The Reese Bass Thread

[Augment]

Try to get some rides or something to fill in after the drop too, sounds kinda empty. + if I were you, I'd layer the supersaw with something that has more body, like a distorted saw or something

[mthrfnk]

Try to get some rides or something to fill in after the drop too, sounds kinda empty. + if I were you, I'd layer the supersaw with something that has more body, like a distorted saw or something

Yeh basic drums atm. Got to work on it a lot

[medetix]

anyone have any idea to get these reeses? they are SO FULL and move so much, he modulates them so much that they create there own formants, without the use of any wow filter.

the sound im specifficaly talking about is at 2:38 "wheres that really good one?" says insideinfo

holy fuck that sounds awsome, some1 knows how to do that

[Augment]

Notch filters can help create vowels

[FAARE FACED]

I used massive.
2 Saw oscillators, 1 square. One saw was - the other + bend, the square a formant. Only detuned the saws, and by .15. Used the phase mod osc on the square osc. Used tube, dimension expander for FX. Routed everything in serial to F1 which was a double notch with a slow moving lfo and some resonance.

F2 is a bandpass BUT I personally have found that processing the reese with fx should be payed attention to as doing a cutoff modulation on the bandpass early in sound design seems to be distracting to the overall sound. So basically, keep F1 open until the end and then run it through the bandpass. (Not a hard and fast rule, as processing the sound with the modulations first may take you in a different direction, either way, this is what I did for THIS bass)

Added 3 voices, made it mono, but did NOT use the unisono slider. I've found this makes the reese too distant to resample or even notice differences in processing techniques. (however, I'm not a reese master )

* I noticed a lot of top end crunch came from clicking the 'restart via gate' button, but not sliding any of the osc position bars. This made me think that delicate handling of the phasing should be taken into account as you apply fx in processing. I think there is more to learn for me when it comes to this concept of designing a reese...anywhooo...onward:

FX: CamelPhat > Ohmicide > WoW (w/ a vowel mode notch) > EQ > FREQ SPLIT:[ Low (Mono) Mid (Overdrive > Flanger >Saturator > CamelPhat) High (Overdrive > Chorus > Saturator > Reverb > Delay ) ] > CamelPhat > Ohmicide > EQ > Compress (?).

Every time CamelPhat was used, I used a notch with a slow moving lfo on the cutoff. I've found that the golden rule in processing is what we've all heard before: BE SUBTLE! This goes for everything/parameter. What's crazy is that through all the processing/modulation experimentation, you see how you can get a multitude of sounds.

That's it. NOW go back into massive, run through F2 bandpass with a performer modulation. Yummy

First of all, thank you for sharing this. It's some really good help for beginners looking to synthesize nice reeses.
I pretty much followed, not doing some steps, adding my own, etc and i came up with something pretty different.

Soundcloud

Feedback ?

[Genevieve]

Soundcloud

I like this one :0 but it still needs work. It's the first time ever I tried to do a bassline like this so I'm happy with it either way, but it's gotta be better.

[mthrfnk]

I used massive.
2 Saw oscillators, 1 square. One saw was - the other + bend, the square a formant. Only detuned the saws, and by .15. Used the phase mod osc on the square osc. Used tube, dimension expander for FX. Routed everything in serial to F1 which was a double notch with a slow moving lfo and some resonance.

F2 is a bandpass BUT I personally have found that processing the reese with fx should be payed attention to as doing a cutoff modulation on the bandpass early in sound design seems to be distracting to the overall sound. So basically, keep F1 open until the end and then run it through the bandpass. (Not a hard and fast rule, as processing the sound with the modulations first may take you in a different direction, either way, this is what I did for THIS bass)

Added 3 voices, made it mono, but did NOT use the unisono slider. I've found this makes the reese too distant to resample or even notice differences in processing techniques. (however, I'm not a reese master )

* I noticed a lot of top end crunch came from clicking the 'restart via gate' button, but not sliding any of the osc position bars. This made me think that delicate handling of the phasing should be taken into account as you apply fx in processing. I think there is more to learn for me when it comes to this concept of designing a reese...anywhooo...onward:

FX: CamelPhat > Ohmicide > WoW (w/ a vowel mode notch) > EQ > FREQ SPLIT:[ Low (Mono) Mid (Overdrive > Flanger >Saturator > CamelPhat) High (Overdrive > Chorus > Saturator > Reverb > Delay ) ] > CamelPhat > Ohmicide > EQ > Compress (?).

