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CE9958 wrote:So don't use them. Go record your toilet flushing and then notch the shit out of it. Not that that sound sounds particularly like a toilet flushing but you see what I'm getting at here? To me a Reese is a style of processing rather than a type of bass. If you're getting all into the specifics shit then technically a square based reese is called a hoover and honestly fuck that shit. You can treat anything like a reese (with varying degrees of success). To me that really does sound like a saw based reese. The way I would approach that is to take a nice warm saw or something similar to it. Something really warm and wide like what you hear in Deadmau5's saws usually (I've had good success coming from a moog slim phatty getting that sound) and then try to experiment with pitch bending. It sounds like a lot of the reese's in that track start out low and then get pitched up which is what makes that sort of wailing sound. Koan Sound does that a lot too.

Ha, I'd love to do some fieldrecording, but i don't have a proper mic and i actually couldn't imagine a way to get a proper sound out of a sample like that other than using granular synthesis with an incredibly short grainsize

I tried getting a smoother saw, but the only way i could think of was using FM8 and feeding a sine back into itself until it had a sort of smoother saw form and tried that. Sounded nice but not really close.
On a side note, how do those luna/cicada based reeses in massive work? How to replicate them on other synths? Those are actually kind of similar to the one in that soundtrack. Also it seems that it doesn't have much detuning. Pretty damn fascinating sound.

Word, Yeah you would actually be surprised what a little experimenting combined with some creative filtering can do to an otherwise recognizable sound. Pretty incredible stuff. Even if you can't record anything yourself, experimenting with audio files and different sound effects makes for some really cool things!

In regard to those Massive reece sounds you're referring to, I've made some and they definitely have that thumpy whomping sound like Koan for example but I find they lack depth and warmth in their low end its all a little tinny/bright/distorted for my taste. How are you processing your Reeses? Do you have a general workflow that you can explain? Including what plugs your using and how you're doing each thing? Very subtle changes in technique make huge changes in reese processing I've found, maybe that can help you clear up the sound a bit too.

CE9958 wrote:Word, Yeah you would actually be surprised what a little experimenting combined with some creative filtering can do to an otherwise recognizable sound. Pretty incredible stuff. Even if you can't record anything yourself, experimenting with audio files and different sound effects makes for some really cool things!

In regard to those Massive reece sounds you're referring to, I've made some and they definitely have that thumpy whomping sound like Koan for example but I find they lack depth and warmth in their low end its all a little tinny/bright/distorted for my taste. How are you processing your Reeses? Do you have a general workflow that you can explain? Including what plugs your using and how you're doing each thing? Very subtle changes in technique make huge changes in reese processing I've found, maybe that can help you clear up the sound a bit too.

Not a set order I am using, but it usually goes something like this: distortion flanger filter or the other way round: flanger distortion filter. I didn't ever find good use for phaser/chorus yet, so i'm leaving it at flanger as the only time-based effect for now. Maybe a comb filter would work well, but i haven't found any comb filter yet that has a subtle but noticable sound. (not like WOW's comb for example) A delay with low delaytime works for a kind of OK comb filter but it's still not quite what i'm after.
But i think the issue on reeses i am having is not only on fx-side, my synthesis skills aren't that great really. i've been attempting to get better at it by making this track, but it's really nothing special

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Started trying to mess around with Harmor in FL Studio. This is just a saw-reese with some modulation within massive(bandpass and double notch), then exported it to Harmor in FL Studio where i fucked around with the unisono and distortion, resampled within Harmor like 5-6 times.

Any honest opinions? I need some pointers maaaaaaaan...

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Yes, I wanna sound like Teknian...

YOur modulation is good, i think you also made that reece with muscle man sample? If so you really appear to know where to automate, notch bp whatever you call it...

I dont know if its harmor`s processing or you threw a reverb on the whole thing but it sounds like I am listening to it from another room with half closed doors. Its not in front if you get what I mean.

Autism wrote:Started trying to mess around with Harmor in FL Studio. This is just a saw-reese with some modulation within massive(bandpass and double notch), then exported it to Harmor in FL Studio where i fucked around with the unisono and distortion, resampled within Harmor like 5-6 times.

Any honest opinions? I need some pointers maaaaaaaan...

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Yes, I wanna sound like Teknian...

that's some fine reese! you used massive for the source-sound? did you use the standard square-saw table? because thats a fine sound you have there. might want to bring it forward a bit more, but the sound is good.

Eridu wrote:YOur modulation is good, i think you also made that reece with muscle man sample? If so you really appear to know where to automate, notch bp whatever you call it...

I dont know if its harmor`s processing or you threw a reverb on the whole thing but it sounds like I am listening to it from another room with half closed doors. Its not in front if you get what I mean.

Thanks man! I try to automate a little bit at random, but at the same time rhytmicaly to the beat. The BP automates in one rythm, notch to another... and it goes forth like that. Then i resample the whole thing.

