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blinkesko wrote: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

RandoRando wrote: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

Toolman4 wrote: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

FAARE FACED wrote:

Toolman4 wrote: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 ?

mthrfnk wrote:

FAARE FACED wrote:

Toolman4 wrote: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.

blinkesko wrote: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 wrote: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

mthrfnk wrote:

dotcurrency wrote: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

dotcurrency wrote:

mthrfnk wrote:

dotcurrency wrote: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.

medetix wrote:Soundcloud


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

smogglymoff95 wrote: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

smogglymoff95 wrote: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