80 hz sine — sub-bass foundation. Amplitude oscillates ±0.10 at 0.40 rad/s; pitch drifts ±10% over a ~3 min cycle via a slow sine modulator.

124 hz sine — upper bass warmth. Amplitude and pitch each independently modulated with offset phases to avoid synchrony with the 80 hz layer.

248 hz sine — a gentle harmonic partial of the 124 hz layer, kept low in the mix.

sawtooth 201 hz — mid-range texture. Fed through two chorus voices (short delay lines with LFO modulation at 0.27 and 0.19 hz) and a feedback delay (340 ms, 0.45 feedback). Pitch steps randomly across 80–120% of base frequency every 6–12 s.

sawtooth 301.5 hz — a fifth above the first sawtooth, adding harmonic complexity. Shares the same pitch-step range but with independent timing.

brown noise — synthesized via a ScriptProcessor: white noise samples fed through a leaky integrator (α = 0.98) then scaled ×3.5. Gain modulated slowly for subtle breathing.

dub bassline — a 16-step sequencer at 41 bpm. Each hit is a sine wave through a 280 hz lowpass filter (Q = 2) with a percussive envelope (8 ms attack, 300 ms exponential decay). Notes route into a dub echo chain: 8th-note delay, 0.62 feedback through a 900 hz lowpass that darkens each repeat. Bass amplitude fades in over 60 s at 75% of pattern velocity.