Yeah, it's some reverb(very small amount) and some stereo widening.

Reversed wrote:that's some fine reese! you used massive for the source-sound? did you use the standard square-saw table? because thats a fine sound you have there. might want to bring it forward a bit more, but the sound is good.

Yup! Think it's Saw I from massive, 3 osc, two of them detuned +/- 20 cents.
Yeah, it didn't get as clear as i wanted to! But resampling is trial and error, so I'll think about getting the saw sound to pop out some more next time!

one of my latest
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all the basses are just plain reeses from massive with distortion and vocoding, along with fl legacy effects. no fancy plugins were used, just a shit ton of distortion

Trainrek wrote:one of my latest
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all the basses are just plain reeses from massive with distortion and vocoding, along with fl legacy effects. no fancy plugins were used, just a shit ton of distortion

Gnarly bro. What kind of filtering are you doin in massive? Whenever I try to distort a Reese, the resonance from the filtering often sounds like shit with the distortion.

How the hell to make reeses like this?
sweeping EQs and phasers and stuff??
skip to 2:15

Heres my last reece recorded some saws then used different filters and eq automation and distortion and reverb too get it...

http://soundcloud.com/officialnyquist/g ... er-what200

i just started learning reeces too but definitly splitting the sound and then interaction between the different filters in the different channels so one opens while the other closes etc helps alot

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really just a start

Demonstration at the start :]

hey heres the reese sound i came up with in one of my tunes. its essentially a massive patch with the oscillators Duckorgan, Screamer, and cicada if can remeber correctly. modulated the wavetables a bit and sent them through a bandreject and notch filter. also i cracked the parabolic shaper. added chorus ensemble. then i chucked some ableton effects on it. mild phasers flangers and choruses and added a bunch of notch filters. BOOM!

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pemattern wrote:hey heres the reese sound i came up with in one of my tunes. its essentially a massive patch with the oscillators Duckorgan, Screamer, and cicada if can remeber correctly. modulated the wavetables a bit and sent them through a bandreject and notch filter. also i cracked the parabolic shaper. added chorus ensemble. then i chucked some ableton effects on it. mild phasers flangers and choruses and added a bunch of notch filters. BOOM!

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haha i hate to say that but the tune without the reece is very nice not that i dont like the reece but without it and maybe a different more popesc bass you have a really nice tune there just my two cents

yeah i can see where youre coming from however if anyones interested heres a reese of mine with a very similar patch as before in a dungeon dubstep song:

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pemattern wrote:yeah i can see where youre coming from however if anyones interested heres a reese of mine with a very similar patch as before in a dungeon dubstep song:

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i like that reese a lot pemattern, care to share a patch?

ill try to explain it the best i can!

1) Massive Patch:
-3 Osc. Duckorgan, A.I., and Cicada (I didnt detune them but you should try to see how it sounds)
-Modulate the wavetables of the oscillators with an LFO or envelope.
-Put a tiny bit of 'Phase' from the Mod. Osc. on the Cicada Osc.
-Crank the Parabolic Shaper almost to the max
-Send it all in series first thought a bandreject filter and then a double notch filter.
-Modulate the cutoffs with an envelope or LFO
-Tele Tube distortion on the FX 1 half way. And a thick chorus ensemble on FX 2.

FX:
-Subtle phaser, flanger, and chorus.
-Saturation (ive got ableton and used the saturator)
-One highpass, 4 notch filter, and one lowpass filter (little resonance)
-little bit of sidechain compression

Now just go crazy with modulating the filters until you find something youre happy with. (its just trial and error)

hope that helps!!

P.S.: been thinking of making a youtube tutorial. if i do ill post it on here

A reese is a reese because they are massively detuned. The fact the oscillators are detuned means they phase and resonate with each other at different speeds depending on the pitch of the note being played. I have no science to back this up but i'm pretty sure this is why reeses respond particularly well to filter automation.

Felt like posting this as I saw someone say reese is a style of processing rather than a type of bass - I disagree with this, it's very much a type of detuned bass and is easily distinguishable because of this.

Check out a new tune of mine:
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You can hear that detuned phasing / resonance particularly on the intro. When it goes up an octave you can hear the resonance/phase gaining in speed. That, precisely, is what defines a reese. Detuned saws, its as simple as that.

I reckon because of this phasing, when you run a notch over it, it does some wacky shit. More so than if you automated some movement over any other, non-detuned sounds. Like I said no actual theory in this, just stuff i've tried and experimented with at home.

RandoRando wrote:How the hell to make reeses like this?
sweeping EQs and phasers and stuff??
skip to 2:15

DAMN. That's some Noisia shit! I definitely reckon that's been through a hardware sampler a few times. Perhaps even Z-plane filters and shit. No idea how they get it so gnarly but so clean

**EDIT** They are definitely using hardware, he mentions a "Sherman Filterbank" later on in the vid, which is the white thing covered in knobs you can see in the tut. http://www.sherman.be/