Deep Bass & Texture
( An entertaining read and playlist to explore)
Have a confession. I like bass. Always have done.
I’m not thinking about the loud stuff, maybe more nuanced, or textured material.
My favourite instrument is the Cello.
Also the Piano, Double Bass, Saxophone, other acoustic instruments that create more living, breathing notes.
What do I mean by bass, well maybe 0-250Hz ???
So often, I find myself following the double bass, or the electric bass, or the kick drum, or maybe the rhythm of a synth’ bass note, in electronic music.
It’s maybe here, in the lower register, that audio systems are laid bare for what they can do, with these notes. To reproduce such notes with accuracy, the leading edge, the actual note itself, any timbre present, the decay of the instrument, etc, etc.
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The Tenor Saxophone plays down to 104 Hz, whilst Baritone goes down to 65Hz
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The Cello plays down to 65.41Hz, which corresponds to the open C string
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The Double Bass plays down to 41.2Hz, which is typically E1 on the open B string
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The Piano plays down to 27.5Hz, ( that’s the key AO on an 88 key piano)
Although, for piano, the “presence” of this lower register, is less pronounced ?
The lowest piano notes lack the “slam” or “punch” of other bass instruments because of their timbre (lack of strong fundamental, overabundance of muddy harmonics), the physical limitations of hitting a very thick string, and how humans perceive low-frequency sound energy?
Instruments that produce fundamental frequencies or significant energy in the sub-bass range of 20–30 Hz are limited to specialised, very low-pitched acoustic instruments, electronic synthesizers, and massive percussive elements. These frequencies are often felt more than heard, creating a powerful, vibrating, or “rumbling” sensation.
You get the idea…
Moving on…
We’ve recently completed an audio system and listening room - our system two ( see bio) - now there is just the music to enjoy. So, we have been enjoying so much music in recent months.
Over recent years, I’ve been listening to a lot of experimental, electronic, dance, even dubstep. As well as jazz, modern jazz, jazz fusion. A lot of this, maybe more contemporary.
With all this fabulous “new-to-us” Naim kit, we have discovered a few pieces of music specifically to showcase what all the boxes can do. What can external power supplies - for source and pre-amplifier - also active version of loudspeakers - what value might this add ?
Massive reserves of current on tap, to control huge movements of energy in the sound waves.
Here is a curated Deep Bass & Texture playlist based on our sessions.
These tracks were specifically discovered and chosen to leverage the nDAC / 555 PS DR resolution, NAC282 / SuperCap DR finesse and the Active PMC control.
The “Sublime & Velvety” Selection
- Dominique Fils-Aimé – Birds (For 3D vocal space and subterranean double bass)
- Gretchen Parlato – Holding Back the Years (For that “velvety” vocal and melodic electric bass)
- Maribou State (feat. Holly Walker) – Steal (For the “low low” bass entry and soulful build)
- Maribou State – Wallflower (Specifically for the “drop” at the end to test the Active grip)
- Jordan Rakei – Tawo (For the syncopated layers and double-tracked vocal textures)
- Meshell Ndegeocello – Beautiful (For a natural, simple arrangement with world-class bass guitar)
The “Hypnotic & Layered” Selection
- Portico Quartet – Ruins (For the signature Wyllie sax over melodic Hang-drum rhythms)
- Bonobo – Rosewood (For the hypnotic, building dance vibe and rhythmic bass)
- GoGo Penguin – Protest (For the steady, deep synth-bass pulse and piano clarity)
- Mammal Hands – KandaIKI (For the captivating percussive drive and running sax)
- Matthew Halsall – The Sun in September (For the spiritual, “cool” arrangement and trumpet textures)
- Grandbrothers – Bloodflow (For the “organic-meets-digital” piano pulse and deep low-end)
The “Bone Shaker” Selection
Perhaps saving the most interesting or “intriguing” pieces, (for bass), until last …
- Maribou State - Wallflower : (Specifically for the “drop” at the end to test the speakers ability to grip bass notes, in our case the “Active” grip)
The reason Wallflower feels like maybe the deepest bass, is in the production; they use pure sine-wave sub-bass beneath those organic samples. Our Active PMC Twenty5.23i speakers are actually reproducing it. The Advanced Transmission Line (ATL) allows a relatively small cabinet to act like a much larger lung, moving the air in the room without the “chuffing” of a ported speaker.
- James Blake – Limit To Your Love: (It starts with a simple piano and vocal, but when the sub-bass wobble hits, it will test if your floorboards are properly nailed down).
James Blake is a fascinating artist, because he perfectly bridges the gap between soulful, fragile vocals and pioneering electronic bass. Such a challenging musical balance.
I’ve since discovered this track is a legendary “system killer” for a reason; with capable speakers, it ceases to be a song and becomes a physical event.
The sub bass has a shape. Ideally, you can hear the note shift and “wobble”.
That “wobble” is a legendary rite of passage for any high-end system! On our Active PMCs, it isn’t just be a sound; it should feel like the air in the room is physically changing shape. It’s likely that the Naim 555 PS DR is what keeps that sub-bass from turning into a one-note “thump,” allowing the nDAC to resolve the actual pitch within the vibration.
The Naim 555 PS DR is the secret weapon —it provides the massive, instantaneous current the nDAC needs to define those sub-bass “wobbles” as actual notes rather than just a generic roar. On the Active PMC Twenty5.23i, you aren’t just hearing the bass; you are hearing the Active Upgrade Kit exerting total electrical “grip” over the drivers to stop them from blurring into the next frequency.
Let me know what you think - for any of these tracks - or maybe just the James Blake piece ?
Happy listening
Enjoy
R
