a classic sustain If you open the fade amount in a positive direction the sustain changes into a second attack So after the Decay reaches the Sustain level it starts rising to 100 again and the time it takes to reach 100 is set by the Fade time If you open the fade amount in a negative direction the sustain changes into a second decay So after the Decay reaches the Sustain level it starts falling to 0 again and the time it takes to reach 0 is set by the Fade
12. city at 100 or a combination of the two values The control sets the balance between the two Step Len The Step Len sets the relative duration of each step Smaller values create give a stacatto effect to the sequence while long value make the note in each step continue for the full length of the step This corresponds to playing in legato style Key Entry Activating Key Entry allows for entry of sequencer step data through a connected midi keyboard SubBoomBass RE records note tune and velocity data for each step for each key pressed Latch When latching is turned on you don t need to keep a key pressed down for the sequencer to continue to play Tip you can use also the sustain pedal to Latch and Unlatch the sequencer Retrigger When retrigger is off when you press a new key when one is still pressed down the sequencer carries on to the next step l e If you were at step 6 when you pressed the new note the sequencer continues with step 7 Keep in mind that with SubBoomBass RE you only need to play one note Back Panel If you go to SubBooomBass RE back panel you will find a number of less frequently used controls settings and inputs It also lists the credits and information about the controls SEG OUTPUT Input Here you connect audio input into SubBooomBass RE The signal can be used as a modulation source CV Input SubBooomBass RE has four CV inputs which can be used as modulation sources Note I
13. ct the target for the sequencer driven modulation Click on the Free Osc selector to change the rows visible in the sequencer panel Sequencer Grid Step number Current step number clicking on the step number turns the step on or off Tie Sets if the current note step is tied to the previous one If it is the previous note continues to play as if you held the note across the two steps So it allows you to play notes which are twice or more as long as the normal sequencer note In other words you can tie notes together using this function When using notes with tie there are two different modes that you select with the Tie Mode button e normal steps with tie do not have an individual velocity and free setting e special steps with tie do still have their individual velocity and free settings Slide The slide setting determines whether pitch change between steps in instantaneous or carried out with a portamento effect The amount of time it takes to change the pitch from one step to the next is set by the Slide control in the sequencer The Slide setting is either on or off for each step Tune Sets the pitch of each step relative to the trigger key pitch Each step is defined in semi tones below or above the trigger key Velocity Sets the velocity value for each note step of the sequencer Note this is used in combination with the Seq Keyboard control knob which determines how the velocity of the sequencer controls t
14. e SineSaw SineSqr SineRez SawSqr Sampled Waveforms Cajon 1 Cajon 2 Conga Djembe1 Looped TuneKick Looped Kick2 Acoustic Kick3 Acoustic SubKick1 not looped looped looped Tom2 Acoustic Tom3 Acoustic Tom4 Acoustic Tumba1 looped looped looped looped Bass2 variation of PickBass Plucked AccBass1 Acoustic AccBass2 variation Bass1 bass looped bass of AccBass1 BassH Bass1 with Harm Bass Surdo looped Buffalow Harmonics above harmonics looped C4 Modulation Sources ModAft Mod Wheel Aftertouch Velocity Last note velocity Breath Breath midi CC 2 input Expressn Expression midi CC 11 input CC17 Midi CC 17 input CC19 Midi CC 19 input CC21 Midi CC 21 input CC85 Midi CC 85 input CC87 Midi CC 87 input CC89 Midi CC 89 input Env Free Envelope SegFree Seq Free Row Note Last note played FilterEnv Filter Envelope WhiteNoise White Noise Input External input into SubBoomBass RE Input Right External Right input into SubBoomBass RE External CV input 2 External CV input 4 Modulation Destinations Global Controls Volume Amp Speed Amp Decay Amp Fade Global Pitch Pitch LFO Speed Oscillator 1 Semi tuning 1 Symmetry 1 PWM Amount 1 Oscillator 2 Semi tuning 2 Symmetry 2 PWM Amount 2 FM Amount 2 Filter Filter Q Filter Vowel Filter Envelope Speed Filter LFO Speed Filter Decay Filter Fade Filter2 Freque
15. emitones down 4 octaves to 48 semitones up 4 octaves from the base note Fine Located next to the semi knob fine sets the fine tuning of the oscillator with a range of 100 cent up to 100 cent Track The track button is located directly above the semi knob With track set to on the oscillator follows the keyboard in pitch When it is off the pitch of the oscillator stays the same independent of what key is played It can be useful when using a percussive attack sample as part of the sound you are creating In the case of FM or Ring Modulation it s useful too to be fix the pitch of the oscillator Sub This knob controls the volume of the oscillator s sub oscillator The sub oscillator is a square wave which is one octave lower than the normal oscillator pitch The sub oscillator pitch is always connected to the oscillator pitch so if you detune the oscillator the sub oscillator detunes along with it The sub oscillator knob allows you to use two different types of waveforms If you turn it to the left it produces a sinus waveform If you turn it to the right it produces a square waveform The centre position turns the sub oscillator off PWM PWM stands for Pulse Width Modulation This controls the maximum PWM modulation amount of the LFO see speed parameter PWM alters the symmetry setting the middle point of the oscillator over time You can use PWM on any waveform but it is most commonly used with the square wave wh
