Download Cymatics QUAKE for Mac

In the edit

Version 1.0.0 of Cymatics QUAKE is the kind of plugin that stays open on a second screen once you get used to it. It is a bass engine built for designing 808s and sub-heavy lines, and it keeps everything in one window rather than sending you digging through sample packs.

Widen your bass without losing its low-end anchor

• Width stretches the stereo field, so a bass note can feel wide without losing its low-end anchor.
• Shape changes the envelope — punchy or long and rolling.
• Filter cuts the frequencies that muddy a mix, which is handy when you are layering.
• Noise adds grit, Metal brings a metallic ring, and Heat pushes saturation.
• Push drives the whole thing harder.

Presets that actually get used

The preset library covers 13+ genres, and every preset is fully customisable. So you can start with something that works and tweak the controls until it fits your track. For a working producer, that saves time without killing creativity.

A session with QUAKE in a real beat

Last week I was helping a mate finish a drill track. The beat had a sample, a hi-hat pattern that needed space, and an 808 that felt thin in the car test. He had QUAKE loaded on a midi track, so I sat down with him to sort it out. The preset he had chosen was a long sub hit from the Trap folder, but it was competing with the kick. A few nudges on the Filter control to roll off the lowest sub frequencies, then a slight turn on Shape to shorten the tail, and suddenly the kick had room. The bass still rumbled, but it no longer fought the transient. That is the kind of fix that takes seconds in QUAKE because the controls are right there, not buried in a submenu.

What the sound designer might do

A different session came from a producer who makes House and R&B. He wanted a bass that moved — not just a static note but something with texture that changed over a bar. He started with a clean sine from the EDM folder, then added Noise for a bit of analog feel, dialled in a touch of Heat for saturation, and automated the Width control so the bass opened up on the second half of each phrase. It was a quick arrangement, but it sounded like it had been processed in three separate plugins. QUAKE kept it all in one window, and the automation was simple because the controls are straightforward midi-mappable targets.

Fix thin bass by checking the Filter control first

People hit a few things when they first use QUAKE. Here are the ones I hear most often and what usually fixes them.

• The bass sounds thin after loading a preset. Check the Filter control first. Some presets have it set quite high, which cuts the low end. Bring it down until the sub feels solid again. Also, make sure your monitoring system can actually reproduce sub frequencies — headphones or small speakers will lie to you.
• The 808 is clipping or distorting in a way you do not want. The Push and Heat controls add drive. If you dial them up without adjusting the output, the signal can hit the red. Back off Push or Heat, or adjust the volume after the plugin. A little distortion is good, but too much kills the low-end weight.
• The stereo image is too wide and the centre feels weak. Width is a powerful control, but if you turn it up past halfway, the bass can lose its mono compatibility. For club systems, keep Width moderate or check your mix in mono before exporting. QUAKE lets you hear the effect in real time, so you can find the sweet spot.
• You cannot find the right genre preset quickly. The library is organised, but with 13+ genres, scrolling takes a moment. I recommend saving your own tweaked presets as you go. That way, your go-to sounds are one click away, not buried in a folder.

Adjust the default envelope for punchier or longer bass

When you open QUAKE for the first time, the defaults are fine, but a couple of adjustments make it work better for your style.

• You can go punchier or longer from there, but it is a good middle ground that keeps the bass present without eating the kick.
• Set Filter to around 30 Hz. That lets the sub through while cutting the rumble below what most systems reproduce. It tightens the low end and leaves headroom for other elements.
• Use Noise sparingly at first. A little analog texture adds character, but too much can make the bass sound lo-fi when you want it clean. Start at 10% and increase only if the track needs grit.

Build a bassline fast with drums looped and chords playing

Here is how a session might go when you are building a beat and need a bassline that works fast.

You have the drums looped and the melody is a simple chord progression. You load QUAKE on a new midi track and pick a preset from the Drill folder. The bass is there, but it feels too aggressive for the mood. You turn down Heat to zero, then add a touch of Noise for warmth. The 808 still sounds a bit too long, so you adjust Shape to shorten the tail. Now the bass sits under the kick without smearing.

Next, you want the bass to move with the track. You write a simple pattern on the midi roll — root notes on the one and the three, with a slide on the fourth beat. QUAKE responds naturally because the envelope follows the midi velocity. You automate Width to open up during the chorus, so the bass feels bigger when the energy lifts. The automation curve is smooth, and you can see it in the plugin window as you draw it.

By the time the arrangement is done, you have spent maybe ten minutes on the bass. No sample hunting, no layering five different plugins. The 808 is solid, the sub is present, and the mix has room for everything else. That is the point of QUAKE — it keeps you working on the music, not on the technical side of bass design.

Mac it needs

• macOS 10.14 or later
• Intel or Apple Silicon
• Compatible DAW