Every subtractive synth follows the same path: an oscillator generates a raw, harmonically rich tone; a filter carves away frequencies; an amplifier sets the volume over time. Envelopes and LFOs are the “hands” that move those controls automatically.
Oscillator waveforms have characters: saw is bright and rich (the workhorse for bass and leads), square is hollow, triangle is soft, and sine is pure — ideal for sub-bass. Detune a few saws together and you get the classic supersaw.
The low-pass filter is the one you’ll reach for most: it removes highs above the cutoff, and resonance emphasises the frequencies right at the cutoff. Automating the cutoff is how you get the filter sweeps that build tension.