As an aside, the overdrive will actually reduce the volume.
Seems a bit of a waste of a voice though.
Actually, I’m wondering if the velocity to amp modulation (set to linear) might be causing my problems. If velocity is low by default, it might explain things. I’ll check…
Are you sure? Using OD definitely seems to boost the volume.
I’m sure it does on mine - maybe it’s faulty (four rather than keys)
Just had a play around with it. Depends on the patch as a whole. I suppose sitting between the filters it’s in a precarious place.
Just some ideas …
have you checked this long discussion already? Analog Four Bass Tips
On my AK I have the impression, if I use the second filter as resonant highpass that I have to take care of my speakers.
The loudness of a voice also depends on its envelopes. Do you have a more soft bass in mind or a punchy sound? Steep and fast envelopes - particularly on the filters - can make a big change.
Additionally, if the filters are fighting against each other, because their modulation is not synchronized to support each other, the sound also could become weaker.
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Thanks! I’ll check that discussion out.
I’m definitely finding that there’s not enough low-end as-is, when only using the mmf. That’s why I settled on using the ladder for low-pass and using the mmf as a kind of sweeping EQ, to accentuate the low end. Edit: looks like people on that other thread came up with a similar solution to me.
Compared to say, my Minitaur, which needs next to no enhancement.
For info - I’m looking at using all-Elektron units for improvised live set, to accompany projected film. I have a mate who’s set up a cinema tent for festivals and wants live, improvised music. So - I’m planning to limit myself to - OT, Rytm and AK. Might also use my A4. I can split out a channel of the AK for bass, so that I can hi-pass the non-bass tracks, for a bit of separation. Depending on how things go, I might add some other kit, but don’t want to have to carry too much around with me.
Maybe a silly answer, but if you’re fine with the low end and it’s just the volume, can’t you just lower the volume of your other tracks to match it?
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Try to reduce/change the volume of your oscs. This can have a big influence to how the overdrive behaves. You can boost the overall volume and low end seriously with the overdrive.
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That’s the inevitable conclusion, but I’m having to reduce everything on all units, where presets appear to be much louder (I’m only generally using presets to judge how other sound designers have set things up).
I suspect that a bit more velocity might help, I think I’m hitting the default value of 100 (on the A4 at least), but I’m going to have to dive in tonight to investigate.
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Thanks - I was having a play with this last night, really made a difference.
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Btw the trick with the resonant mmf in hp or peak is really nice with other synths using the Audio in. I tried it with the microbrute and thought my headphones will burst 
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Must give that a go!
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That sweeping EQ can also damp the loudness, if the timing is not right.
I would suggest to have the MMF cutoff tracking the keyboard and controlled by a dedicated envelope. I think after some tweaking a sweet spot should be possible, which has enough loudness.
Did you set the F1 Resonance Boost correctly?
BTW to compare a synth bass voice to a Minitaur could be a little unfair for many synths 
I suggest this as well
Yep - I tried F1 Res boost both ways. 
I’m tracking they keyboard as-is, but can’t remember off-hand if I used a separate envelope. I probably didn’t.
That makes a difference, because what is good for the LP modulation might es well be bad for the HP. I get the best results with two filters, if I treat them as separate units with separate modulation sources. This provides just more options to work with.
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In which case. I’ll give it a go.
My cases are often formant like sounds, which I try to generate. If I modulate two filters independently, very unique and interesting sounds can evolve.
For the bass case I would say, we have VCO --> F1 --> F2. If the timing is not right, the resonance of F2 might just not find enough spectrum to emphasize. And the direction of modulating F1 and F2 vs the spectrum might sometimes be better, if F1(+) and F2(-) are working antiparallel, if this makes any sense.
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Another note, I guess it was mentioned in the other bass thread. The osc1 feedback can boost the low end even more. You have to dose it carefully and maybe have to adjust cutoff, overdrive and key tracking, cause they all interact with the feedback. But it can give you some great results for basses
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