Simplebass design is not hard. People try so so hard and I see it all the time, but little do they know all you need is a decent amount of experience with sound designing. Any sound design experience, really. I'd say if you've been on audiotool for more than 2 years you should know what everything does. To keep it real, I have 0 clue how people made basses on the pulv i would've just made weebo music instead. After you make a few basses you should get this down.

A basic bass consists of 3 main components: the synth, the filters, and the post effects.

The synth would be the Heisenberg. I know people tend to go for crazy-ass waveforms on their operators. All they need is one crazy-ass waveform such as Max Planck, Robert Moog, or Alessandro Volta. The rest can be sine waves, and/or simple sine-like waves. The other operators should be 1-4 octaves above the crazy-ass-waveform-operator. The modulation grid is key in all of this. Turn the volumes of the other operators down all the way. The modulation works dependently, meaning it is along the lines of well... you've heard of the transitive property? if A = B, and B = C, then A = C? well the modulation grid is like if A mod B, and B mod C, and C mod D, then A mod B, C, and D, while B mod C and D, while C mod D. Don't ever modulate a waveform by itself or you will get nasty noise, unless you use a crazy-ass waveform mod by other crazy ass waveforms, mod by selves. You can also make noise by mod A by B, B by C, C by D, and D by A. The modulation would be sort of modulating back into itself, like a feedback modulation. So be careful when modulating. You can mod A by B, C, or D. You can mod B by C or D. You can mod C by D. To put in noob language, stay above the shaded grid blocks. BAM! you have a THICC and JUICY wave. Mess around with the unison if you want, but don't blast the detune. keep it under I'd say 10. Also automate the volume.

The filters could be the heisenberg filter (you should use highpass mode), a curve, or a slope. On a highpass filter, you should apply some resonance (or quality on the curve). You should automate the frequency of your filters. You can also use different or multiple types of filter shapes for your sound design such as notches, peaks, and (i prefer not) bandpasses. There are also complex filters that audiotool may not provide easily such as the formant filter, comb filter, and flanger filter.

The post effect are very simple. Use the OTT (0 attack) preset by Kurea LMAO. im serious it's good. turn up the volume with a tinygain beforehand if it's not energized enough, but don't if it gets super compressed. Cuz ur gonna slap a waveshaper afterwards to get it THICC and JUICY. Throw an EQ in and just turn down bad stuff and turn up good stuff. EQing is a skill, and it's almost always a lie when someone makes a generalized "You don't need an EQ on everything". EQ skill develops the more you use it. You'll gain the ability to detect frequencies and apply surgical precision to get the cleanest sound. But ultimately Highpass around 100-130hz on 48+db/oct. THIS IS IMPORTANT: Slap a bandsplitter, set the Low frequency to 500hz, set the High frequency to 10000hz, put a stereo imager on the lows, make it 0%, put a stereo imager on the highs, make it 100%, slap another bandsplitter on the mids, set the low frequency to 500hz, and the high frequency to 5000hz, put a stereo imager on the mids, and make it -50% to -75%, put a stereo imager on the highs, make it 25% - 75%. Congrats you just made something close to the newer Ozone Imagers.

WANNA TAKE IT TO THE NEXT LEVEL?!

Don't be afraid to put other effects like the stereo detune, the chorus, and the flanger in between the Heisenberg and the OTT. Seriously, a good sound designer will not be afraid to put their foot in it. Maybe automate the modulation. Use various techniques like pitch automation, etc. Remember, your only limit is lag LMAO