16. ere it alters the pulse width of the waveform Please note that the PWM settings affect the sub oscillator too if you are using a square waveform for the sub oscillator Speed The amount of PWM Pulse Width Modulation is altered over time by a sine wave LFO With speed you control the speed of this LFO Of course you need to open the PWM amount to hear the result of any speed changes Volume With volume you control the volume of the oscillator before it goes into the Filter section Filter OSC1 This controls whether oscillator 1 is output to the filter section With FM and Ring modulation in use you may not want the modulating oscillator output to be fed into the filter So with Oscillator 1 you have the option to shut off the output to the filter when you are using it as a modulation oscillator Ring FM Mode OSC2 This controls the cross modulation options for Oscillator 2 When you use the oscillator in FM or ring modulation you ll need to keep the modulation oscillator active but not audible so you can turn off the output of the oscillator to the filter using the output button With FM modulation the oscillator modulates the pitch of the target oscillator so you add overtones to the original sound With Ring modulation both oscillators are multiplied together and you get sound that uses a combination of both sources FM Amount OSC 2 This control determines the strength of the frequency modulation Fi
17. es the resonance Q controls the width of this band so low amp high frequencies are removed 12dB Notch Those frequencies near to the filter Cutoff frequency are reduced in volume 12dB the resonance controls the width of this removal region 24db Notch Those frequencies near to the filter Cutoff frequency are reduced in volume 24dB the resonance controls the width of this removal region Comb This is a very short delay which emphasises the comb filter frequency The Cutoff frequency controls the length of this delay and resonance Q the feedback of the filter Vox filter Vocal Filter which adds a voice like filtering to the sound In Vox filter mode the distortion knob controls the vowel of the filter Vowel Sets the vowel a e i 0 and u used by the vox filter Pre Filter Distortion It is possible to overdrive the oscillator sound ahead of going into the Filter This can be done in a smooth way or in an edgy way For the edgy setting the following applies e Overdrive of the filter starts at about 3dB with a sinus waveform using only 1 oscillator e Overdrive of the filter starts at 9dB with a sinus waveform using 2 oscillators e Overdrive of the filter starts at 12dB with a sinus waveform using 3 oscillators So be careful with the volume of the oscillators if you are in edgy filter overdrive mode The smooth overdrive is more subtle and less aggressive than the edgy setting Also distortion in smooth setting
18. ffect in combination with Chorus without losing a delay function Width The amount how much the chorus length will change Spread The amount the chorus length differs between left and right channels Feedback Amount the chorus delay feeds back into the sound Flanger The flanger effect is a very short delay which changes overtime to make a whooshing type sound Width Maximum change to flanger length Feedback Feedback of the flanger LP Filter Low pass filter frequency Phaser A phaser is a combination of filters that can create a phasing effect Pitch Pitch of the phaser Width Maximum change to phaser pitch Spread Amount the phaser stages are spread from the central pitch Wah Delay This effect produces a wahwah type effect by running the sound through a lowpass filter that s frequency is changed over time There is a built in delay which adds delays to the sound High Range Highest Frequency of the filter Here you can adjust how high the LP filter goes The more you move the dial to the right the higher the filter goes Resonance Controls the resonance of the used low pass filter Feedback Amount the wahwah delay feeds back into the sound Distort distortion This distorts the audio by saturating limiting rectifying and bandpass filtering the input Rect Amount of rectification from 100 no change 0 half to 100 full Tone Frequency of the band pass filter Post Boost Amount the filter signal is bo
