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SubLode Complete
Flagship Dual-path bass synth
SubLode Complete - Themes
Three looks. Same synth.
Console is the original: warm gray panels, dark wells, gold traces.
Canvas is paper. Light panels, white visualizer wells, the same gold on a brighter desk.
Terminal is midnight. Blacks and grays, gold still the voice.
Settings. The last one you pick is the default for new instances. Presets leave it alone.
Console is the original: warm gray panels, dark wells, gold traces.
Canvas is paper. Light panels, white visualizer wells, the same gold on a brighter desk.
Terminal is midnight. Blacks and grays, gold still the voice.
Settings. The last one you pick is the default for new instances. Presets leave it alone.
SubLode Complete - Routing
SubLode splits paths.
Path 1 is the sub. Grit and texture live there, so the bottom can change without dragging the mid around.
Path 2 is three wavetable oscillators and noise. They’re high-passed so they don’t sit in the floor. Each one chooses filter, saturation, both, or neither. Both paths have their own EQ.
They meet at the compressor, then go out as one through the limiter.
Path 1 is the sub. Grit and texture live there, so the bottom can change without dragging the mid around.
Path 2 is three wavetable oscillators and noise. They’re high-passed so they don’t sit in the floor. Each one chooses filter, saturation, both, or neither. Both paths have their own EQ.
They meet at the compressor, then go out as one through the limiter.
SubLode Complete - Randomization
Not the whole synth or nothing. Lock the overlay to a section, a subsection, or one parameter and click. Keep the sub. Wreck Path 2. Only move Filter A cutoff.
Hit All if you want a laugh. Undo keeps the last five rolls.
Assignments get wired and unwired each click, so it doesn’t just pile LFOs until everything is moving. It also skips the dumb stuff: sub octave, illegal EQ/crossover flips, attack/release under 10 ms, Lo-Splits, I/O gains.
Character is how the roll is aimed, not a second checklist.
• Smooth - rounder, lighter grit, smaller arcs. Hip hop / R&B / pop bass that still has color.
• Textured - default. Mid grit, Acid and ladders in the mix, assignments that actually move.
• Heavy - full filter catalog, wide arcs, already distorted.
Default is a mask so a full roll still sounds like bass. Character sticks with the Randomizer, not the preset.
Hit All if you want a laugh. Undo keeps the last five rolls.
Assignments get wired and unwired each click, so it doesn’t just pile LFOs until everything is moving. It also skips the dumb stuff: sub octave, illegal EQ/crossover flips, attack/release under 10 ms, Lo-Splits, I/O gains.
Character is how the roll is aimed, not a second checklist.
• Smooth - rounder, lighter grit, smaller arcs. Hip hop / R&B / pop bass that still has color.
• Textured - default. Mid grit, Acid and ladders in the mix, assignments that actually move.
• Heavy - full filter catalog, wide arcs, already distorted.
Default is a mask so a full roll still sounds like bass. Character sticks with the Randomizer, not the preset.
SubLode Complete - Sub Oscillator
Path 1. WAVE A and WAVE B, Mix between them. Sine if it should disappear. Saw or square if it should speak. Pulse, half sine, rect sine, saturated, ramp if it already has an attitude.
Grit is grain: bitcrush, downsample, rectify, asymmetrical waveshaping. Texture is shape: fold, phase distortion, PWM morph, slew-bend. Tone is how much of that dirt you keep. Harm Tilt leans the harmonics. Watch the wave.
Half-Harm is a second low voice against the fundamental. Off, it’s a pillar. Up, it has more chest. Settings put it before or after grit/texture.
Solo it. If it’s boring alone, you’re not done.
Grit is grain: bitcrush, downsample, rectify, asymmetrical waveshaping. Texture is shape: fold, phase distortion, PWM morph, slew-bend. Tone is how much of that dirt you keep. Harm Tilt leans the harmonics. Watch the wave.
Half-Harm is a second low voice against the fundamental. Off, it’s a pillar. Up, it has more chest. Settings put it before or after grit/texture.
Solo it. If it’s boring alone, you’re not done.
SubLode Complete - Oscillators 1-3
Init is off. One for body, two for a stack in the mids, three if you’re filling the track from here. Level, pan, octave, unison, detune per osc.
WAVE A and WAVE B, Mix between them. The viewport is the live wave. Warp is the cycle. Wave Morph is motion inside the osc (sync, formant, bend, squeeze). Harm Tilt leans even vs odd. Spectral Morph is the makeup of the wave, including the vocal types; R1 and R2 matter there. Each osc has its own cutoff.
SAT / FILT are per oscillator. Ladder on one, sat only on another, dry on the third. All go through Path 2 EQ.
XMOD is FM / AM / RM / Self-FM off the sub or another osc. The sub can modulate an osc without being mixed into it. Solo the osc and the XMOD is still there. Amt is how hard. Mix is how much you keep. KEY TRACK holds the FM index as you play up the keyboard.
WAVE A and WAVE B, Mix between them. The viewport is the live wave. Warp is the cycle. Wave Morph is motion inside the osc (sync, formant, bend, squeeze). Harm Tilt leans even vs odd. Spectral Morph is the makeup of the wave, including the vocal types; R1 and R2 matter there. Each osc has its own cutoff.
SAT / FILT are per oscillator. Ladder on one, sat only on another, dry on the third. All go through Path 2 EQ.
XMOD is FM / AM / RM / Self-FM off the sub or another osc. The sub can modulate an osc without being mixed into it. Solo the osc and the XMOD is still there. Amt is how hard. Mix is how much you keep. KEY TRACK holds the FM index as you play up the keyboard.
SubLode Complete - Noise Oscillator
Same path as the oscs. This is the spice for Path 2.
