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SubLode Standard
Workhorse Dual-path bass synth
SubLode Standard - 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 two 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 two 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 Standard - Randomization
Not the whole synth or nothing. Lock the overlay to a section or a subsection. Keep the sub. Experiment with Path 1. Try a different Saturation on Layer 1.
Hit All if you want a laugh. Undo keeps the last five rolls.
Randomization 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.
Randomization 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 Standard - Sub Oscillator
Path 1. Sine (or whatever you pick), then grit, texture, half-harmonic, tone. It has its own filter, sat, and EQ.
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. Watch the wave.
Half-Harm is a second low voice against the fundamental. Not another Path 2 oscillator. Off, it’s a pillar. Up, it has more chest. Settings put it before or after grit/texture.
Sine/triangle if it should disappear. Saw/square if it should speak. Pulse, half sine, rect sine, saturated if it already has an attitude.
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. Watch the wave.
Half-Harm is a second low voice against the fundamental. Not another Path 2 oscillator. Off, it’s a pillar. Up, it has more chest. Settings put it before or after grit/texture.
Sine/triangle if it should disappear. Saw/square if it should speak. Pulse, half sine, rect sine, saturated if it already has an attitude.
Solo it. If it’s boring alone, you’re not done.
SubLode Standard - Oscillator 1-2
Init is off. One for body, two for a stack in the mids. Level, pan, octave, unison, detune per osc. They only share a filter if you flip FILT.
Pick the wave first. Warp is the cycle. Wave Morph is motion inside the osc (sync, formant, bend, squeeze, etc.). 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 — still 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.
Pick the wave first. Warp is the cycle. Wave Morph is motion inside the osc (sync, formant, bend, squeeze, etc.). 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 — still 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.
SubLode Standard - Noise Oscillator
Same path as the oscs. If the floor needs dirt, that’s Grit. 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.
Don’t start with white and EQ your way to a mood. 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.
Don’t start with white and EQ your way to a mood. Pick vinyl, tape, breath, machine, rain, whatever, then place it. Same SAT / FILT chips as the oscillators.
SubLode Standard - 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 arc to taste. Right-click the ENV title if you forget where it went.
Delay through release, graph or knobs.
Retrigger on: every note is a new hit. Off: last-note legato, so a line can be one shape. That switch actually matters here.
Two is generally enough so you’re not always stealing Amp Env for everything.
Amp Env is whether the note is there. Init is already a bass: short attack, full sustain, short tail.
Delay through release, graph or knobs.
Retrigger on: every note is a new hit. Off: last-note legato, so a line can be one shape. That switch actually matters here.
Two is generally enough so you’re not always stealing Amp Env for everything.
Amp Env is whether the note is there. Init is already a bass: short attack, full sustain, short tail.
SubLode Standard - LFO
Same assignment as the envelopes. Not locked to cutoff.
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.
Rate and depth can be moved by another LFO, an envelope, or a macro.
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.
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.
Rate and depth can be moved by another LFO, an envelope, or a macro.
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.
SubLode Standard - Filters
Two modules, same layout. A then B. 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, including negative (higher notes get darker). Path 2 does nothing until something has FILT on.
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, including negative (higher notes get darker). Path 2 does nothing until something has FILT on.
SubLode Standard - Saturation
Two layers per path.
Tape, tube, transformer, or transistor. 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, or transistor. 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 Standard - EQs
Three bands each. Low: bell, shelf, or high-pass. Mid: bells. High: bells, shelves, or low-pass.
Type is the desk (Clean, British, or American) not another routing speech. 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, or American) not another routing speech. 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 Standard - Master Tab
Compressor is the meeting. Always in the path; mix at zero is dry. Three bands, your splits. Compress the floor without flattening the mid, or the other way around. Attack and release per band, saved with the sound.
MONO is not polyphony. It 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.
MONO is not polyphony. It 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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