Every time CamelPhat was used, I used a notch with a slow moving lfo on the cutoff. I've found that the golden rule in processing is what we've all heard before: BE SUBTLE! This goes for everything/parameter. What's crazy is that through all the processing/modulation experimentation, you see how you can get a multitude of sounds.

That's it. NOW go back into massive, run through F2 bandpass with a performer modulation. Yummy

First of all, thank you for sharing this. It's some really good help for beginners looking to synthesize nice reeses.
I pretty much followed, not doing some steps, adding my own, etc and i came up with something pretty different.

Soundcloud

Feedback ?

It's way too crushed/distorted man, also it could use more movement within the sound rather than just altering the cutoff.
Could sound good if you toned it down a little.

[Augment]

I used massive.
2 Saw oscillators, 1 square. One saw was - the other + bend, the square a formant. Only detuned the saws, and by .15. Used the phase mod osc on the square osc. Used tube, dimension expander for FX. Routed everything in serial to F1 which was a double notch with a slow moving lfo and some resonance.

F2 is a bandpass BUT I personally have found that processing the reese with fx should be payed attention to as doing a cutoff modulation on the bandpass early in sound design seems to be distracting to the overall sound. So basically, keep F1 open until the end and then run it through the bandpass. (Not a hard and fast rule, as processing the sound with the modulations first may take you in a different direction, either way, this is what I did for THIS bass)

Added 3 voices, made it mono, but did NOT use the unisono slider. I've found this makes the reese too distant to resample or even notice differences in processing techniques. (however, I'm not a reese master )

* I noticed a lot of top end crunch came from clicking the 'restart via gate' button, but not sliding any of the osc position bars. This made me think that delicate handling of the phasing should be taken into account as you apply fx in processing. I think there is more to learn for me when it comes to this concept of designing a reese...anywhooo...onward:

FX: CamelPhat > Ohmicide > WoW (w/ a vowel mode notch) > EQ > FREQ SPLIT:[ Low (Mono) Mid (Overdrive > Flanger >Saturator > CamelPhat) High (Overdrive > Chorus > Saturator > Reverb > Delay ) ] > CamelPhat > Ohmicide > EQ > Compress (?).

Every time CamelPhat was used, I used a notch with a slow moving lfo on the cutoff. I've found that the golden rule in processing is what we've all heard before: BE SUBTLE! This goes for everything/parameter. What's crazy is that through all the processing/modulation experimentation, you see how you can get a multitude of sounds.

That's it. NOW go back into massive, run through F2 bandpass with a performer modulation. Yummy

First of all, thank you for sharing this. It's some really good help for beginners looking to synthesize nice reeses.
I pretty much followed, not doing some steps, adding my own, etc and i came up with something pretty different.

Soundcloud

Feedback ?

It's way too crushed/distorted man, also it could use more movement within the sound rather than just altering the cutoff.
Could sound good if you toned it down a little.

If you want to make t00nez like bratkilla, it's perfect, but for mostly everything else, it's way too distorted like mthrfnk said.

[dotcurrency]

Anybody know what work goes into getting that crunchy, plastic-ish reese sound? I think its some kind of filter modulation, but culprate does it alot so here's an example

Throughout the bass drop, and more prominent at 1.14


DEFINITELY can hear it at 1.19 here

[FAARE FACED]

If you want to make t00nez like bratkilla, it's perfect, but for mostly everything else, it's way too distorted like mthrfnk said.