Init off. Level, pan, low cut, high cut. Low cut is steep so you can keep a hiss without growing a second sub. Visualizer follows the cuts. KEY TRACK walks those cuts with the keyboard. OCT (−1 to +3) is live once KEY TRACK is on.
Pick vinyl, tape, breath, machine, rain, whatever, then place it. Same SAT / FILT chips as the oscillators.
Init off. Level, pan, low cut, high cut. Low cut is steep so you can keep a hiss without growing a second sub. Visualizer follows the cuts. KEY TRACK walks those cuts with the keyboard. OCT (−1 to +3) is live once KEY TRACK is on.
Pick vinyl, tape, breath, machine, rain, whatever, then place it. Same SAT / FILT chips as the oscillators.
SubLode Complete - Envelopes
Cutoff, grit, morph, sat, XMOD; to name a few. Add to parameters on Path 1, Path 2, or both. Right-click a parameter knob, assign an envelope, and drag the arc to taste. Right-click the ENV title if you forget where it went.
Delay through release, graph or knobs. Blue playhead on the graph.
Retrigger on: every note is a new hit. Off: last-note legato, so a line can be one shape. That switch actually matters here.
Four so you’re not using Amp Env for everything.
Delay through release, graph or knobs. Blue playhead on the graph.
Retrigger on: every note is a new hit. Off: last-note legato, so a line can be one shape. That switch actually matters here.
Four so you’re not using Amp Env for everything.
SubLode Complete - LFOs
Same assignment as the envelopes. Cutoff, grit, morph, sat, XMOD; wherever you put them.
Multiple waveforms including Custom. Sync or free. Fade in so the first hit can sit still. Phase so two LFOs at the same rate aren’t the same gesture. Retrigger on/off same idea as the envelopes. Blue playhead on the graph.
Rate and depth can be moved by another LFO, an envelope, or a macro.
Multiple waveforms including Custom. Sync or free. Fade in so the first hit can sit still. Phase so two LFOs at the same rate aren’t the same gesture. Retrigger on/off same idea as the envelopes. Blue playhead on the graph.
Rate and depth can be moved by another LFO, an envelope, or a macro.
SubLode Complete - Filters
Two modules, same layout. A then B, or A and B in parallel with their own wet/dry. High-pass in front of the type, low-pass after. Solo a slot if you need to.
Lo-Split keeps the bottom dry and only filters above it. That’s the “second channel and a crossover” trick, on the module. (Saturation has the same split.)
Types go from polite slopes to Acid, MS-20, Dirty, comb, phaser, vowel, formant. Path 1 can stay a round low-pass while Path 2 is a vowel.
Key tracking is per path. Click the chip: Off, positive, or negative (higher notes get darker). Path 2 waits for a FILT chip.
Lo-Split keeps the bottom dry and only filters above it. That’s the “second channel and a crossover” trick, on the module. (Saturation has the same split.)
Types go from polite slopes to Acid, MS-20, Dirty, comb, phaser, vowel, formant. Path 1 can stay a round low-pass while Path 2 is a vowel.
Key tracking is per path. Click the chip: Off, positive, or negative (higher notes get darker). Path 2 waits for a FILT chip.
SubLode Complete - Saturation
Three layers per path. Serial stacks them. Parallel is three colors, each with wet/dry.
Tape, tube, transformer, transistor, or Custom (rolloff, decay, odd/even). Organic is the analog drift on the analog styles. Drive per layer. Attack/release on the path so it can grab and let go. Clip, oversample, auto gain at the end.
Pre-EQ or post-EQ per path. Lo-Split same as filters: cook the mid, leave the very bottom round.
Path 2 waits for a SAT chip.
Tape, tube, transformer, transistor, or Custom (rolloff, decay, odd/even). Organic is the analog drift on the analog styles. Drive per layer. Attack/release on the path so it can grab and let go. Clip, oversample, auto gain at the end.
Pre-EQ or post-EQ per path. Lo-Split same as filters: cook the mid, leave the very bottom round.
Path 2 waits for a SAT chip.
SubLode Complete - EQs
Three bands each. Low: bell, shelf, or high-pass. Mid: bells. High: bells, shelves, or low-pass.
Type is the desk (Clean, British, American, Console, Passive, Tube). Path 1 can be almost nothing. Path 2 can be the mix move. If you’re boosting 2 kHz on the sub to hear it, that work belongs on Path 2.
Type is the desk (Clean, British, American, Console, Passive, Tube). Path 1 can be almost nothing. Path 2 can be the mix move. If you’re boosting 2 kHz on the sub to hear it, that work belongs on Path 2.
SubLode Complete - Master Tab
Compressor is the meeting. Always in the path; mix at zero is dry. Three bands, your splits. VCA / FET / optical / tube. Compress the floor without flattening the mid, or the other way around. Attack and release per band, saved with the sound.
Amp Env is whether the note is there. Init is already a bass: short attack, full sustain, short tail. Retrigger on: every note is a new hit.
Trem/Wob is LFO 5. Toward Trem it’s level. Toward Wob it’s a sweep that stays open at the top so it doesn’t swallow the color every bar. Init is Square, depth at zero.
MONO collapses after the mix. Mono Hz keeps the lows centered if Path 2 is still a little wide. Glide is the crawl. Meter is post-output.
Amp Env is whether the note is there. Init is already a bass: short attack, full sustain, short tail. Retrigger on: every note is a new hit.
Trem/Wob is LFO 5. Toward Trem it’s level. Toward Wob it’s a sweep that stays open at the top so it doesn’t swallow the color every bar. Init is Square, depth at zero.
MONO collapses after the mix. Mono Hz keeps the lows centered if Path 2 is still a little wide. Glide is the crawl. Meter is post-output.
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