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When I first loaded up SubBoomBass, the first place I headed to was the ‘Sub’ presets section – with a name like that, where else was I going to go! I loaded up a patch that I liked the sound of, and enthusiastically hit a low note on my Novation 61 SL MkII and I was extremely disappointed. I couldn’t hear a damn thing! I quickly checked that my computer was receiving MIDI messages, tested another virtual instrument on another track, which worked fine, and loaded up another random preset on the SubBoomBass and still no sound met my expectant ears from my KRK RP8s! I was highly frustrated had I just been conned out of over £70 for a virtual instrument that didn’t make any noise? As a final test I decided to crank up the signal that I was sending to my monitors, so I placed my fingers on the output Gain dial of my Alesis IO2 audio/MIDI interface, and whilst triggering a sustained MIDI note, I slowly turned it up bit by bit. The effect that I experienced was quite surreal and I fail to remember which I noticed first – the subtle deep sub sound coming from my monitors or the fact that my floor seemed to be shaking beneath my feet!

Holden Commodore Serial Numbers there. Whichever it was I was pleasantly surprised with the results as this is exactly what I wanted from the instrument – something to add some real weight to the bottom end of my tracks! Yes, I could just use the standard sub sound from Logic’s EXS24 sampler, but after browsing through a whole host of other sub sounds in SubBoomBass, I found that there could be a lot more than a simple sine wave to the bottom end of a track.

I was definitely looking forward to experimenting with the range of sub sounds that this thing had to offer, and was also interested in the bass, sequenced, and percussion sounds that were also promised within the package. Let’s start with the basics how does it look? Well, it looks kind of cool! Although I’m still not sure about the graffiti style background.

Call me old-fashioned, but I like my plug-in interfaces to look simple. I don't mind colours, but the writing on the back panel can be a little off-putting at first, and I think it makes an extremely powerful synth look a little cheap and gimmicky, although I’m sure it will appeal to some people. Having said that, the layout of SubBoomBass is really simple and you should find that you learn your way around in no time (although it may take a while to familiarise yourself with every single parameter!). The oscillator, filter, amp, preset and global controls are all separated into their own sections, and all the controls within each are laid out extremely intuitively (with larger, more frequently used parameters given larger dials), and there are even Sequencer and FX sections that can be toggled between being visible and hidden, to gear the interface towards your way of working. SubBoomBass even features an ‘Easy Mode’ which hides many of the more in depth parameters, and just displays the controls that are most useful for sound-shaping (e.g.

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Filter cutoff and resonance, oscillator types and tuning, LFO amount and speed, effect mix controls, etc). This is brilliant not just for the amateur synth programmer (who can familiarise themselves with the basic controls of the synth before unleashing it’s full potential), but is also excellent for using SubBoomBass as a live performance tool as it leaves the interface simple and uncluttered.

What’s more, it is very easy to assign controls to an external controller. Simply Control (Mac)/right (windows)-click on the parameter of your choice, choose the Assign to MIDI controller option, move the control on your attached device and it’s all done! The oscillators section is where your sound-shaping adventures will begin!