im STILL havin trouble doin a 'whomp' n wobble


VIP Junglist
Oct 29, 2007
Near the Lake District
ya know like the type original sin n the like shave in their tunes!!

im usin zeta, blue, massive n predator...

ive tried my hardest adjust the filter, then adjustin the envelope on the cut off for the filter and all them but still cannot get a sound tha can be used in a tune.

its startin to piss me off coz i know all it will take is someone to go 'ahhhh just do this' and then it'll be sorted! i know im not far off but i just cannot find that sweet spot that gives me that sound!

And with a wobble..... same really... cant get a sound worth doin and ive noticed lfo'in on some basses ive made just doesnt give a wobble. is there a rule to follow b4 a bassline will wobble out? like the first wobble on killers dont die.... i just cant seem to get that kinda sound.

im not tryin to copy hazard or the likes i just wanna know how its done so i can experiment down that route!

Sorry to sound noobish, im far from a noob but these lil nigglin things are startin to really get on my nerves

any help plz?


Oct 23, 2008
Turning up resonance in the lfo'd filter makes the change of filter frequency more apparent. Lowpassfilter and bandpassfilter are, in my opinion, the ones to use when you want strong sound to the modulation..

Highpass sounds also cool but isnt as apparent as the two I least to me.

Bandreject- aka notch filter isnt that apparent sounding (resonance helps a bit). I'd use notch for making the synth sound livelier, not wobblier..someone can correct me if im wrong.

If u use distortion, put the modulated filter after the distortion in the signal chain if possible. This helps the change of the filter cut-off frequency to be heard. This of course isn't a rule, it depends what kindofa sound your after and what kind is the distortion used.

The problem in distortion after filter-situation is that the distortion generates new harmonic frequencies and they can make the filter modulation a bit unaudible. But like I said it depends on the distortion used and the sound youre after.

Modulating the parameters of the distortion fx can sound cool too.
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Mar 27, 2008
'womps' - mess around with synth untill you get a good sound, then play short notes and on the ADSR apply medium to long attack, short sustain and short release, the attack makes the sound build for a split second reach a peak then die back down giving that "whomp" type sound you're after.

'wobble' in massive its quite simple, again get a good bass sound going on, in the lfo section choose sine and how much to sync, and drag and drop the little number thing from the lfo into the filter cut off box, play around to get some mad wobble effects

its fairly simple in zeta to but ive forgotten the layout of the synth, you have to apply cut off to all osc's in bottom left box, then modulate in the top right box.


Mar 27, 2008
i know the concept of how its done i just cant seem to find that sweet spot where u nail it. everything i seem to do sounds weak n pathetic!

have u tried layering it? maybe put a sub underneath it and a distorted hi passed whomp above it?

psp nitro can make it sound pretty sweet.


movement junglist
VIP Junglist
Apr 2, 2008
womp equals = low sustain, low decay, no release and adjust attack to taste, resonance is also a key factor, once you get that add a shit load of distortion for mayhem :D


New Member
Jan 31, 2008

Here we go...

Find a nice synth which has good frequencies hitting low, mid and highs..

I usually draw out a single long note on c3 and use a distrotion plugin or PSP Vintage Warmer on the channel then export as a WAV.

Then i import into Kontakt spread over all the keys.

I assign a lowpass filter to the LFO, set the LFO on Sine if you want a smooth wobble.

The wobble will have more dirt feel to it becuase you exported the original sound via a distortion or warmer plugin.

Find the speed or rate you want the wobble and use the cutoff and resonance to get a nice deep sound.

I then save this as a preset and load into a second Kontakt instrument patch so you now have two presets with exactly the same wobble sound but on two different midi channels, now layer them over each other but lowpass one so all you get is 50 or 60 hz sub of the sound and high pass the other up to say 200hz so they dont clash with each other or any other low frequency kicks or snaers, set the low wobble to a mono out and the top wobble to a stereo out, use the stereo enchancer in Kontakt to widen your top wobble..

This way you can boost the low end to get the sub nice and round and you can keep your top wobble riding over the top..

Try setting LFO to Pitch aswell with a very slow rate and use delay in the LFO to Filter section so the lfo only stats coming in at the end of the sound...

You can also get a similar effect by assigning a lowpass filter to your envelope and actually creating a lowpass attack and decay giving you the whomp sound...

Try grouping the two channels to a single channel and compressing it to finally gel the the two sounds.

Also alot producers like Clipz and Hazard would also have a third sound sitting in the middle but like a sqaure or saw wave...So you have you sub, the a midline then the wobble on top...

Use a decent spectrum analyser so you can see your frequencies....

Hope you guys follow that..

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