Two layered oscillators with opposed phase cancel in the low end, producing a weak bass

When two oscillators play the same frequency, their combined amplitude depends on relative phase. If one is inverted (opposite polarity) relative to the other, their peaks and troughs align to subtract, cancelling energy — most audibly in the fundamental, so a bass that looked fat in isolation sums to something thin and quiet. This is why getting the starting phase right matters when layering: a preset can sound cool yet leave a track failing to hit hard because two sounds are partially cancelling. The same mechanism is a tool, not only a hazard: deliberately detuning or phasing two saws so they beat and partially cancel is how a Reese bass is made. The fix for unwanted cancellation is to align (retrig) phases so the low end sums constructively.

Examples

Two sine sub-oscillators set equally inverse beat and cancel at the fundamental; retrigging both to the same start phase restores a solid, punchy low end. Two detuned saws left to beat and cancel instead create the classic Reese bass texture used in drum and bass.

Assessment

Layer two identical sub oscillators, invert the phase of one, and describe what happens to the low end. Then align their phases and describe the change. Explain when phase cancellation is a problem and when it is the goal.