The Reese Bass Thread

[Hircine]

Nice one Hircine!

literally found that out by accident trying to get a nice reverse noise thing to glue the bars together.

[Toolman4]

A new reese bass that I made today during sound design. Any criticism/feedback? I'll spill the details if anyone is interested too. Cheers all!


Soundcloud

[Hircine]

A new reese bass that I made today during sound design. Any criticism/feedback? I'll spill the details if anyone is interested too. Cheers all!


Soundcloud

loving the heavy chorus and phaser action on the mids. did you cut a lot of the high mids out and then just layered the high end on top of it?

[RandoRando]

TOOLMAN4 !

yes pleae explain! ive been trying forever to make a twisy reese like that

[RandoRando]

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

[RandoRando]

here is my first official reese, i think its ok for my first try!
if anyone wants step by step lemme know, or if anyone has any pointers
Soundcloud

[Toolman4]

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

[RandoRando]

thanks man, some good tips, gonna try it out.

and btw im pretty sure its series and parallel filter routings, not serial lol

[Nologix]

How can I create a bass like here in this song at 0.55? http://soundcloud.com/jackymurda/murdar ... ngton-levy
(NI Massive)
I'd be very thankful for tips.

[Toolman4]

ah Rando...On point my friend I did very much mean seires lol.

@Nologix: You're on track. You posted that question here because you know it's a reese. Practice homie. It's not the phattest, or most complex/effected reese I've heard...quite clean and weighty though. Would say experiment with multiple resamples of a saw reese and phasing often during each cycle with upper frequency flange. However, I might also try experimenting with Square reese's with careful handling of phasing, and more focus on effecting each freq band.

Either way, experiment. You might not make one that has the same characteristics, and that's ok. Ultimately, it's the natural phasing (movement/grit balance) we like about the reese bass. Make sure the low end is strong and consistent, mids punchy/not muddy, and highs clearly audible...if so, your reese is nicely crafted. The next challenge is automating/modulating the reese and arranging it into something driving/musical.

For super insanity, bounce your arrangement, and then resample that shit LOL! Cheers

[Nologix]

@Toolman:
Thanks for that post, it's really helpful!
The easiest way to do the automating/modulating part is probably using the Performer on the cutoff or phaser or so talking about Massive, or?

[Genevieve]

Soundcloud

Is it just me or is this reese of mine sounding too wide? It sounded fine on my monitors but I'm wearing headphones now and it's kinda odd.. I think.

And yeah I'm working on a tune called Pipelayer.

Edit: ugh forgot to turn the volume on the reese down and removed the last EQ.. Ehh I still think you get the point

[Toolman4]

@ Genevieve: I would agree with you. It is quite wide and the mids seem to have been lost. It's weight is there, could be more powerful, but the highs are interesting. The tone has evolved into something unique but yea, bring out some more midrange just for presence (not trying to push a 'bro' influence on you ) It's a bit hard to hear/judge the reese as that atmospheric hit you put in every so often kinda drowns it out, but overall I do like how wide it is. Perhaps just with a bit more processing to get more harmonics to come through during modulation. The sound you put in starting @.16s is awesome. Nice crispy top end with chorus/verb/delay.

@Nologix: The easiest way to do something? Did I not just say Experiment? You already know that cutoff is a good place to start, as does every other person. And yes, it's a great way to get pronounced movement, but place modulators (performer, envelopes, lfos, step sequencers) on every parameter to see if the effect is desirable or not. In all honesty, I've been working FOREVER to get a reese as nice as the one I just posted, and really think it's great. But now that challenge has been met, I'm more driven to create something new than ever. Just making a point to appreciate your own directions of creativity more than aiming to replicate stuff that inspires you. Trust me, I'm all about learning, but I'm not someone you want to copy. I'm flattered you like my reese, but at the end of the day, the this thread, and the growl bass thread are turning into goldmines for those turned on by contemporary aggressive EDM.

Part of me thinks this idea coincides with why Spor's newest EP is a HUGE departure from older stuff....Just thinking out loud

[Genevieve]

@ Genevieve: I would agree with you. It is quite wide and the mids seem to have been lost. It's weight is there, could be more powerful, but the highs are interesting. The tone has evolved into something unique but yea, bring out some more midrange just for presence (not trying to push a 'bro' influence on you ) It's a bit hard to hear/judge the reese as that atmospheric hit you put in every so often kinda drowns it out, but overall I do like how wide it is. Perhaps just with a bit more processing to get more harmonics to come through during modulation. The sound you put in starting @.16s is awesome. Nice crispy top end with chorus/verb/delay.

Hah, that part at 0:16 is my hardcore/gabber kick I filtered in. It's my "signature sound".

And yeah when the bass is lower in the mix it makes a little more sense. I didn't want it to be toooo present, just have a sub and some highs to accentuate it, but I'm thinking I might it round it out more and make it a more 'proper' reese. And I'm definitely gonna narrow it down.

Thanks for helping :0

[Nologix]

@Nologix: The easiest way to do something? Did I not just say Experiment? You already know that cutoff is a good place to start, as does every other person. And yes, it's a great way to get pronounced movement, but place modulators (performer, envelopes, lfos, step sequencers) on every parameter to see if the effect is desirable or not. In all honesty, I've been working FOREVER to get a reese as nice as the one I just posted, and really think it's great. But now that challenge has been met, I'm more driven to create something new than ever. Just making a point to appreciate your own directions of creativity more than aiming to replicate stuff that inspires you. Trust me, I'm all about learning, but I'm not someone you want to copy. I'm flattered you like my reese, but at the end of the day, the this thread, and the growl bass thread are turning into goldmines for those turned on by contemporary aggressive EDM.

I get your point. And this are some wise words. I shall experiment now.

[RandoRando]

toolman that tutorial of your is genius, shaping the sound with just filter one, then modulating it as the last step with the bandpass on filter 2! i got some amazing results

[Toolman4]

Right?!....Apply the same technique during resampling...ugh, some real gut wrenching sounds.

[mthrfnk]

Soundcloud
Got me some transformers style reeses in this track I've been playing with

[Augment]

That can become a banger man
Reeses are a bit too wet for my taste though, you've ran them through a vocoder, yeah? Maybe keep more of the dry signal
Keep working on it

[mthrfnk]

That can become a banger man
Reeses are a bit too wet for my taste though, you've ran them through a vocoder, yeah? Maybe keep more of the dry signal
Keep working on it

Nah no vocoders this time, granulisation and a few phasers - perhaps I'll turn down the phasing.