19. he SubBoomBass RE synthesizer parts This Vel Keyboard parameter needs to be fully turned to Seq to make the velocity settings of the steps work If you use tie in a step the velocity does not work at that step if the sequencer is in Tie Mode Normal Free Free control allows you to control other parameters of SubBoomBass RE dynamically using the sequencer The Sequencer Free control becomes the source in a Modulation Matrix setup Select Seq Free as the modulation source and SubBoomBass RE will use the Free value of each sequencer step as the value of the modulation source If you use tie in a step the free setting does not work at that step if the sequencer is in Tie Mode Normal Try patch seq Wicked 8 to hear how the free row of the sequencer changes the volume of the Oscillator 1 Click on the Free Osc selector above the sequencer grid in case the Free row is not visible in the sequencer panel Osc1 and Osc2 With Osc 1 and 2 you can change the oscillator waveform for each step of the sequencer This works independently for Osc1 and Osc2 Here is how you use it You see two rows in the sequencer grid one for Osc1 and one for Osc2 The number in each step indicates the number of the waveform sample used in that step There are 52 different waveform and samples to choose from e Click ona step to set the oscillator waveform for that step e When you click and hold a pop up menu displays all available oscillator waveforms
20. imilar to mono but if you have a key pressed down and then press another key the note is not retriggered i e envelopes don t restart and if you release this second key the pitch returns to the original note Same as Legato mode but any new note s amp envelope level starts at the level of the last played note This activates the sequencer See the Sequencer section for the settings This puts SubBoomBass RE in polyphonic mode and the synthesizer has 6 voices In Unison mode for each note played SubBoomBass RE plays multiple voices simultaneously The Unison detune control allows for detuning each of these voices to fatten up the sound An additional feature is the ability to play unison voices one ocatve above the original note Ultimately this gives you an extremely rich sounding stack of voices The unison parameters are an excellent tool to create ultra phat bass lines and lead sounds The table below lists the unison options Unison is not activated Each note played uses only a single voice Off Unison 2 This combines 2 voices on one note If you use the unison detune these 2 voices are detuned resulting in a phat sound Unison 4 This combines 4 voices on one note If you use the unison detune these 4 voices are detuned resulting in a phat sound Unison 6 This combines 6 voices on one note If you use the unison detune these 6 voices are detuned resulting in a phat sound Uni detune Unison detune controls
21. in Mono mode all LFOs are reset to their initial start position Amount control Here you can select the controller to adjust the LFO modulation within the Filter section This can be a positive or a negative amount So you can increase the modulation or decrease the impact of the modulation Select Patch Bass Move 1 for example You can see that in this patch the Mod Wheel is assigned with 21 amount So if you open the Mod Wheel the LFO modulation in the Filter section will be increased In fact with a fully open Mod Wheel the LFO modulates the filter with a total of 68 This is because the fixed LFO amount in the filter is 47 and the modulation control is set to 21 Filter 2 section Filter 2 F2 is an additional filter after the main filter that you can run in series in parallel or separately It can be a great help if you want to filter out bass from a sequence sound or as extra filter to further shape the sound In the Free modulation section you can select the Filter2 Cutoff frequency as a destination While Filter2 has only a single Cutoff Frequency control you can still use a Free Envelope Free LFO or any other midi controller to dynamically control filter 2 s Cutoff frequency Cutoff This sets the filter s frequency where the filter starts altering the sound For instance if you set the Cutoff to 2000Hz and use a 12dB Lowpass filter it reduces any frequencies above 2000Hz so for instance a sound at 4000Hz
22. in stage and remains here for as long as you have a key pressed down The sustain level is the level of this sustain stage Sustain level in the volume envelope means that the level of the volume parameter will stay as long as you hold the key s Sustain fade If the fade is set to off the sustain remains at the sustain level i e it is a classic sustain If you open the fade amount in a positive direction the sustain changes into a second attack So after the Decay reaches the Sustain level it starts rising to 100 again and the time it takes to reach 100 is set by the Fade time If you open the fade amount in a negative direction the sustain changes into a second decay So after the Decay reaches the Sustain level it stars falling to 0 again and the time it takes to reach 0 is set by the Fade time Release After you have released a key note the release stage starts The envelope then decays from the sustain level to 0 the time it takes is set the release knob Decay Release shape The way the envelopes transition between levels is not limited to straight linear paths The shape parameter allows you to dial in a continuously variable setting from convex through linear to concave Depending on the sound selected experimenting with this parameter can help you making sound snappier or giving it a more natural evolving volume Pitch LFO The Pitch LFO is a dedicated modulator for vibrato effects Its workings are similar to the other
