Sub Bass Processing
Sub-bass is felt, not heard. Learn to layer sub frequencies under your main bass, control phase issues, and ensure translation.
Video lesson coming soon
Introduction
Sub-bass is the foundation of UK garage. It's what you feel in your chest on a big sound system. But it's also one of the trickiest elements to get right—too much and your track becomes muddy, too little and it sounds thin on club systems.
This lesson covers everything you need to know about processing sub-bass for clean, powerful low-end that translates across all speaker systems.
Pure Sine vs Shaped Sub Bass
There are two main approaches to sub-bass:
Pure Sine Wave
- Cleanest possible low end
- No harmonic content to clash with other elements
- Requires accurate monitoring to hear
- Best for: Clean, modern productions
Shaped/Harmonically Rich Sub
- Uses triangle, saw, or distorted sine waves
- Harmonics help translation on smaller speakers
- More character and presence
- Best for: Tracks that need to work on laptops/phones
The Phase Problem
When layering sub-bass under your main bass, phase cancellation is your enemy. If the waveforms are out of phase, they'll cancel each other out instead of reinforcing.
How to Check for Phase Issues
- Solo your sub and main bass together
- Flip the phase (polarity) on one of them
- Listen: if it sounds fuller with phase flipped, you have a problem
- Use a phase alignment plugin or manually nudge timing
Mono Below 100Hz
Sub frequencies should almost always be mono. Stereo sub-bass causes phase issues when summed to mono (which happens in many club systems).
Implementation
- Use a Mid/Side EQ to cut Side below 100Hz
- Or use a dedicated "mono bass" utility plugin
- Apply to master bus or individual bass tracks
Frequency Ranges
| Frequency | Character | Notes |
|---|---|---|
| 20-40Hz | Rumble zone | Often cut—most speakers can't reproduce |
| 40-60Hz | Sub-bass sweet spot | Where the "weight" lives |
| 60-100Hz | Upper sub/low bass | Punch and body |
| 100-200Hz | Mud zone | Often needs cutting |
Testing on Different Systems
Your sub-bass might sound perfect in your studio but completely disappear on laptop speakers or overwhelm a club system. Testing is essential.
Testing Checklist
- Studio monitors (flat response)
- Headphones (multiple pairs if possible)
- Car stereo (the classic test)
- Phone/laptop speakers (harmonic content check)
- Club system (if you can access one)
Summary
- Choose pure sine for clean modern sound, shaped sub for translation
- Always check for phase alignment when layering
- Keep sub frequencies mono below 100Hz
- High-pass around 30-40Hz to remove rumble
- Test on multiple speaker systems before finalizing
Devil's Advocate
Advanced thinking for experienced producers
"Do you actually need a separate sub layer?"
Many classic UK garage tracks don't have a dedicated sub layer—the main bass provides all the low-end. Adding a sub layer adds complexity and potential phase issues.
Alternative Workflows to Try
- 1.Design your main bass patch with strong sub harmonics built in
- 2.Use saturation on your bass to generate sub harmonics
- 3.Use a sub-harmonic generator plugin instead of a separate layer
Critical Thinking Traps
Trap: "More sub = more power"
Reality: Excessive sub causes mix problems and listening fatigue. Less is often more.
Trap: "Sub-bass needs to be heard"
Reality: Sub-bass should be felt, not heard. If you're consciously aware of it, it might be too loud.
Trap: "Same sub patch works for every track"
Reality: Different keys, tempos, and styles need different sub treatments.
Download Resources
Sub bass presets + test tones