How to Create Tearout Dubstep Wobbles: The Complete Guide to Aggressive Bass Design
Tearout dubstep demands the most aggressive, face-melting bass sounds in electronic music. These aren't your typical wobbly bass lines—tearout wobbles are violent, distorted, and designed to destroy sound systems. This comprehensive guide will show you exactly how to create these devastating sounds from scratch.
What Makes Tearout Dubstep Different?
Before diving into sound design techniques, it's important to understand what sets tearout apart from other dubstep subgenres.
Traditional dubstep wobbles are rhythmic and musical, often featuring clean LFO modulation and subtle distortion. Tearout wobbles throw subtlety out the window, embracing chaos, aggression, and sonic brutality. The wobbles are dirtier, faster, more distorted, and designed to create maximum impact on massive sound systems.
Tearout evolved from artists pushing dubstep's boundaries, with producers like Phiso, Marauda, Aweminus, and Samplifire leading the charge. The sound is characterized by extremely distorted bass textures, rapid-fire modulation, metallic tones, harsh mid-range aggression, and relentless energy that never lets up.
The goal isn't beauty—it's pure sonic destruction. Your wobbles should sound like machinery tearing itself apart, chainsaws cutting through metal, or monsters screaming. If it doesn't make you wince slightly, it's probably not aggressive enough for tearout.
Essential Tools for Tearout Sound Design
While you can create tearout wobbles with various synthesizers, certain tools make the process significantly easier and more effective.
Serum by Xfer Records is the industry standard for modern bass music production. Its visual feedback, extensive modulation options, and powerful effects section make it ideal for creating complex tearout wobbles. The ability to draw custom wavetables and see exactly what you're modulating gives you precise control over your sound.
Vital is a free alternative to Serum that's remarkably capable. If you're on a budget, Vital provides similar wavetable synthesis capabilities with excellent sound quality. While it lacks some of Serum's advanced features, it's more than sufficient for creating professional tearout sounds.
FM8 or Sytrus for FM synthesis provides metallic, aggressive tones that layer beautifully with wavetable synths. FM synthesis excels at creating harsh, clangorous sounds perfect for tearout's aesthetic.
Distortion plugins are absolutely essential. Stock DAW distortion often isn't aggressive enough—consider plugins like FabFilter Saturn 2, Soundtoys Decapitator, iZotope Trash 2, or Camel Crusher (free) for more extreme saturation and distortion.
OTT (Multiband Compression) is mandatory for tearout production. Xfer's OTT is free and provides the extreme multiband compression that gives tearout its characteristic aggression and presence. Nearly every professional tearout producer uses OTT extensively.
Sound Design Fundamentals: Building Your Base Sound
Creating tearout wobbles starts with selecting the right foundational elements in your synthesizer.
Wavetable Selection
Choose aggressive, harmonically rich wavetables as your starting point. Avoid simple sine or saw waves—they lack the harmonic complexity tearout demands. Look for wavetables labeled "harsh," "distorted," "digital," "metallic," or "noise."
In Serum, excellent starting wavetables include anything from the "Digital" category, "Analog" wavetables with added texture, and custom-drawn wavetables with sharp transitions and discontinuities. Creating custom wavetables by importing distorted audio samples can yield unique results that stand out.
For maximum aggression, use two oscillators with different wavetables and detune them slightly (5-15 cents). This creates beating and interference patterns that add movement and density. Layer a clean wavetable (like a basic saw) with a heavily distorted one for a sound that has both fundamental punch and harmonic aggression.
Unison and Detuning
Tearout wobbles need thickness and width. Enable unison on your oscillators with 5-9 voices. More voices create a thicker sound, though too many can become muddy. Adjust detune to taste—for tighter, more focused sounds use less detune (10-20), for wider, more chaotic sounds push it higher (30-50).
Increase the unison blend slightly to spread the unison voices across the stereo field. This creates width and helps your bass take up sonic space. However, be careful not to make your sub frequencies stereo—keep low end (below 120Hz) mono for maximum punch and club system compatibility.
Filter Configuration
The filter is where the "wobble" happens. For tearout, use aggressive filter types that color the sound heavily rather than transparent filters.
Set your filter to a band-pass or low-pass filter as your starting point. Band-pass filters create vowel-like movements that work brilliantly for wobbles. Comb filters, formant filters, and phaser filters all provide unique modulation characteristics worth exploring.
Increase filter resonance significantly—anywhere from 40-70%. High resonance creates the characteristic screaming, vowel-like qualities tearout is known for. Push it until it sounds almost unstable and harsh. If it sounds too clean and polite, you need more resonance.
