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Message: [QUOTE="Bombastus, post: 91155, member: 2178"] Sub Regen lets Pure SUB’s original fundamental drive processing before replacing the processed low end with a clean version. That distinction matters because filters, distortion, and effects can alter phase and amplitude even when their audible character seems useful. Pure SUB offers two other forms of control that solve different problems. Its three layers can enter filters independently, while individual effects can keep the sub isolated and centered as they spread or roughen the upper content. The choice depends on whether a processor should receive the fundamental at all. [B][URL='https://goldmidi.com/community/threads/arturia-introduced-the-pure-sub-three-layer-bass-synth.76474/']Pure SUB’s dedicated low-end signal path[/URL][/B] gives you more than a blanket clean-or-dirty switch, so a stable output does not require stripping every useful interaction from the sound. [HEADING=2]Sub Regen replaces rather than bypasses the low end[/HEADING] With Sub Regen, the fundamental still passes through the active processing before the damaged result is replaced. The filter can react to it, distortion can generate harmonics from it, and dynamics-sensitive stages can respond to its level. That makes the feature a form of [B]post-processing fundamental replacement[/B], not a simple bypass around the entire chain. A bypass prevents the sub from influencing a processor, while replacement preserves that influence and changes what reaches the output afterward. The difference becomes obvious with nonlinear processing. A driven filter or saturator responds to the combined level of the Sub, Harmonics, and Texture layers, so removing the Sub from its input can reduce drive and change the midrange character. Sub Regen lets that interaction happen while restoring a steadier foundation later. Its position in the chain deserves attention. Restoring the fundamental after a troublesome stage protects it from damage already done, but any processor placed after that restoration can shape it again. A later restoration preserves more of the clean version at the final output, though it can also discard low-frequency color you deliberately created upstream. That trade-off rules out leaving Sub Regen active by habit. Soft clipping may add a controlled thickness that remains stable across the notes you use, and replacing it can make the patch feel detached or overly polite. Restore the fundamental when processing causes unwanted movement, not merely because the option exists. [HEADING=2]Layer routing prevents damage before it happens[/HEADING] Pure SUB can route the Sub, Harmonics, and Texture layers independently into its filter section. You can send the upper layers through an aggressive filter while keeping the fundamental outside it, which prevents resonance, drive, and cutoff movement from touching the lowest component. This route is more preventive than Sub Regen. The filter never receives the isolated Sub, so its response comes from the other layers alone. That can produce a cleaner result, but it may also make a driven filter sound less forceful because the largest low-frequency signal no longer pushes its input. Use that distinction deliberately. If a moving cutoff makes the bottom note swell or disappear, excluding the Sub from the filter removes the cause. If the filter’s reaction to the full signal creates the character you want, keep the Sub involved and consider restoration afterward. Per-effect sub isolation offers finer control farther down the chain. An effect can add stereo width or movement to upper harmonics while the low end remains tight and centered, avoiding the wasteful choice between a completely dry rack and an unstable full-band effect. This is especially useful when effects have different jobs. A widening stage may need isolation, while a restrained compressor or tone shaper can remain full range. Treating every slot identically throws away the advantage of having sub protection available at effect level. [HEADING=2]The intended color determines the right safeguard[/HEADING] Choose Sub Regen when processors need to react to the complete bass, but their final low-frequency output lacks consistency. Choose independent layer routing when a filter should neither alter the fundamental nor respond to its energy. Use per-effect isolation when only selected rack stages should leave the bottom untouched. Those choices should follow listening tests at more than one pitch. Hold the lowest intended note, then repeat the test higher in the part, because a setting that sounds controlled on one fundamental can expose a resonance or level jump on another. Match loudness before comparing routes. Extra level often makes the processed version seem stronger even when its low end has become less stable, and a limiter at the end can hide that change without correcting it. Check sustained notes as well as short hits. Mono playback reveals another failure mode. Width applied above the protected range may sound broad without shifting the fundamental, while full-band widening can weaken or move the bass when channels combine. If one stage causes that failure, isolate the sub there instead of flattening the entire processing chain. [/QUOTE]

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