23. instance if you wish to make an FM synthesis sound you can assign the Envelope to the FM amount for oscillator 2 Or maybe you would like to create a stereo panning effect by an LFO Envelope The envelope has its own modulation destination independent of the LFO and Mod Matrix slots The modulation amount depth is fixed or can be controlled by midi controllers or SubBoomBass RE internal components The Envelope will change the value of the destination parameter over time for example the oscillator pitch Listen to patch Pred Brass An envelope is a time based modulation section in a synthesizer If you press a key it rises from 0 up to 100 and back down to 0 when you release the key Between this you can adjust the time how it does do this The first part is known as the attack this is amount of time it takes to reach 100 The second part is known as the decay this is the time it takes to reach the sustain the final level If the level of sustain is for instance 50 then the decay falls to 50 and stays there Finally when you release the key the envelope lowers to 0 during the period that you have set An extra feature inside SubBooomBass RE is Fade Fade adds a second part to the sustain when it is positive the sustain level rises to 100 over a set period if it is negative then the sustain level falls to 0 over a set period Attack An envelope always rises from 0 to 100 and back to 0 when the key is released
24. lter section The sound generated by the oscillators is fed into the filter The filter alters the harmonic content of the sound coming from the oscillators depending on the selected filter type and filter parameter settings SubBooomBass RE also has an additional secondary filter labelled F2 for those situations where you need to combine different filter types Main Filter Cutoff This sets the filter s frequency where the filter starts altering the sound For instance if you set the Cutoff to 2000Hz and use a 12dB Lowpass filter it reduces any frequencies above 2000Hz so the volume of the frequencies at 4000Hz will be reduced by 12dB The Cutoff frequency can be static at one frequency but you can also modulate the Cutoff frequency with the Filter Envelope Keyboard tracking Modulation Wheel and LFO The modulation doesn t move the Cutoff control knob from its initial position but if you add any kind of modulation change the silver colour control knobs the Cutoff frequency is internally modulated Resonance Q The resonance controls how much the sound at the Cutoff frequency is the increased the resonance emphasises this frequency As you increase resonance it gets more and more pronounced till the filter self oscillates So basically the resonance is feedback onto the Cutoff frequency Note the 6dB filter types are unable to self oscillate and in Comb filter the resonance controls the comb filters feedback T
25. ncy Free Modulations Free Envelope Amount Free Envelope Decay Free Envelope Fade Free LFO Amount FX 1 FX 1 Pan RITZ FX14 FX 16 FX18 FX 2 FX 2 Pan EX 22 FX24 EX 216 IX 28 Sequencer Sequencer Swing Sequencer Velocity Key Default Midi Settings Control Main Volume Midi CC16 Midi CC18 Midi CC20 Osc 1 Type Osc 1 Output Osc 1 Symmetry Osc 1 Octave Osc 1 Fine Osc 1 PWM Speed Osc 2 On Osc 2 Symmetry Osc 2 Octave Osc 2 Fine Osc 2 PWM Speed Filter 1 Type Filter 1 Frequency Filter 1 Vowel Filter 1 Key Tracking Mod Wheel gt Filter 1 Frequency Filter 1 Envelope Amount Filter 1 Envelope Decay Filter 1 Envelope Fade Filter 1 LFO Speed ms Filter 1 LFO Amount Control Filter 2 Resonance Midi CC84 Midi CC86 Midi CC88 Midi CC90 Volume Envelope Attack Volume Envelope Sustain Volume Envelope Release Pitch LFO Speed ms Pitch LFO Amount Free Envelope Decay Free Envelope Fade Free Envelope Amount Free LFO Speed qb FX 1 On FX 2 On Osc 1 Free Running 130 Osc 2 Free Running Osc 2 Sync Filter Path Filter 1 LFO Sync Unison Mode Decay Release Shape Pitch Bend Down Pitch LFO Sync Vel gt Free Envelope Speed Free Envelope Mod Source Free LFO Wave Mod 1 Amount Mod 3 Amount Mod 1 Control Amount Mod 3 Control Amount FX 1 Type Mono Delay 1 Wet Dry Mix Comb
26. nob for each band controls that bands volume from 20db to 20db When using the equalizer it is recommended that you use a fully 100 wet signal Compressor The compressor is an audio effect that changes the dynamic range and response of a signal Ratio This sets the amount of dB reduction So if a signal exceeds the threshold the 4dB gets 2dB with a ratio setting of 1 2 Release This sets how long the compressor takes to react to a reduction in volume Note FX Mix sets how much of the Compressor FX is added With the Compressor FX it is wise to fully open the Mix control knob wet Ensemble This effect uses 6 choruses each having its own setting to give the effect of several copies of the sound playing at once Width Maximum change to ensemble length Feedback Amount the choruses differ from each other Cabinet Several types of cabinets are simulated Great for creating edgy sounds Distort Amount of distortion added to the sound Also works if the none cabinet setting is selected Treble Treble EQ Volume Adds or removes high frequencies from the speaker simulator Note with the Amp simulator FX it is recommended to fully open the Mix control knob wet Multi Distort Allows you to use several different types of distortion effects Pre Boost How much the signal is boosted before going into the distortion EE Cae Amount 2 Additional distortion parameter for Fuzz SS ee Low Filter Post disto