Drive the filter input to add saturation before the filter. This creates additional harmonics for the filter to work with, resulting in a more aggressive, complex tone.
LFO Modulation: Creating Movement
The LFO (Low Frequency Oscillator) creates the rhythmic wobble movement that defines the sound.
LFO Rate and Rhythm
Tearout wobbles typically use faster LFO rates than traditional dubstep. Set your LFO to sync with your project tempo—common rates are 1/4, 1/8, 1/16, or even 1/32 for extremely fast modulation.
For tearout's characteristic chaos, use LFO rates that create polyrhythmic patterns against your drums. Try 1/8 triplets, 1/16 triplets, or dotted note divisions to create rhythmic complexity and unpredictability.
LFO Shape and Customization
Simple sine or triangle LFO shapes create predictable, smooth wobbles—fine for basic dubstep but too tame for tearout. Draw custom LFO shapes with sharp transitions, irregular peaks, and asymmetric patterns.
Create aggressive LFO shapes by drawing sharp peaks and valleys, using the grid snap to create stepped patterns, adding random variation points, and combining smooth curves with abrupt changes. The goal is creating unpredictable, violent movement rather than smooth, musical wobbles.
Layer multiple LFOs modulating different parameters at different rates. Route LFO 1 to filter cutoff at 1/8 rate, LFO 2 to resonance at 1/16 rate, and LFO 3 to wavetable position at 1/4 rate. This creates complex, evolving modulation that never repeats exactly.
Key Modulation Targets
Don't just modulate filter cutoff—tearout wobbles need modulation on multiple parameters simultaneously for maximum chaos and interest.
Filter Cutoff is the primary wobble parameter. Modulate heavily with your main LFO, using the full range from closed to open for dramatic movement.
Resonance Modulation adds aggression by varying how much the filter screams. Modulate resonance inversely to cutoff (when cutoff is high, resonance is low and vice versa) for vowel-like formant movements.
Wavetable Position should scan through different waveforms as the wobble moves. This creates timbral variation that keeps the sound interesting and prevents repetitive wobbles.
FM Amount (if your synth has FM synthesis) adds metallic, clangorous tones that complement wavetable synthesis perfectly. Modulate FM amount to add aggression peaks.
Distortion Mix can be modulated to add dynamic crunch. More distortion during filter peaks creates emphasis and aggression where you want it most.
Pitch can be modulated subtly (±2-5 semitones) for pitch-wobbles that add another dimension of movement. This is particularly effective on sub-bass layers.
Distortion and Saturation Techniques
Distortion is absolutely critical for tearout—clean wobbles don't cut it in this genre. You need aggressive, face-melting saturation.
Layered Distortion Approach
Rather than using one massive distortion plugin, layer multiple distortion stages with different characters. This creates more complex harmonic content and prevents the lifeless, over-saturated sound that comes from extreme single-stage distortion.
Start with soft saturation or tube-style distortion to add warmth and harmonics without destroying transients. Follow with harder clipping or bit crushing for digital harshness. Finish with multiband distortion to target specific frequency ranges for saturation.
In Serum, use the built-in distortion module, then follow with additional distortion plugins after the synthesizer. This multi-stage approach creates richer, more complex distortion than any single stage can achieve.
Multiband Distortion Strategy
Different frequency ranges need different types and amounts of distortion for optimal results.
For sub-bass (20-120Hz), use minimal, warm saturation. Too much distortion here creates mud and wastes headroom. You want punch and fundamental, not chaos, in the low end.
For mid-bass (120-500Hz), this is where the meat of your wobble lives. Apply moderate to heavy distortion here for aggression while maintaining clarity. This range carries the fundamental wobble movement.
For mid-range (500Hz-5kHz), go absolutely wild with distortion. This is the range that creates tearout's characteristic aggression and presence. Brutal, harsh saturation here is what makes the genre.
For high-end (5kHz+), use distortion selectively to add sizzle and air without excessive harshness. High-frequency distortion creates presence and helps wobbles cut through mixes.
FabFilter Saturn 2 excels at this multiband approach, allowing you to apply different distortion types and amounts to each frequency range independently.
Specific Distortion Types for Tearout
Different distortion algorithms create different characteristics—knowing which to use and when dramatically improves your sound.
Tube distortion adds warm harmonics and glue. Use early in the signal chain for foundation and warmth.
Transformer/tape saturation provides subtle harmonic enhancement and analog character. Good for adding density without obvious distortion.
