A big modern bass is two sounds: a clean sub for weight and a gritty top for character.
GrindSub builds both layers from one source, so they stay in step.
Weight you can count on.
A clean sine or triangle, always centered and phase-aligned with the grind, so the layers reinforce each other instead of cancelling.
All the character.
A morphing wavetable with its own filter, five distortion types, up to seven voices, chorus, and a widener. It stays above the sub's range, so you can drive it hard without clouding the low end.
One full bass.
The sub underneath, the top over it, from one source, so they stay in step.
Five flavors of distortion.
Hard clip, two saturations, and two wavefolders, from warm to metallic. Add bias for asymmetric grit, or blend it back for something subtler.
Widen the top, leave the sub alone.
Stack detuned voices, add chorus, and spread the grind. None of it touches the sub. The stereo meter shows how it will hold up in mono.
A morphing wavetable.
Sweep from saw to folded, square, and triangle, by hand or with modulation.
Punch on every note.
Knock adds a thump and a flash of bite to the sub. Drop sweeps the grind down into each note for growls and zaps while the sub stays on pitch.
Set the filter in musical terms.
Cutoff and modulation are set in intervals above the note ("+2 octaves"), not hertz. With full keytracking, the tone stays put whether you play a low E or two octaves up.
Tuned resonance.
At full keytracking, the filter self-oscillates in tune with the note you play.
Balance the levels.
Separate tilt controls for the sub and grind even out loudness across the range. The default patch stays within 1.5 dB over its lowest two octaves.
Per-note loudness.
A bar for each recent note flags the ones sitting low.
Spectrum with markers.
See where your note and filter sit, live.
Low-end stereo check.
A correlation meter split just above the fundamental confirms the bottom stays centered.
Level and loudness.
Peak and momentary loudness, always in the header.
Renders match playback.
The same notes and automation produce the same output at any buffer size.
Clean note changes.
Fast lines, overlaps, and velocity changes don't add unwanted clicks, and your attack settings stay intact.
Separate outputs.
Route the sub and grind to their own tracks for processing or sidechaining.
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