How to get that fat Kromestar/Habstrakt/Widdler saw bass?

[Sinergy]

The main sound in this:
http://www.youtube.com/watch?v=d1zVJ-qhUlY

And the sound also comes in on this tune at 1:05
http://www.youtube.com/watch?v=nBuDSyrsruk

comes in at 1:18
http://www.youtube.com/watch?v=s6BovqpLKmo

I can get a similar sound in massive with a saw wave pitched down 1 or 2 octaves (moving around pitch to get that stretching sound), and then have the pitch cut off all the way to the right at 11.90st, 2 voices.

I just can't get it very thick at all, I've done distortion on it and that helps a little bit, but it seems to destroy the sounds smoothness very quickly.

Anything I can add to get a better sound? I feel like I'm missing like one or two key elements in the original patch or something, I'm missing that metallic phase sound to it.

Thanks!

[Sinergy]

oops, thought i was posting in sound design!

[DJens]

sounds like a pretty basic reese to me. Look through the sound design forum for the reese bass thread, it'll have more info than u need for this bass!
To do the reese you'll need more than one saw oscillator - turn on osc 2 and 3 with a saw and detune them from your osc 1 by +0.25 and -0.25 (play around with the detune amounts to get the desired detuning). Also if you wanna have the detuning repeat with your beat then use an lfo on the pitch of osc2 and osc3.

And to thicken up your reese I'd use the classic tube / any other tube distortion in massive and a bit of dimension expander

[titchbit]

The first two are definitely reese basses in my opinion. The 3rd one I'm not so sure if it's a reese or just saws, but I dunno if there's really a strict definition for a reese anyway. This is my formula for a good reese bass:

multiple saws / saw-like waveforms with multiple voices each pitched down varying octaves (eg have one at -12 and one at -24).
detune to taste
low-pass filter
turn up the resonance on your filter
add chorus
put a subtle LFO on your pitch for some added movement
finally, EQ to taste

[GenericNameHere]

I've just found out how to do a patch similar to this, and I'm still trying to understand why it does what it does, so I can't gove you a definitive explanation ... BTW, I did it in Harmor, not Massive, but I think, if I understand why it does what it does, I can translate it to Massive and maybe give you a few pointers.

On to the real reason I'm posting...

Someone replied that, in order to get a reese patch going in Massive, you'd need multiple osc's. Well, that's true, but it would be better to just use Unison/Unisony(WHATEVER IT's CALLED IN MASSIVE)

Not at my rig ATM, so I can't be specific. Mess with the unison pitch, but use an insanely small amount (Last I checked in FL, it was around 0.3 sumting.) Then crank up the number of voices and BOOM! You've got a reese with using a single osc. Now go crazy with layering and routing.

edit: obvs, you have to low pass that biatch, but to get that stretchy/rubbery bass, if it's the one you're talking about, you wouldn't need a reese; you'd need ... something similar ... my lips are sealed until the vets decide to answer. You're on the right path with the pitch modulation tho ... you just need to mess with the filter ... you didn't hear it from me...

TIP: forget the lowpass, there's a bunch of filter types: have fun, and dial up the resonance ... a lot.

[GenericNameHere]

After giving those tracks a listen, I can agree with the other posters saying it's a reese. Just use Unison/o, and you're set. ... Don't forget the lowpass.