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Future One wrote:
Nice one,

Yeah I own one. It's sick and I'd definitly recomend one to anyone doing digital music.

It's great for giving some life to boring sounding samples - drum, horns, synth sounds etc.

I know what you mean. Computer generated sound can get a little too clean too easily. I use the sherman filter-bank for exactly the same reason and many other things too. that is also an amazing machine and it has great sounding tube distortion too. But i think we should cut that out before people start throwing stones

moodswing wrote:

Future One wrote:
Nice one,

Yeah I own one. It's sick and I'd definitly recomend one to anyone doing digital music.

It's great for giving some life to boring sounding samples - drum, horns, synth sounds etc.

I know what you mean. Computer generated sound can get a little too clean too easily. I use the sherman filter-bank for exactly the same reason and many other things too. that is also an amazing machine and it has great sounding tube distortion too. But i think we should cut that out before people start throwing stones

Cool. I've never had the chance to try a Sherman. I hear the distortion is pretty raw and dirty?

The Culture Vulture is nice clean overdrive distortion. Although it can get pretty insane with the overdrive enabled.

here's another pretty in-depth reese tutorial
http://www.dogsonacid.com/showthread.ph ... 3&cache=77

Future One wrote: I hear the distortion is pretty raw and dirty?

The Culture Vulture is nice clean overdrive distortion. Although it can get pretty insane with the overdrive enabled.

The Sherman is pure insanity unless you do hairline adjustments to the distortion . That's why I also want the Vulture . But after all isn't that the whole thing about being a gear junky? You're never satisfied no matter how many uber-expensive pieces of equipment you own. And then you die either because food is more important than dynamics or because your woman/man found out exactly how much your new Fairchild/Neve super channel strip cost and decided to murder you and sell everything in the lab to pay the mortgage

Good stuff

Deadly Habit wrote:here's another pretty in-depth reese tutorial
http://www.dogsonacid.com/showthread.ph ... 3&cache=77

If you haven't checked this out yet, do so immediately. It's essentially an "advanced reese" programming thread. I tried it last night and got decent results but recognize that this is just the starting point and I need to monkey around more.

contakt321 wrote:

Deadly Habit wrote:here's another pretty in-depth reese tutorial
http://www.dogsonacid.com/showthread.ph ... 3&cache=77

If you haven't checked this out yet, do so immediately. It's essentially an "advanced reese" programming thread. I tried it last night and got decent results but recognize that this is just the starting point and I need to monkey around more.

Yeah the guy goes deep doesn't he. He also mentioned the notch filters technique that Brisance mentioned as well . Makes me want to try it even more.

Brisance wrote:don't lowpass, use a few notches in the area the reese shifts between instead

yeah I think this is what gives it that gutteral movement

Here's a reese from me straight out the oven.

http://www.sendspace.com/file/xfkyz8

Can someone explain me the filtering process involved after creating the sound plz?
I'm having decent results using a BP filter but using a LP + BP/HP combo, as it seems to be the way to go, leads to a lot of frustration.

is 'reese' the plural of reese?

miss_molinari wrote:is 'reese' the plural of reese?

No, that's 'rice'

Daft tnuc wrote:Can someone explain me the filtering process involved after creating the sound plz?
I'm having decent results using a BP filter but using a LP + BP/HP combo, as it seems to be the way to go, leads to a lot of frustration.

I think the author of that tutorial is talking about resampling a long sustained note from the synth ,low enough but not farty, and layering 3 versions of the resulting sample in a soft sampler (he seems to be crazy about kontakt and I am behind him 100%). Then you have to apply each of the filters (lp,hp,bp) to one of the samples so you get detailed low,mid and hi layers of the sound. What I like the most in his method is that resampling always changes the source sound in unpredictable and often amazing ways. Early junglists used to use a lot of resampling not only on their reeses but on almost everything due to lack of equipment mainly but also for the lo-fi element inherent in resampling anything. Remember they used 12bit samplers so resampling changed the timbre of the sound massively.

moodswing wrote:

Daft tnuc wrote:Can someone explain me the filtering process involved after creating the sound plz?
I'm having decent results using a BP filter but using a LP + BP/HP combo, as it seems to be the way to go, leads to a lot of frustration.

I think the author of that tutorial is talking about resampling a long sustained note from the synth ,low enough but not farty, and layering 3 versions of the resulting sample in a soft sampler (he seems to be crazy about kontakt and I am behind him 100%). Then you have to apply each of the filters (lp,hp,bp) to one of the samples so you get detailed low,mid and hi layers of the sound. What I like the most in his method is that resampling always changes the source sound in unpredictable and often amazing ways. Early junglists used to use a lot of resampling not only on their reeses but on almost everything due to lack of equipment mainly but also for the lo-fi element inherent in resampling anything. Remember they used 12bit samplers so resampling changed the timbre of the sound massively.

I have only give that technique a go once so far, but I need to play around more.

Per his frequency setting, I get almost no sound through the high-passed sample unless I max my gain. I haven't experimented with notching yet either.

I agree w/ the sampling. It adds artifacts, it changes the timbre as you pitch the sample up and down and makes it less regular and predictable which keeps it more interesting.

will try this big up

moodswing wrote:

Daft tnuc wrote:Can someone explain me the filtering process involved after creating the sound plz?
I'm having decent results using a BP filter but using a LP + BP/HP combo, as it seems to be the way to go, leads to a lot of frustration.

I think the author of that tutorial is talking about resampling a long sustained note from the synth ,low enough but not farty, and layering 3 versions of the resulting sample in a soft sampler (he seems to be crazy about kontakt and I am behind him 100%). Then you have to apply each of the filters (lp,hp,bp) to one of the samples so you get detailed low,mid and hi layers of the sound. What I like the most in his method is that resampling always changes the source sound in unpredictable and often amazing ways. Early junglists used to use a lot of resampling not only on their reeses but on almost everything due to lack of equipment mainly but also for the lo-fi element inherent in resampling anything. Remember they used 12bit samplers so resampling changed the timbre of the sound massively.

Sorry for not making myself clear. I'm fine with the frequency splitting thing - tho I believe it doesn't necessarily applies to dubstep.
What I don't get is the filtering automation part, after the reese is created.

after reading this thread i had a crack at making a good reese synth... the result isn't really a reese, but this thread really helpd me learn some new stuff.

check it out and give me some feedback

http://www.dubstepforum.com/viewtopic.p ... 20#1051120

i could dig around for a production thing i had from n.phect that explains some of his process
and that man knows how to make a reese
http://www.youtube.com/watch?v=d_kn4wqqdoE

Deadly Habit wrote:i could dig around for a production thing i had from n.phect that explains some of his process
and that man knows how to make a reese
http://www.youtube.com/watch?v=d_kn4wqqdoE

No these guys do does http://www.youtube.com/watch?v=LlGjoLpIcjA

1:40 onwards =

found it
http://www.sendspace.com/file/vvt8tv