Sentences with phrase «sub-bass synth»

The sub-bass synth hits that punctuate the beat are delivered with plenty of low - end presence.

The sub-bass synth hits that punctuate the beat are more implied than delivered — we get their raspy top notes and a little of their bass depth, but almost none of their sub-bass.

The sub-bass synth hits that punctuate the beat are not delivered with subwoofer - style force, but still have plenty of bass depth, as does the drum loop's sustain, which is given some extra thump.

The sub-bass synth hits that punctuate the beat and often sound thunderous on bass - forward earphone pairs are powerful here, but the bass presence isn't insanely strong like it often is — we hear just as much of the synth's raspy top notes as we do its depth.

The loop also gets some added thump in the lows and low - mids, while the sub-bass synth hits that punctuate the beat are delivered with serious power — it amost sounds like there's a subwoofer in there.

Similarly, the sub-bass synth hits that punctuate the beat certainly have some depth, but it doesn't sound like there's a subwoofer in your ears.

The sub-bass synth hits that punctuate the beat are delivered with powerful low - end thump.

The sub-bass synth hits that punctuate the beat are delivered with admirable gusto for such an affordable price — this is definitely a bass lover's sound signature.

The sub-bass synth hits that punctuate the beat are delivered with and not a hint of overindulgence in the lows.

But in the bass - focused mode, the kick thuds are a bit heavier and more pronounced, and the sub-bass synth hits on this track are more noticeably present.

The sub-bass synth hits that punctuate the beat are delivered with a strong sense of body, but they don't have quite the rumble that mega-bass fiends will be looking for.

Through the M500, the attack is dulled a bit, and the depth of the sub-bass synth hits are not as powerful as they could be, but the balance between the two, as well as the vocals, makes things work.

The attack on the kick drum loop here gets a bunch of added high - mid edge, and it cuts through the mix with intensity, while the sub-bass synth hits that punctuate the beat are delivered with booming low - end.

The kick drum loop's attack gets the treble edge that Bill Callahan's voice doesn't, and the sub-bass synth hits that punctuate the beat are delivered with a decent amount of gusto.

The sub-bass synth hits that punctuate the beat are delivered with a solid sense of depth, but nothing that sounds like there's a subwoofer in the room.

The sub-bass synth hits that punctuate the beat are delivered with some strong depth — again, nothing that overwhelms the mix's balance, but it's a sound that will have bass lovers smiling.

The sub-bass synth hits are powerful, as is the sustain of the kick drum loop, but the sound signature is definitely brighter than most on the market.

The sub-bass synth hits that punctuate the beat are delivered with gusto, but they never approach subwoofer - in - your - skull levels of bass presence.

On Jay - Z and Kanye West's «No Church in the Wild,» the attack of the kick drum loop is fierce, while the sub-bass synth part underneath it lacks the push it has on systems with heavier low - end.

The drum loop's sustain has some added low - mid and low frequency presence, while the sub-bass synth hits that punctuate the beat have a solid depth, but nothing so powerful that the X12i sounds like a typical bass - forward earphone pair.

The sub-bass synth hits that punctuate the beat are delivered with solid presence, but they aren't as boosted in the lows as they often are through bass - forward earphones.

The sub-bass synth hits that punctuate the beat are delivered with laudable depth — they don't sound weak, nor do they overpower the mix.

The sub-bass synth hits that punctuate the beat are delivered with laudable power — we hear the lowest sub-bass elements they possess, but they're pushed to the forefront of the mix.

The sub-bass synth hits and sustain of the drum loop still get plenty of low - end boosting and presence, however.

Jay - Z and Kanye West's «No Church in the Wild» showcases the Icon Wireless» bass abilities — the sub-bass synth hits on this track, even at moderate volumes, sound like they're coming through a club PA system and you can even feel the bass in the earcups, even at reasonable listening levels.