15 Songs You Need A Great Subwoofer To Fully Experience

As you enter the world of those songs that need a subwoofer, get ready for an unequaled musical experience. To give your beloved tunes a new layer of richness, allow the echoing rhythms to ricochet through your entire self as you feel the pulse of the thumping basslines.

Let’s explore audio metamorphosis together, taking your favorite music to previously unimaginable levels of sonic awe thanks to the skill of a finely adjusted subwoofer.

I’ve found that adding in the sub-frequencies (significantly below 150hz) really can add a lot more fullness to practically any song with good bass.

Used correctly, you can create an audiophile’s dream soundscape.

Of course, some songs respond better than others. Sometimes, it just adds the fullness I described above, but sometimes, it adds something entirely new to the music you’ve heard 100 times before.

This is my top list of songs that I feel change dramatically when you add a great subwoofer for music into the mix.

7 Songs That Sound Better With a Subwoofer (The Real Musicians Picks)

8 Best Sub Songs to Get Your Bass On (The Sound Junky’s Picks)

By the way, “great” = the $40 bazooka budget subwoofer I bought on Craigslist. It really doesn’t cost much to get a sub into your mix, as long as you don’t let some doofus down at Futureshop up-sell you a “car subwoofer kit” and a $100 installation. You buy a sub, a box, an amp, and a few wires, and that’s it.

If you have a separate volume control for your woofer, feel free to compare “with sub” and “without sub” to see the types of differences I’m referring to in each song.

Massive Subwoofer Set Up — *Not Necessary for this List!*

Contents show

7 Songs That Sound Better With a Subwoofer (The Real Musicians Picks)

7. “Kiara” – Bonobo

I actually recommend first listening to the Intro track of this album (Black Sands), as it flows seamlessly into Kiara.

This song stands out so much with the added bass because of the exciting and uplifting way Bonobo works with the side-chaining on it.
Although side-chaining is nothing new and possibly a strained art, the way he works it in the song is not only not unnecessary but adds a wonderful, energetic vibe to your day.

I cannot listen to the first 20 seconds of this song without feeling great. Well, at least when I have those low frequencies to let me experience the emotion.

6. “Pyramids” – Frank Ocean

There are no sub-frequencies at the beginning, but as soon as the first major pop-riff comes in, you’ve got quite a bit of goodness to deal with, especially considering that all of those kick drum reverses sounds create such a wicked effect.

Reverse kicks always make your subs boom!

There are 4 parts to this song:

Pop and Verse Fun! – 7.5/10 Subwoofer Intensity
Transition Point – 5.2/10 Sub Intensity
Bridge Verse -7/10 Sub Intensity
Outro – 8/10 Sub Intensity

The outro especially has a ton of power to the low end, which makes me sometimes feel like I have head asplode.

Of course, what good is anything without some metal…

5. The Entire “Cloak Of Love” Album – Genghis Tron

It would seem out of place to put a metal album on this list, considering its generally hip-hop and electronic music that seems to play most on those poop-inducing low frequencies. Don’t worry! It’s an electronic metal band, so it all works out.

Seriously though, throwing a sub in the mix of any Genghis Tron (the 12-minute “cloak of love” takes priority) song brings you to a whole new level of intensity.

We just went from a pun on a famous Viking (before sub), to summoning an actual Viking from the past (with sub).

So it would be an understatement to say that it’s a little bit more intense. I won’t be a total rock-oriented doofus by saying it will “melt your face off”, but that doesn’t mean I’ll vouch for your eardrums. Or your sanity.

4. “Like You Mean It” – Matthewdavid

The entire “Outmind” album is quite the experience sub or not (although the lows make a huge difference as far as how much encapsulating ability the album has). Still, I already did a “whole album” kind of deal, so I figured that would be bad taste to do it twice in the same list.

Oh, did I mention that Flying Lotus is on this album?

“Like You Mean It” has a whole new brand of subs. The song is compressed like nothing else and has a crunch that completely pulls you in, like, with your mind.

To put it simply, I would not recommend driving on a dark highway while listening to this song, or album, as it has a very special ability to put you into a semi-unconscious trance. It’s like being hypnotized without the harsh political thrash guitar (see System of a Down).

It’s like a dream really. A really stretched out, incomprehensible, malleable dream.

It’s Outmind.

3. “Bilar” – Ratatat

You have to listen to a full minute of this song before you know why I chose it for the list. Listen wisely, and loudly.

2. “Trickstep” – Amon Tobin

I had a tough time choosing between “Trickstep”, and “The Lighthouse” (from the Chaos Theory Soundtrack) for the #2 slot. Although “The Lighthouse” was a better overall song, I felt that “Trickstep” really fit with the overall theme of the list better.

I mean, I have to really put some thought into this stuff. It’s not like this is just a low-quality Top 10 list; this baby is a Top 7! We’ve got class here!

This song has whips and whams and booms, zips and jams and zooms.

Nah, not really. It’s a whole lot of bass that’s meant for the club. I’m sure what I said before would be believable, considering how creative Amon Tobin is, but this song is a rave song through and through.

This is what they should have played in “The Matrix Reloaded,” in really any dance scene (that underground one, or the one in that club with the Frenchie). It would have been an awesome time.

1. “Limit To Your Love” – James Blake

I saw this one in concert, and it’s something to behold.

Without a subwoofer, I feel I could, with authority, say that this song would only contain half of the content that it originally had.

You know which part I’m talking about if you’ve heard it. The part where he plays the lowest effective sub-notes in the most dissonant manner you’ve ever heard.

It’s really intense. James Blake has done a perfect job of mixing unsettling dissonant uncertainty with pop r&b vocals. He’s a master, and this song shows his mastery.

Yes, I realize that it’s a cover of Feist. Except it’s exceptionally better than the original Feist version. Exceptionally.

Don’t believe me? Try a comparison for yourself. First the Feist version:

Now the James Blake version:

I should note that during the verse (where the sub comes in), you can literally hear nothing except the piano+vocals if you don’t have a subwoofer. I’m telling you, the sub makes all the difference here.

All the difference.