BOOM Library UberBass

From Natural to Extreme

Just raising the volume of the low end doesn't add character, and it doesn't know when to stay out of the way.

UBERBASS is a bass enhancer plugin for music, sound design and sound for picture: it adds harmonics with a resonant focus around a frequency you choose, shapes that effect with DRIVE and GATE, blends it back into the signal, and keeps rumble out of the result with LOW CUT.

BOOST

BOOST is the hero control: one knob sets how much of the generated low-end effect sits on top of your original signal, from a barely-there reinforcement to a fully driven, room-shaking amount.

It's the control every other parameter below serves, which is why it sits largest, front and center.

Drive It

DRIVE adds harmonic saturation to the generated low end, moving it from clean sub reinforcement to a saturated, aggressive character on demand, and it's what makes that low end audible on small playback systems in the first place.

A dedicated stage doubles the drive amount for material that needs to go further than a single knob's travel allows.

Place and Shape It

FREQUENCY sets the exact frequency the effect targets, tuned to the sub or low-end region of your source; a pitch-mode toggle lets you dial it in by musical note (E0-B2) instead of Hertz when that’s the faster way to match a key.

INTENSITY sets how strongly the effect applies, from subtle to heavily processed.

Q-FACTOR narrows or widens the focus around the set frequency: a high value keeps it tight and surgical for a kick drum’s fundamental, a low value spreads it broad enough to sit under a full mix bus.

Control It

GATE THR keeps the effect out of quiet passages, so it reacts only where the source actually calls for it instead of running underneath everything.

The GATE's ATTACK, RELEASE and RATIO give full control over the dynamic of the effect in regards to the input, from tight and percussive to a longer tail.

LOW CUT filters the whole signal ahead of the DRY / WET blend, so everything below the set point is removed from the output however you balance dry and wet, including rumble that was already in your source. It keeps the very lowest, non-musical content out of your low end.

Typical Use Cases

• Mix Bus - Broaden Q-FACTOR for presence across a full mix bus rather than a single element.
• Snares and Percussion - Put a body under a snare, clap or rimshot that otherwise lives only in the mids, tuned so it lands harder without turning boomy.
• Impacts, Kicks, Basslines, Hits and Explosions - Sub weight exactly where a kick or bassline needs it, without losing punch. Give sound effects a fundamental that survives the mix, tuned to the moment.
• Mechanicals and Gear - Latches, servos, reloads, weapon handling and machinery gain mass, so small mechanical detail reads as solid, heavy hardware.
• Film, TV and Game Scores - Low end that holds up on dynamic material, scored to picture.
• Vocal, Voice Over and Animal Recordings - Add weight and body without reaching for a synthetic sub layer.

Features

• BOOST: the entire added low-end effect in one hero control
• LOW CUT: removes rumble from the signal
• Up to 4x oversampling to reduce aliasing under heavy drive
• Zero latency with lookahead off; 10 ms with lookahead on
• VST 3, AU, AAX Native, AudioSuite. Native Apple Silicon. NKS-Ready.
• Weight on almost any signal
• Adding a translatable fundamental to sound effects and impacts
• Low end that holds up when scoring for film, TV and games
• FREQUENCY: target frequency in Hertz or musical pitch (E0-B2)
• Q-FACTOR: narrow or widen the effect's focus around the set frequency
• DRIVE: harmonic saturation, with a dedicated stage for extreme distortion
• GATE: keeps the effect out of quiet passages