Hard clipping creates aggressive, digital harshness perfect for tearout. Use on mid-range frequencies for maximum impact.
Bit crushing creates lo-fi digital artifacts and aliasing that add unique character. Small amounts (12-14 bit) add grit, lower bit depths (6-8 bit) create extreme destruction.
Waveshaping provides unique harmonic generation by literally reshaping the waveform. Experiment with different curve shapes for unpredictable results.
Foldback distortion creates metallic, clangorous tones by folding audio that exceeds a threshold back on itself. Excellent for adding metallic aggression.
OTT and Multiband Compression
OTT (Over-The-Top multiband compression) is the secret sauce that gives tearout its explosive, in-your-face character.
How OTT Works
OTT splits your signal into three frequency bands (low, mid, high), then applies extreme upward and downward compression to each band independently. This brings quiet parts up and loud parts down, creating an extremely dense, consistent sound with maximum perceived loudness.
The key to OTT in tearout is understanding it's not just about making things louder—it's about creating harmonic excitement, adding sustain to transients, and creating the characteristic "breathing" quality that tearout wobbles have.
Optimal OTT Settings for Tearout
Don't just slap OTT on with default settings—adjust it for optimal results. Start with 20-40% depth and increase until you achieve the desired aggression without completely crushing dynamics. Push upward compression more than downward for aggressive sound enhancement.
Adjust the band crossovers to target specific frequency ranges. Moving the low-mid crossover to 250-300Hz can help maintain punch while compressing the aggressive mid-range heavily.
Use multiple instances of OTT at different stages rather than one extreme setting. Light OTT on the raw synth (20-30%), moderate OTT after distortion (40-50%), and final OTT on the processed bass bus (20-30%) creates more natural compression than one 100% instance.
OTT Placement in Signal Chain
Where you place OTT in your effects chain dramatically affects the result.
Before distortion - OTT compresses the clean signal, creating consistent dynamics before distortion. This results in more even distortion characteristics.
After distortion - OTT compresses the distorted signal, bringing up the quiet distortion artifacts and creating extreme density. This is the most common placement for tearout.
Before and after - Using OTT both before and after distortion creates maximum compression and aggression. This is common in professional tearout production for the most extreme results.
Creating Metallic and FM Elements
Tearout wobbles benefit enormously from metallic, clangorous tones that pure wavetable synthesis struggles to create.
FM Synthesis Integration
FM (Frequency Modulation) synthesis creates metallic, bell-like tones perfect for complementing wavetable wobbles. If your synth has FM capabilities (like Serum's "FM from B" feature), use them extensively.
Set one oscillator to modulate another at audio rates (rather than LFO rates). This creates inharmonic, metallic tones. Modulate the FM amount with an LFO for dynamic metallic movement.
For Serum users, enable "FM from B" on oscillator A, and use aggressive waveforms on oscillator B. Modulate the FM amount knob with an LFO synced to your wobble rhythm for metallic accents that complement the main wobble movement.
Alternatively, use a dedicated FM synthesizer (FM8, Sytrus, DX7) to create metallic bass layers, then blend them with your wavetable wobbles for hybrid tones.
Creating Metallic Layers
Layer pure FM patches under or alongside your wavetable wobbles for added metallic character. Design a complementary FM wobble using similar rhythm and modulation, filter it to occupy different frequency space than your main wobble (perhaps focusing on 1-5kHz where metallic tones live), and blend at 20-40% volume relative to the main wobble.
Use fast, complex modulation on FM parameters to create unpredictable metallic movement. The chaos of FM modulation complements the controlled aggression of wavetable wobbles.
Sub-Bass Layer
Tearout needs devastating low end that punches listeners in the chest. The sub-bass layer provides this foundation.
Designing Clean Sub
Your sub-bass should be relatively clean and focused compared to the chaos of your mid-bass wobble. Use a simple sine wave or slightly enhanced sine (add 1-2 harmonics for character) tuned to your song's key.
Keep sub-bass mono (no stereo width) for maximum punch and club system compatibility. Stereo sub-bass causes phase issues and loses power on mono playback systems.
Apply gentle, warm saturation to add slight harmonics without destroying the fundamental. This helps the sub-bass be audible on smaller speakers while maintaining punch on systems with proper subwoofers.
Sub-Bass Modulation
While your mid-bass wobbles chaotically, keep sub-bass modulation more controlled and musical. Light filter modulation (if any) to add subtle movement without destroying the fundamental punch.