Well I tend to be way more brosteppish than most of you guys here, so it may be a matter of taste after all.
I had no idea where i was going when doing this, but the ending result kinda reminded me of the kind of sounds we can hear in Noisia - Machine Gun (16 bits remix), which is far from Bratkilla from what i've heard.

I'm not trying to defend myself, I came for feedback and I had some (less technical and more subjective than what I expected, but it's still warmly welcomed feedback)

Thank you for taking the time listening to that clip mthrfnk and blinkesko.

[mthrfnk]

Anybody know what work goes into getting that crunchy, plastic-ish reese sound? I think its some kind of filter modulation, but culprate does it alot so here's an example

Throughout the bass drop, and more prominent at 1.14


DEFINITELY can hear it at 1.19 here

Granulization potentially.

It's my favourite new thing, it's just so easy to get awsm sounds.

Also guys (mainly blink ) I did some work on that track I posted before, tried to bass up the reeses:
Soundcloud

[Augment]

getting kind of a Kill the Noise feeling from those reeses, man, I like it

[dotcurrency]

Anybody know what work goes into getting that crunchy, plastic-ish reese sound? I think its some kind of filter modulation, but culprate does it alot so here's an example

Throughout the bass drop, and more prominent at 1.14


DEFINITELY can hear it at 1.19 here

Granulization potentially.

It's my favourite new thing, it's just so easy to get awsm sounds.

Also guys (mainly blink ) I did some work on that track I posted before, tried to bass up the reeses:
Soundcloud

When you granulize, do you just record into edison and place into the playlist? I've tried using the Fruity Granulizer before, and I'm not sure what to do with it exactly I've watched a couple videos on it, still lost.

[mthrfnk]

Anybody know what work goes into getting that crunchy, plastic-ish reese sound? I think its some kind of filter modulation, but culprate does it alot so here's an example

Throughout the bass drop, and more prominent at 1.14


DEFINITELY can hear it at 1.19 here

Granulization potentially.

It's my favourite new thing, it's just so easy to get awsm sounds.

Also guys (mainly blink ) I did some work on that track I posted before, tried to bass up the reeses:
Soundcloud

When you granulize, do you just record into edison and place into the playlist? I've tried using the Fruity Granulizer before, and I'm not sure what to do with it exactly I've watched a couple videos on it, still lost.

My basic steps:
>Make decent reese, like it can't just be a static saw reese - it has to have some phasing and distortion (see my previous guides on that)
>Bounce a note, in my case it's an A since that's my key.
>Drag into FL Granuliser
>Automate the parameters, usually have attack and hold at the left and automate grain & wavetabel spacing along with the stereo in the FX knob
>Transformer sex noises.

Also one tip > don't fucking twist the knobs from 0>100 and back over and over, move them say 1-5% from a starting point where it sounds cool, if you move them too much you make the granuliser either start looping the sample too slowly or quickly.

@Blink, thanks man

[Genevieve]

A good starting point would be a reese using a square/saw wavetable and make the lfo go back and forth between the saw and the square, subtly and slowly. I usually put it at 12 o clock and make it oscillate between 11 and 1 o clock.

Any waveform should do though.

[medetix]

Soundcloud


am i getting there? i think that it dosent have any movement tough need the feedback

[Fbac]

Soundcloud


am i getting there? i think that it dosent have any movement tough need the feedback

Quite like that 4th one!

[smogglymoff95]

Been trying to make a decent sounding Reese for a while now, this is the best I could come up with so far. Any helpful tips on how to improve from here would be appreciated Soundcloud

[medetix]

Been trying to make a decent sounding Reese for a while now, this is the best I could come up with so far. Any helpful tips on how to improve from here would be appreciated Soundcloud

try to add some wetness to it, that woud be sick brah

[Augment]

Been trying to make a decent sounding Reese for a while now, this is the best I could come up with so far. Any helpful tips on how to improve from here would be appreciated Soundcloud

Sounds a bit like chasing shadow's reeses. Try some camelphat or something and a bit more distortion