27. noe sem amm LAS DOCS ATTACK DECAY SUSTAIN __ 0000000000000000 J 0000000000000000 j ISI LT AS ASAT ASACAS AS VA CACAA AI r Powered by RPCX Welcome Thank you for purchasing Rob Papen SubBoomBass RE SubBoomBass RE is filled with an excessive amount of low end ammunition to detonate your tracks With patches designed by the legendary Rob Papen and other guest artists this dedicated bass synth will supply you with huge cone rattling sounds that will devastate any music track This software instrument is great for Hip Hop and RnB but can also be used for Dubstep video game music film scores and more SubBoomBass RE has been carefully crafted to provide you with the tools to create fresh new bass lines It includes unique tuned drum percussion samples which are great for Hip Hop and RnB basses but can also be used to add rhythm flavour to your tracks Also check out the innovative Wave sequence feature which will open up brand new sonic possibilities for your music Rob Papen and the RPCX team December 2012 Patch and Modulation Section At the top of the SubBooomBass RE panel you find the patch control section and modulation controls Patch Controls SubBooomBass RE uses the standard Reason patch controls Clicking on the patch menu brings up a list of all patches in the current folder and clicking on the up down buttons next to the menu allows you to scroll though these patches one by one The Patch Browser
28. nput SubBooomBass RE has Note Gate and CV inputs which allow SubBooomBass to be controlled by other units such as the Matrix Pattern Sequencer Gate Input SubBooomBass RE has six CV Gate inputs which are used to reset the arpegiator the trancegater free envelope 1 amp 2 and free LFO 1 amp 2 respectively Sequencer Output Here you can output the Sequencer notes as being played by the Sequencer their velocity the current free value and also a CV Gate message corresponding with the most recently played note Output Here you grab SubBooomBass RE s output signal and also set the tuning Analog This sets the amount of analog drifting similar to that of an old analog synthesizer The higher the setting the more the SubBooomBass REs oscillator pitch will drift over time The setting is stored as part of each patch The default is 20 which is a great setting Global tuning This sets the global tuning of a patch The default is 440Hz Note this setting is stored as part of each patch Oscillator Waveforms The SubBoomBass RE oscillators draw from a collection of sources that include analog modelled waveforms and samples Waveforms are selected directly in the oscillators for Osc1 and 2 Alternatively in the sequencer section each sequence step allows you to assign a different wave or sample for both Oscillator 1 and 2 The available waveforms are listed below Analog modelled waveforms Sine Saw Square Triangl
29. o hear what resonance does the best thing to do is to try changing it while you play a note If you open the LFO modulation you will hear that the Cutoff frequency starts to move Opening the Resonance emphasises this movement Filter Mode 6dB LowPass Low frequencies pass through this filter frequencies above the Cutoff frequency are reduced by 6dB per octave For example a frequency 2000Hz is 6dB softer in volume if the Cutoff frequency is set to 1000Hz 12dB LowPass Low frequencies pass through this filter those above the Cutoff frequency are reduced by 12dB per octave 18dB HighPass High frequencies pass through this filter those below the Cutoff frequency are reduced by 18dB per octave The filter is fully open if the Cutoff frequency knob is fully turned left 24dB HighPass High frequencies pass through this filter those below the Cutoff frequency are reduced by 24dB per octave The filter is fully open if the Cutoff frequency knob is fully turned left 12dB BandPass This filter mode is a combination of 12dB LowPass and 12dB HighPass filters Only those frequencies near to the filter Cutoff frequency pass through a band of frequencies the resonance Q controls the width of this band so that low amp high frequencies are removed 24dB BandPass This filter mode is a combination of a 24dB LowPass and 24dB HighPass filter Only those frequencies near the filter Cutoff frequency pass through a band of frequenci
30. o that you can either increase the modulation or decrease the modulation Listen to the patch bass woody In this patch the Velocity controls the amount of Envelope modulation When you strike keys harder the volume of Oscillator 1 will increase LFO The LFO has its own modulation destination independent from the Envelope and Mod Matrix slots The modulation amount depth is either fixed or controlled by midi controllers or SubBoomBass RE internal components An LFO Low Frequency Oscillator is an oscillator at a very low pitch frequency The frequency range of SubBoomBass RE LFO is from 0 03Hz to 27 50Hz Used often is the sine waveform But the other waveforms of the LFO can also be used and produce interesting results SubBoomBass RE has the option to tempo base the LFO which makes it a great feature for changing sounds in a musical tempo based way Waveform Sine Triangle Saw Up Saw Down Square and S amp H This is where you can set the type of wave that modulates the LFO destination Sinus and Triangle are often used because they produce a modulation that goes up and down smoothly The other waveforms are more suitable for FX sounds or special sounds Speed This controls how fast or slow the LFO is running If the control Sync is set on then the speed is tempo based Sync If you turn Sync on the Speed of the LFO will be tempo based So it will synchronise with the song tempo To find the right setting you need