Consider pitch modulation (±1-2 semitones) synced to your wobble rhythm for pitch-wobbles that create additional movement. This technique is characteristic of modern tearout.
Use envelope modulation on sub volume to create pumping that complements your kick pattern. Slight ducking when the kick hits (via sidechain compression or manual envelope shaping) creates space and rhythm.
Blending Sub with Mid-Bass
Use a crossover frequency around 100-120Hz to separate sub from mid-bass. Everything below the crossover is your clean sub layer, everything above is your distorted, modulated mid-bass.
Process these layers separately—clean processing on the sub to maintain punch, extreme processing on the mid-bass for aggression. This gives you the best of both worlds: clean, powerful low end and aggressive, characterful mid-range.
Advanced Modulation Techniques
Beyond basic LFO modulation, advanced techniques create more complex, evolving wobbles that stand out.
Envelope Modulation
Use envelopes to modulate parameters over the duration of each note for dynamic movement beyond what LFOs provide.
Create sharp, punchy attack envelopes on filter cutoff to add transient snap at the beginning of each wobble note. Use decay settings to control how quickly the filter closes after the initial attack, creating accent patterns.
Modulate distortion amount with envelopes so notes start clean and become progressively more distorted. This creates dynamic build within single notes.
LFO-to-LFO Modulation
Many modern synthesizers allow LFOs to modulate other LFOs. This creates incredibly complex, evolving modulation patterns.
Route one LFO to control the rate of another LFO for modulation that speeds up and slows down rhythmically. Route an LFO to control another LFO's shape or phase, creating morphing modulation patterns that never repeat exactly.
This technique creates wobbles with unpredictable, organic movement that sounds less programmed and more alive.
Randomization and Chaos
Incorporate controlled randomness for wobbles that never sound exactly the same twice.
Use random LFO modes (if available) to create unpredictable modulation. Set the random LFO to trigger on each note for variation between wobbles. Modulate the random amount with another LFO for dynamic levels of chaos.
In Serum, the "Chaos" feature in the oscillator section adds controlled randomness to pitch, phase, and other parameters. Small amounts (5-15%) add life and variation, while larger amounts create extreme unpredictability.
Resampling and Mangling Techniques
Professional tearout producers frequently resample their initial wobbles and process them further for maximum aggression.
The Resampling Process
Once you've created a basic wobble you like, record it to audio and reimport it into your sampler or audio editor. This "bouncing" the MIDI to audio allows for processing impossible with real-time synthesis.
Timestretch the resampled wobble to different tempos for unique timbral changes. Extreme timestretching creates artifacts and character that add to tearout's aesthetic.
Reverse sections, chop and rearrange slices, pitch shift segments independently, and create rhythmic glitches through careful editing. This mangling process takes already aggressive wobbles and pushes them into complete chaos.
Granular Processing
Apply granular synthesis or processing to resampled wobbles for extreme transformation. Plugins like Quanta, Portal, or even stock granular effects can turn recognizable wobbles into completely new textures.
Small grain sizes (10-50ms) with high grain density create smooth, evolving textures. Larger grain sizes (100-200ms) with random playback create chaotic, glitchy textures perfect for tearout breaks and fills.
Further Destruction
Process resampled wobbles with extreme effects that would be impossible to use in real-time synthesis. Apply heavy bit crushing (3-6 bit) for extreme lo-fi destruction. Use multiple distortion plugins in series for unprecedented saturation. Apply random pitch shifting or formant shifting for unnatural, alien tones.
The beauty of resampling is you can try extreme processing without worrying about CPU usage or real-time parameter control. If it sounds good, keep it. If not, try something else.
Rhythm and Pattern Programming
Tearout wobbles need engaging rhythms that complement the drums and drive the energy forward.
Wobble Rhythms
Avoid simple, repetitive wobble patterns. Tearout demands complexity and unpredictability. Create patterns with irregular note lengths—mix 1/4 notes, 1/8 notes, 1/16 notes, and triplets within the same pattern.
Use rests strategically to create space and tension. Not every beat needs a wobble—silence can be as powerful as sound when used intentionally.
Program patterns that interact with your drums rather than sitting on top of them. Have wobbles fill spaces where drums are sparse, and simplify wobbles where drums are busy.
Creating Variations
Never use the exact same wobble pattern throughout an entire track. Create variations with slightly different rhythms for different sections (verse, pre-drop, drop, breakdown). Alternate between simpler and more complex patterns to create dynamic contrast. Add fills and transitions using completely different wobble patterns or effects.
Professional tearout tracks typically feature 4-8 different wobble variations that keep the track evolving and maintaining interest.
