Bass can be challenging to reproduce on small speakers and without subwoofers. To make it stand out on these systems, it needs to be audible in the frequency range where they can operate. Fire The Bass is designed to enhance harmonics in this region.

Some products on the market meet some of Fire The Bass's requirements, and some are even patented. We aimed for a unique and fresh approach with Fire The Bass, satisfying the following design points:

• Fire The Bass can be linear in Frequency and has a linear phase mode for complete phase linearity. There will be no strange frequencycancellations or phase rotations.

• Fire The Bass is highly musical. To achieve this, we modeled the best tools used daily for saturation and dynamic operations, such as famous hardware saturators and top analog expanders, especially their detector modeling.

• Multiband implementation strategies include minimum phase for lower latency and better performance and linear phase for maximum phase linearity.

• Fire The Bass uses the same oversampling techniques that have generated interest in our current product line.

Inspired by a famous movie trilogy, Fire The Bass has two main controls:

• Red Force, representing the dark side of the force, controls the harmonic distortion and tends to reduce the output gain of the harmonic bass band.

• White Force, representing the positive force, controls the dynamic expansion, limiting and increasing the output gain of the bass harmonic band.
Balancing the force and the dark side produces the optimal result, highlighting the harmonics in the designated region. The dark side creates harmonics and reduces output gain, while the force rebalances harmonics with dynamic expansion. The intervention area is determined by a control called Frequency, which identifies the lower limit of the intervention band.