31. osted Low Fi This effect reduces the digital audio quality of the sound which results in old style computer sound effects Sample Rate Sample rate of the signal MWheel gt Filter Amount the low pass filter frequency is changed by the modulation wheel Amp Sim Several types of amp types are simulated Great for creating edgy sounds Distort Amount of distortion added to the sound Also works if the none speaker setting is selected Treble Treble EQ Volume Adds or removes high frequencies from the speaker simulator Note with the Amp simulator FX it is recommended to fully open the Mix control knob wet WaveShaper The waveshaper effect shapes the in going sound to a kind of distorted version of it It is then passed through a low pass filter that s frequency is changed over time by a tempo based LFO Bottom Amt The amount negative input is waveshaped Filter Low pass filter frequency This filter does not filter the high frequencies LFO Speed The rate the low pass filter frequency can change Stereo Widener This effect widens the stereo sound Width Maximum change to the stereo widening amount LP Filter Low pass filter frequency AutoPan Autopan pans the sound between the left and right speakers Speed The rate at which the autopan moves the sound This is Tempo based so for example 1 1 does mean that the pan moves from left to right within 1bar Note for maximal effect you also need
32. rtion low pass filter as ee nd Post Boost How much the output of the distortion is boosted Auto Wah Autowah uses a low bandpass filter to filter the signal using the volume of signal to alter the frequency of the filter Lowest frequency of auto wah filter SI Amount How much the volume of the signal alters the filter s frequency Smooth How much signal volume is smoothed Sequencer The sequencer is SubBoomBass RE Groove Heart It s a placeholder for bass lines riffs and percussion patterns The sequencer uses up to 16 steps Each step represents a note a note tie or a rest If the parameter speed is set to 1x bpm the step size is 1 16th note each The sequencer is represented in a grid Each grid row displays the values of the sequencer parameter and all parameters for a particular step are in a single column To activate the sequencer set the Play Mode to Seq The first MIDI note that SubBoomBass RE receives will kick off trigger the sequencer Sequencer Setup Steps Determines the number of steps in the sequence The range runs from 1 to 16 steps Speed Speed of the sequencer in respect to the host tempo from of the tempo up to 4 times the tempo Tie Mode e normal steps with tie do not have an individual velocity and free setting e special steps with tie do have still individual velocity and free settings Free Osc Selector The Free Osc selector above the sequencer grid allows you to sele
33. s reached immediately after the attack Sustain This is level of the sustain stage After the attack amp decay stage the envelope goes into the sustain stage and remains here for as long as you have a key pressed down The sustain level is the level of this sustain stage Sustain level in the Filter envelope means the level of where the Cutoff frequency parameter stays as long as you hold the key s Sustain fade If the fade is set to off the sustain remains at the sustain level i e it is a classic sustain If you open the fade amount in a positive direction the sustain changes into a second attack So after the Decay reaches the Sustain level it starts rising to 100 again and the time it takes to reach 100 is set by the Fade time If you open the fade amount in a negative direction the sustain changes into a second decay So after the Decay reaches the Sustain level it starts falling to 0 again and the time it takes to reach 0 is set by the Fade time Release After you have released a key note the release stage starts The envelope then decays from the sustain level to 0 the time it takes is set with the release knob Filter LFO An LFO Low Frequency Oscillator is an oscillator at a very low pitch frequency In SubBooomBass RE the LFO can have a frequency between 0 03Hz and 27 50Hz The SubBooomBass RE Filter LFO produces changes to the Filter Cutoff frequency You need to open the LFO amount in the Filter section to hear
