Taking a quick tour through the wealth of included sound packs shows the versatility of SubLab. The SubLab spectrogram with -4.2 of gain applied to the Maximizer along with a touch of width. Combine this with the loudness maximizer built into the master output, and SubLab gives you plenty of dynamics control to boost levels and tame or emphasize transients as needed. Featuring not only real-time analysis to help set an optimal Threshold level, it allows for sidechaining the Sampler to the Synth layer, creating dynamically interactive sounds in a pinch. Given that it can be shaped fairly intricately and focused on just a specific layer of the sound, the Distortion circuit can add everything from a slightly more natural sound through subtle harmonic enhancement to howling maniacal intensity.Ī Compressor circuit helps glue things together. In-line Low and High Cut controls help tame the results. Four distinct modes offer a variety of flavors: Tube for valve warming, Grunge for rabid bite, Overdrive for a crunchy solid state circuit, and Darkdrive for a mellower distortion with deeper low-end focus. An Impact control adds harmonic excitation in the upper register, while a Delay of up to 99 ms can be applied for flam-style rhythmic effects.įor additional grit, SubLab comes equipped with a Distortion circuit that can be applied independently to the Synth and Sampler sections, along with an overall Drive control. Root note and octave are manually detected – a nifty feature to keep everything in tune – and can be manually adjusted, along with fine tuning. Samples can be looped for longer tonal textures, with Start and End points along with loop Start, End, and Xfade, and overall In and Out fades helping shape playback. The Sampler can track along with incoming MIDI, or remain triggered at a default pitch regardless of MIDI. A simple drag-and-drop interface allows for easy import of user samples – or you can choose from a selection of 250 onboard kick samples. SubLab’s oscillators sound every bit as pure and juicy as you might expect from FAW – but on their own, they may not offer the depth of texture modern producers require – which is where the Sampler layer comes in. The SubLab Synth section in focus, using a Triangle oscillator, with the Pitch envelope in focus.
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