Can anyone explain to me a little bit about the sub osc?? I’ve read about it in the manual and I"m aware that it’s 1 octave below DDS1 and fixed to its frequency. Is the sub-oscillator mono?? I’ve been thinking about how to create really wide sounds, but still keep the low-end intact, and I’m wondering if there are ways to do that without post processing? It would have been really cool if there was an EQ you could set on the detuning of DDS1 so that it only occurs above a certain frequency, but I think that’s a bit of a stretch as far as a feature request.
Thanks!
Really interesting idea about doing this onboard. I’ve been a big fan of mono’ing the low end of my mixes and buses for years, and now with the Super 6 in the fold, I’ve found that it’s even more important. I’ve been pleasantly surprised to find that Live has incorporated this into their Utility plugin, which I run on every Super 6 track with any bass content.
I haven’t used the Sub function much, but it’d be interesting if frequencies below, say 150hz, were not affected by the lfo phasing.
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What’s your method for keeping the low-end clean and in-phase??
If I’m working on something like a reese bass, I would first record the stereo sound that I want. Then I would duplicate the patch, and remove any stereo effects/spreading, and create a sub bass (30 hz to about 100 or 150hz). After I would high-pass the stereo part, and then glue together the two sounds with a compressor.
Btw, I’ve spoken with UDO support, and confirmed that the detuning on DS1 affects all the frequencies. I read somewhere in another post that the detuning /LR phase effects only come in at around 200-300 hz, but based on my conversation, I’d say that isn’t true. So if you do want to spread a sound and not muddy up the low end, it’s best to either use it subtly, or else do some post-processing work like I just mentioned. I agree, it would be a really cool addition to be able to control the frequency at which detuning and LR Phase comes in.
If anyone else has any ideas on creating bass on the Super 6 and post-processing ideas, I’d love to hear them!
In almost every song I end up creating a mono distortion send. That is exactly what it sounds like, a send that folds everything down to mono and then distorts it (pretty hard). For any sound that doesn’t fold down into your mono mix as well as you’d like, you send it to the mono distortion channel until you can hear it as much as you want in your mono mix. Go back to stereo and that sound will still be as wide as you left it, but with more center presence. I often end up sending almost my whole mix through it for a little color, but especially things like wide chorused pads or arps that are moving around too much for their own good.
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That’s an awesome idea! I’ve never done something like this through a send. Thanks for sharing
Really interesting idea. Do you have any sound examples of this? I’m curious what the end effect is and how much subtlety there is (or not).
Regarding the initial question:
DDS1 detuning has nothing to do with the sub oszillator.
The sub oszillator is allways one DDS2 square wave per voice just running exactly one octave below the middle oszillator of the detuned DDS1 oszillators.
The sub oszillator is not really mono, but the L/R “phase” difference is in non binaural mode not more than 0.5ms, so this definitely keeps the “low end” intakt. In binaural mode this simply doesn’t matter.
You can easily check this yourself by turning the MIX knob to DDS2 so you only listen to the suboszillator.
By the way, using DDS2 with PWM one octave below DDS1 fits much better to a supersaw. 
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I don’t have a before/after comparison lying around, but this recent track is definitely using that trick for the lead/arp sound.
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Right, that’s true. Why do you say in the binaural mode it doesn’t matter?? I thought that with the LR Phase at 0, in binaural mode you essentially have a mono sound since both the left and right channels are in phase.
BTW, @White_Noise, I tried your idea for a vocal effect that was a little too weak and I found it to be a good method to bring it out. I’ll have to try it on some pads as well.
In binaural mode you allways have a voice pair for left and right and they do normally not run so far out of phase while playing deeper frequencies. SUPER DDS DETUNE mainly affects the detuning of the 7 DDS1 Oszillators per voise, not the detuning of the voice pair.
The only LR PHASE control i see is in LFO1 section, but this only affects the Phase of the LFO signal (normally as a modulation source) and not the phase of the modulated signal, so this has normally no influence on your bass fundament at all.
One way to create a real signal phase shifting at lower frequencies is by using LFO1 in HF or HF TRK mode and than move the LF PHASE slider… but if you do so, you do it for the reason that you want exactly that!
By the way, if you load a square into LFO in HF TRK, set rate to the lowest position, LR PHASE to the middle, mix it to DDS2 and set DDS2 to square at 32 (same tone) and than use MOD ASSIGN to modulate LR PHASE by LFO2 … then you get really funny bass phase shifting effects.
But i would expect, that even this effect would nearly disapear if used as part of real music.
While writing this i tried it … and came to the stupid idea to go to UNISON … and then i got real bass phase shifting problems. But it think that this should be well known (and really clear), that UNISON is not intend to make a deep bass.
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