34. s section you can configure up to 2 effects for a SubBooomBass RE patch By default these are connected in series The output of FX1 feeds into the inputs of FX2 An exception to this is the Split Function On Off Clicking on the button next to the fx label turns that effect on or off Type Here you can select one of the 24 effects for each of the FX units of SubBooomBass RE Mix Here is where you determine the balance between the original direct signal and the effect output Turn is fully left and only the original signal is output The more you move the knob to the right the more of the effected signal will be added Pan Controls the Panning of the selected Fx Split The split function is only available if the signal routing switch in the Filter Section has been set to split The FX Split button determines whether each filter output gets its own effect assigned Split is On or both filters share the same set of two effects Split is off Effect Types Mono Delay A mono tempo based delay great for making rhythmic grooves For instance the 1 8 1 8 dotted is nice for all kinds of arpeggiator or lead sounds To make the sound a bit spacey modulation of the length is possible which makes the delay swirl Feedback Feedback of the delay HP Filter High pass filter frequency Mod Amount Delay modulation amount Stereo Delay Two tempo based delays One delay for each of the audio channels left and Right
35. tch the Mod Wheel is assigned with 45 amount So if you open the Mod Wheel the LFO modulation of the target destination will be reduced In fact with a fully open Modulation Wheel the LFO does not modulate the destination anymore This happens because the LFO destination amount is 45 and the modulation control is set to 45 Mod Matrix 1 4 SubBooomBass RE has 4 slots to set your own modulation connection Clicking on a modulation number label bypasses that modulation There are 32 modulation sources that include midi sources and synth sources These sources connect to 48 modulation destinations in the SubBooomBass REs synth There is also an amount control for each connection So you could for instance control the modulation strength or depth by a Free Envelope Source 1 4 This is where you can select one of the 32 modulation sources Destination 1 4 Here you select one of the 48 modulation destinations Destination amount 1 4 This is where you select the amount or strength of the modulation This can be a positive or a negative modulation depending on the selected parameter Amount control 1 4 destination This is where you select the controller for dynamically adjusting the modulation strength With amount you set yo what extent the modulation strength is manipulated This can be either a positive or a negative amount So you can enhance the modulation or flatten out the modulation FX section In thi
36. the selected waveform but basically it moves the midpoint of the waveform It is most commonly used in combination with the Square waveform Here the symmetry control alters the pulse width of the waveform from very narrow pulse waveforms to normal square waves Free on off When this is turned off it returns an oscillator to its initial waveform position phase every time you play a new note When it s on the oscillator phase continues in an uninterrupted cycle regardless whether a key is played or not it is free running This can useful in pad sounds because it spreads the initial attack part of the sound to create a lush character Sync on off Osc 2 Sync is only available for Oscillator 2 If you switch it on the oscillator frequency synchronizes to Oscillator 1 This means that when oscillator 1 finishes the wave cycle it resets the synced oscillator to the initial position Oscillator 2 gets reset and its frequency is bound to Oscillator 1 You can hear this effect very well if you detune Oscillator2 while Sync is on The detuning disappears and it now has the same pitch as Oscillator 1 However Oscillator 2 will sound differently because Oscillator 1 resets Oscillator 2 whenever it reaches the end of its wave cycle Typically this will add to the harmonic content additional overtones to the basic waveform Semi This controls the root pitch setting of the oscillator with semitones you can alter the tuning from 48 s
37. the attack this is the time it takes to reach 100 The second part is known as the decay this is the time it takes to reach the sustain the final level If this level of sustain is for instance 50 the decay goes down to 50 and stays there Finally when you release the key the envelope goes to 0 during the period that you just set An extra feature of the SubBooomBass RE envelopes is Fade Fade adds a second part to the sustain level when it is positive the sustain level goes up to 100 over a set period if it is negative then the sustain level goes down to 0 over a set period This is a handy feature if you want the Cutoff frequency of the filter to rise whilst holding the keys To hear the full effect of the Filter Envelope you have to open the Env amount which you can find in the filter section next to the Cutoff Frequency The amount can be positive or negative Attack An envelope always rises from 0 to 100 and back to 0 when the key is released Attack controls how fast it rises to 100 So if you open the Attack control knob it takes longer to go from 0 to 100 With Attack closed the envelope starts at 100 Decay After the attack stage with the envelope at 100 the decay stage is reached Decay reduces the envelope level to the sustain level over a set time So if you use a long decay it takes longer to reach the sustain level If the sustain level is 100 the Decay has nothing to fall to and so the sustain stage i
