yep frequently use that james blake track to test for resonance and boom with new speakers, certainly wobbles!
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They can be a real treat for bass enjoynment, that’s for sure.
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And Max Richter.
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I don’t have his albums, but I remember I was once listenining to “Three worlds”, the first track has a very nice deep bass If I remember correctly. What’s not to enjoy!
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This is quite a messy bassy track.
The large woofers in DBL’s help.
Nick Blacka, Gary Peacock, Scott La Faro spring to mind.
Looking forward to listening to some of your playlists above.
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Great thread RatRat. No bass, no music.
When you hear the bass come rumbling in it tingles. It’s almost elemental, like you’re waiting for the thunderclap in a storm…. and thanks for encouraging me to listen to some new stuff!
Reggie
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Interesting read and comments. While I don’t specifically go looking for deep bass tracks, I do appreciate good bass audio where appropriate. Will have to try some of the suggested tracks for myself. Might want to add “I Love You” by Sara McLachlan on the album Surfacing. I just listened yesterday, a great album BTW.
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“Seeya” by Deadmau5!
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Yeah, get it 
That really slams
Seems typical of what synth’ or electronic sub bass notes can do, often present in EDM, House, Dance, Electronic musics.
Must admit, not an expert on Deadmau5, but have heard quite a lot of the back catalogue - over the years - as our adult son is a fan and is often played here in our house, actually quite liked that one.
Thanks for sharing
R
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That was a fascinated listen, would say maybe “right on topic” for the sort of material discussed in my original post.
Went looking to understand how the subtle textured bass note was created. This is what was learned…
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The textured sub-bass on “I Love You” by Sarah McLachlan comes from a sine wave generated by an E-mu E4 sampler, which was added to the track by producer Pierre Marchand.
Key details about the bass sound in this track:
- Production Goal: Marchand aimed to create a “hypnotic sub-bass feel” to support the string arrangement, specifically to avoid a standard “Hollywood” ballad sound.
- Source: The sound was generated using an E-mu E4 sampler.
- Sonic Character: It is described as a nearly subsonic synth-bass part.
- Layering: This sub-bass was layered under the song’s other instruments to give it a modern, deep texture.
The track was produced by Pierre Marchand for the 1997 album Surfacing.
——————————
Brilliant.
Exactly the sort of material I’m enjoying right now. Also, maybe the sort of track that is better appreciated with a system that can resolve that more sophisticated low register subtle note.
Loved the female vocals.
Really nice arrangement too.
Best wishes
R
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Great post. Thanks for taking the effort to document your discoveries and share them. I’m going to explore your highlighted tracks.
I’ve used ‘limit to your love’ by James Blake as one of my test tracks. It certainly highlights the capabilities of a system, particularly the power amplification. The low bass certainly pulses and a lesser amplifier fails to show this. Seems your active 23is pass the test. The Naim OC 250DR, on the other hand, didn’t do it for me, so I replaced it with an amplifier that did.
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Bladerunner 2049. Hand Zimmer/Benjamin Wallfisch: Many great tracks getting right down there. Really makes my RELs work hard! ‘Wallace’ is particularly good. Beyoncé Superpower gets things shaking too. Joe Satriani ‘Clouds Race Across the Sky’ tests a room for rattles and vibrations!
Add in ‘Que Sera, Sera’ by Hidden Citizens. Amazingly good bass
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Fully agree, quite strong, deep and dark bass notes.
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I think that I am with @Ebor , the quality, where something is added or meaningful. Not always sub bass, room shaking, neighbour annoying…
Certainly the start, possibly the whole of Philip Glass Koyaanisqatsi
The Chapman Stick on M.L.K. Check from Black Rock Coalition
The dexterity on Black Uhuru - Botanical Roots
Rick Kemp on Steeleye Span - Robbery With Violins
When I am in the mood, Ultravox - Vienna
The Mighty Sparrow - Sharon Shannon, Denis Bovell, makes the difference
The Guvna - The Imagined Village, at about 1:55
Anchor Song - Fay Hield
Perhaps not bass notes, but Marcelle Meyer playing La Cathedrale Egloutie, in places the sound if the whole body of the piano has real weight.
And totally left field, the vocal gymnastics of Ivan Rebroff singing Evening Chimes, the weight and power of “just” a human voice.
All IMO of course.
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Wow!! Excellent Track. Too much Bass for my Apartment I think! No complaints just yet as I listen to it but expecting to hear some knocks on the ceiling any moment! Oh yes there they are 
Éric Clapton: Unplugged: Layla. You need a good well set up system to hear the subterranean bass on this track. One of his best renditions of this classic song, imho.
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Let go (featuring Grabbitz) also good Deadmau5 track for bass but also quite a catchy tune!
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Here’s an update, with a couple of recommendations from old favourites we listened to in past few days.
Listening to :
John Martyn - Sweet Little Mystery - from Grace & Danger, (1980).
Kate Bush - Hello Earth - from Hounds of Love, ( 1985)
Asked the internet - about the bass notes - this is what was learned …
In your Active PMC system, these tracks provide a genuine “physical” workout, as they reach into frequencies that many systems simply cannot reproduce with authority.
- John Martyn – Sweet Little Mystery
- The Lowest Note: Roughly 41 Hz.
- The Frequency: John Giblin’s fretless bass is tuned to standard E (41.2 Hz).
- The “Pulse”: While 41 Hz is the fundamental, the “pulse” you feel is the interaction of the leading edge of the note with the chorus effect and the kick drum. In your Naim system will help define the “shape” of this 41 Hz wave so it doesn’t just sound like a rumble, but a distinct, rhythmic musical note.
- Kate Bush – Hello Earth
-
The Lowest Note: Approximately 30 Hz – 35 Hz.
-
The Frequency: The “sub-bass” weight comes from the Yamaha CS-80
and Fairlight CMI. Unlike a bass guitar, these synthesisers can produce sustained tones right down to the limits of human hearing (20 Hz). -
The Experience: In Hello Earth, the “auditorium” bass you hear typically bottoms out around 30 Hz during the large swells. This is deep enough to be felt as a physical pressure in the room rather than just a sound you hear.
It’s the form and texture of these notes that’s fascinating.
Hope this is interesting to others too and inspires a curious listen.
Happy listening
R
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Absolutely; superb delineated sonic exegesis.
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