LOW

SUB is a useful starting point when the arrangement needs a simple foundation. MOOG or PLUCK can supply more obvious note definition, while REESE, GROWL and FM invite a more textured part. The flavour establishes a starting architecture; the preset and macros determine the finished response.

Set Decay against the kick pattern. A note that carries into the next kick may need a shorter decay or different MIDI length before it needs less bass. Weight changes the balance of the instrument's low and mid contributions.

Bite is a macro whose influence follows the sound's design. Cutoff is an octave offset around the preset's authored filter frequency, with zero retaining that starting point; it is not an absolute hertz dial.

Open the filter enough for the notes to read, then add Dirt for a more textured edge. Match Level when comparing a driven sound, and check whether the extra upper energy supports the part or competes with the vocal.

Glide, note priority and retrigger behaviour shape a bass phrase as much as the oscillator choice. Overlap notes for a connected glide where the chosen mode permits it, and leave gaps where the rhythm should restart decisively.

Add Width only where the flavour supports it, and use Mono Low to focus the bottom of a wider sound. SUB does not use Width; widening the arrangement is often better left to a separate higher part.