38. the detuning between the stacked voice in Unison2 4 6 Play Modes SubBooomBass RE must be in Unison 2 4 6 mode for the detune function to have any effect Portamento Portamento speed sets the time or rate of how note pitch changes from one note to the next one played Port modes Constant Rate The pitch changes at a constant rate greater keyboard note ranges take a longer time Held Rate Same as Constant Rate but the portamento effect only occurs if you play legato i e you play a new note while still holding the previous note and create a slight overlap Oscillator section SubBooomBass RE s sound creation starts with the oscillator section SubBooomBass RE uses 2 oscillators to generate its basic sound You can use one or both oscillators depending on the type of sound you want to produce We have added FM and Ring Modulation options to Oscillator 2 to allow you to enrich the sound beyond that of dual oscillators Oscillator on off Next to the Oscillator label you find a button to switch the oscillator on or off Waveform This control sets the basic shape or harmonic content of the oscillator It is known as its waveform SubBooomBass RE has a total of 55 waveforms ranging from classic analog style waveforms including saw and square to additive and spectral waveforms to sampled bass and percussion waveforms Symmetry Sym This controls the symmetry of the selected waveform The impact depends on
39. the results The sine waveform is most often used for this purpose It makes the Filter Cutoff frequency rises up and down repeatedly and in a gradual fashion Other waveforms with the LFO can be used to produce interesting results SubBooomBass RE has the option to tempo base the LFO which makes it a great feature for changing sounds in a musical tempo based way Waveform Sine Triangle Saw Up Saw Down Square and S amp H Here you can set the type of wave this modulates the Filter Cutoff Frequency Sinus and Triangle are often used because they produce a smooth modulation signal The other waveforms are more suitable for FX or special sounds Speed This controls how fast or slow the LFO is running If the control Sync is set on then the speed is tempo based Sync If you turn Sync on the Speed of the LFO will be tempo based So it will synchronise with the song tempo To find the right setting you need to adjust the Speed parameter Mode Poly Free and Mono This controls how the LFO responds when you hit one or more keys Poly mode Each note you play has its own Filter LFO and each LFO starts from the zero position Poly mode is useful for complex sounding Filter LFO modulation Free mode The LFO is free running and all the notes share the same LFO The LFO is always running and does not reset when you press a key Mono mode Similar to free mode All the filter LFOs have the same value however when you press a key
40. to adjust the Speed parameter Mode Poly Free and Mono This controls how the LFO responds when you hit one or more keys Poly mode each note you play has its own Filter LFO and each LFO starts from the zero position Poly mode is useful for complex sounding Filter LFO modulation Free mode the LFO is free running and all the notes share the same LFO The LFO is always running and does not reset when you press a key Mono mode similar to free mode All the filter LFO s have the same value however when you press a key in Mono mode all LFO s are reset to their initial start position Destination LFO This sets the destination of the LFO modulation Listen to patch bass moving it hp In this patch the Filter2 Cutoff frequency is modulated by the LFO Destination amount LFO This is where you select the amount of LFO changes the LFO destination control This can be a positive or negative modulation depending on the selected parameter Listen to patch bass moving it hp In this patch the Filter2 Cutoff frequency is modulated Increase or decrease the amount to listen to what it does Amount control LFO destination This is where you can adjust how much the LFO s amount is changed by the modulation source and also which modulation source is used This can be a positive or a negative amount So you can increase the modulation or decrease the modulation Look at patch bass moving it hp as an example You can see that in this pa
41. to open the Fx Mix control knob fully right wet Gator The gator uses a 16 step sequencer to alter the volume of the sound to give a trancegate type effect Basically it is a sequencer controlled audio gate Smooth How much the volume changes are smoothed out This helps to avoid clicks Sync Turns on off the host syncing For example if you do not hear the gator FX in standalone host then switch to off Inside a host sequencer program the best setting is auto or sync The default setting in most patches is auto So if you have problems with these settings try off Right Right channel sequencer Clicking here turns on off that step in the gator When a step is on light colour the gate is open and you can hear the audio When a step is off dark colour the audio is muted Note FX Mix sets how much of the Gator FX is added With the Gator FX it is wise to fully open the Mix control knob wet Bass Enhancer This effect emphasises bass frequencies Pre Boost Pre boost amount of the bass signal Post Boost Set the amount of additional boost after the distortion section FX Filter This is an analogue modelled stereo Multimode Filter which has all the properties of SubBooomBass RE s main filter Frequency Sets the Cutoff frequency of the filter Distort Sets the pre filter distortion of the filter Equalizer The equalizer uses 5 bands at 60Hz 200Hz 600Hz 2000Hz and 8000Hz frequencies The control k
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