Automation and Real-Time Movement
Automate parameters throughout your arrangement for constantly evolving sounds. Automate LFO rates to speed up or slow down wobbles in different sections. Automate distortion amounts for building intensity. Automate filter characteristics for tonal variation. Automate effect mixes for dynamic spatial changes.
This automation creates the impression of a living, breathing track rather than static loops that repeat mechanically.
Mixing and Processing Tearout Bass
Even perfectly designed wobbles need proper mixing to achieve their full impact in the context of a track.
EQ Strategies
Use high-pass filters to remove unnecessary sub-bass rumble from your mid-bass layers. This prevents mud and phase issues while allowing your dedicated sub-bass layer to handle the low end cleanly.
Cut problematic mud frequencies around 200-400Hz that build up from heavy distortion. Use narrow cuts to surgically remove boxiness without thinning the overall sound.
Boost presence frequencies around 2-5kHz to help wobbles cut through busy mixes. This range is crucial for audibility on all playback systems.
Add air and sizzle with gentle high-shelf boosts above 8kHz. This helps wobbles feel present and modern rather than dull and buried.
Compression and Dynamics
Use moderate compression (3-6dB gain reduction, 4:1 ratio) to control peaks and maintain consistency. Fast attack times (1-5ms) catch transients, medium release times (50-100ms) maintain punch.
Sidechain your bass to your kick drum so the kick punches through without competing. Use fast attack (0-5ms) and medium-fast release (50-100ms) for transparent ducking that creates rhythmic space.
Apply parallel compression for added thickness and sustain without squashing dynamics completely. Blend a heavily compressed version (10-15dB reduction) under your dry signal for maximum impact.
Stereo Processing
Keep your sub-bass (below 100-120Hz) completely mono for maximum punch and mono compatibility. Use stereo widening carefully on mid and high frequencies to create space and dimension.
Apply Haas effect or stereo widening plugins conservatively. Too much widening creates phase issues and a weak, thin sound on mono playback systems. Always check your mix in mono to ensure it still sounds powerful.
Layering Multiple Wobbles
Single wobbles, no matter how well designed, often lack the depth and complexity of professional productions. Layering multiple wobbles creates richer, more impactful sounds.
Complementary Wobble Design
When layering wobbles, ensure each layer occupies different sonic space. Design layer one for low-mids (120-800Hz) with heavy distortion. Layer two for high-mids (800-3kHz) with metallic, FM-heavy character. Layer three for highs (3kHz+) with bright, aggressive harmonics and presence.
Use different LFO rates on each layer for rhythmic complexity. One wobble at 1/8 rate, another at 1/16 triplets, and a third at 1/4 creates polyrhythmic patterns that sound more complex than single-rhythm wobbles.
Apply different distortion types to each layer—tube saturation on one, hard clipping on another, bit crushing on a third. This creates a more complex harmonic spectrum than using identical processing on all layers.
Processing Layers Separately
Route each wobble layer to its own mixer track for independent processing. This allows surgical EQ, specific compression, and tailored effects on each layer.
Apply different amounts of reverb, delay, or other spatial effects to each layer to create depth. The sub might be completely dry, mid-bass might have subtle room reverb, and high wobbles might have longer reverb for atmospheric depth.
Balance and Blend
Use volume automation to bring layers in and out throughout the track. All layers playing constantly creates cluttered, overpowering bass. Strategic layer management creates dynamic movement and prevents listener fatigue.
Start drops with fewer layers and introduce additional layers as the section progresses to build energy and intensity.
Conclusion: From Theory to Practice
Creating devastating tearout wobbles requires understanding sound design fundamentals, mastering modulation techniques, embracing aggressive processing, and developing your unique sonic signature.
Start by experimenting with the techniques outlined in this guide. Don't try to implement everything at once—focus on mastering one or two techniques at a time. Create simple wobbles first, then progressively add complexity as you become more comfortable.
Reference professional tearout tracks regularly. Load them into your DAW alongside your work and compare frequency balance, distortion character, and modulation complexity. This develops your ear for what professional tearout sounds like.
Most importantly, embrace experimentation and happy accidents. Tearout's most innovative sounds often come from pushing things too far, breaking rules, and discovering unique processing chains. If it sounds good, it is good—there are no rules in tearout except making the most aggressive, impactful sounds possible.
The techniques in this guide provide the foundation, but your creativity and willingness to experiment will determine your success in creating truly unique, devastating tearout wobbles. Now stop reading and start designing—those sound systems won't destroy themselves.
