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LogiSpark wrote:This is a song that has a least 12 different versions to it, but this time I finally got the right ting.

Here's a tip: When making your reese with all its modulations, you'll probs think it sounds out of tune with your track (Unless you perfectly map out all modulations). Try chopping up your reese and add different variations of it (Make one -100 pogo'd or reverse it) and then add other reeses from your dragged sample library, it really works if you put enough work to it

Harmor Tip: Square+ HZ Unison Setting=Pure Metallic Reese

Soundcloud

Wow, bigups. How did you process this after harmor?
Tried so many times, always get something cool but never what I want.

Guys and girls!
At least you fl studio users, but probably everyone.
Make sure you watch this! Nice in depth reese tutorial.
http://www.youtube.com/watch?v=BwiSazbH0pc

bouncingfish wrote:

LogiSpark wrote:This is a song that has a least 12 different versions to it, but this time I finally got the right ting.

Here's a tip: When making your reese with all its modulations, you'll probs think it sounds out of tune with your track (Unless you perfectly map out all modulations). Try chopping up your reese and add different variations of it (Make one -100 pogo'd or reverse it) and then add other reeses from your dragged sample library, it really works if you put enough work to it

Harmor Tip: Square+ HZ Unison Setting=Pure Metallic Reese

Soundcloud

Wow, bigups. How did you process this after harmor?
Tried so many times, always get something cool but never what I want.

1)Notch + Highpass + Bandpass
2)Simple Seamless Harmor resample (with the unison and all that)
3)Bounce and chop up reeses with different variations
4)PROFIT

NOW FOR SOMETHING NEW

My take on sine wave compression:

Soundcloud

Steps:

1) Made me a simple sub patch

2) Added a multiband compressor to it and messed around with the band mix, then moving around each bands' threshold. It then gave me a random "Fake square" at a random point if I played the note long enough

3) Made it into audio and added in a notch, highpass, and bandpass filter

4) Bounced into harmor, some softsat distortion and did that average Seamless unison

5) Utilized the phaser and modulation the width and offset, keeping the time still

6) Bounced again to give some frequencies attention using maximus

7) Gated reverb

Made a simple neuro ting

LogiSpark wrote:

bouncingfish wrote:

LogiSpark wrote:This is a song that has a least 12 different versions to it, but this time I finally got the right ting.

Here's a tip: When making your reese with all its modulations, you'll probs think it sounds out of tune with your track (Unless you perfectly map out all modulations). Try chopping up your reese and add different variations of it (Make one -100 pogo'd or reverse it) and then add other reeses from your dragged sample library, it really works if you put enough work to it

Harmor Tip: Square+ HZ Unison Setting=Pure Metallic Reese

Soundcloud

Wow, bigups. How did you process this after harmor?
Tried so many times, always get something cool but never what I want.

1)Notch + Highpass + Bandpass
2)Simple Seamless Harmor resample (with the unison and all that)
3)Bounce and chop up reeses with different variations
4)PROFIT

NOW FOR SOMETHING NEW

My take on sine wave compression:

Soundcloud

Steps:

1) Made me a simple sub patch

2) Added a multiband compressor to it and messed around with the band mix, then moving around each bands' threshold. It then gave me a random "Fake square" at a random point if I played the note long enough

3) Made it into audio and added in a notch, highpass, and bandpass filter

4) Bounced into harmor, some softsat distortion and did that average Seamless unison

5) Utilized the phaser and modulation the width and offset, keeping the time still

6) Bounced again to give some frequencies attention using maximus

7) Gated reverb

Made a simple neuro ting

try doing the same thing with a square wave and compare. your essentially compressing the shit out of a sine wave to add harmonics and make it into a squareish wave

Soundcloud

This is a bit of a longer preview of what i've been working on.
Besides a super saw, it is all reese bass and it is all using the same process.

Simply put, its a reese that's been resampled 4 or 5 times manually through stock effects found in ableton. The really bouncy feeling comes from the phasing modulation, and the almost "vinyl" effect comes from a certain J curve method i've been studying. It basically is a saturated curve of volume rising at an exponential rate, and cut short at the tip of a wail to prevent any unharmonic issues, then reversed and faded into an entirely seperate module with multiple J curves running off of it. These two are sampled together very roughly and resampled countless times to produce a unique sound in here i like to call a handshake. The sounds to start off with are very rough counterparts, but after the process is applied "X" amount of times the sound starts to "dither" together. And it makes it so that the sound, as a whole, presents itself in a single wave formation, instead of a big mess of them, then you can take that sound again, and reproduce it to create the watery reese that everybody wants. Its all about the handshake

WolfCryOfficial wrote:Soundcloud

This is a bit of a longer preview of what i've been working on.
Besides a super saw, it is all reese bass and it is all using the same process.

Simply put, its a reese that's been resampled 4 or 5 times manually through stock effects found in ableton. The really bouncy feeling comes from the phasing modulation, and the almost "vinyl" effect comes from a certain J curve method i've been studying. It basically is a saturated curve of volume rising at an exponential rate, and cut short at the tip of a wail to prevent any unharmonic issues, then reversed and faded into an entirely seperate module with multiple J curves running off of it. These two are sampled together very roughly and resampled countless times to produce a unique sound in here i like to call a handshake. The sounds to start off with are very rough counterparts, but after the process is applied "X" amount of times the sound starts to "dither" together. And it makes it so that the sound, as a whole, presents itself in a single wave formation, instead of a big mess of them, then you can take that sound again, and reproduce it to create the watery reese that everybody wants. Its all about the handshake

interesting sounding technique. not sure I completely understand what is going on, but it seems to be working for you. would like to hear what it sounds like by itself without the drums and what not

WolfCryOfficial wrote:Soundcloud

This is a bit of a longer preview of what i've been working on.
Besides a super saw, it is all reese bass and it is all using the same process.

Simply put, its a reese that's been resampled 4 or 5 times manually through stock effects found in ableton. The really bouncy feeling comes from the phasing modulation, and the almost "vinyl" effect comes from a certain J curve method i've been studying. It basically is a saturated curve of volume rising at an exponential rate, and cut short at the tip of a wail to prevent any unharmonic issues, then reversed and faded into an entirely seperate module with multiple J curves running off of it. These two are sampled together very roughly and resampled countless times to produce a unique sound in here i like to call a handshake. The sounds to start off with are very rough counterparts, but after the process is applied "X" amount of times the sound starts to "dither" together. And it makes it so that the sound, as a whole, presents itself in a single wave formation, instead of a big mess of them, then you can take that sound again, and reproduce it to create the watery reese that everybody wants. Its all about the handshake

You are absolutely amazing dude.
I bet you'd get shitloads of views if you did a tutorial, the world needs your expertise

https://soundcloud.com/blinkesko/idontknow/s-SPHyN
Having fun resampling stuff today

Soundcloud

everything in this track is a reese. gonna take it down soon cuz its very incomplete, but i thought i'd post it here while its up.

So this is my first time using time massive for reeses, I used the Chrome wavetable and only used bandreject. I used Frequent's tips from Covex about turning on the restart via gate, adding 4 unison, and then moving the vibrato depth just a tiny bit (you can't even see it) so you can get good phasing. I loved this patch so much I'm giving it away

Download my massive Chrome reese patch m8s

I used my average harmor resampling method but tried something new. I used Evoke's tips on exporting your bass as mono & stereo to get a good mix on your reese if I remembered In harmor, you should make sure you link parts A & B so both won't get weird conflicting changes, but when it comes to modulating the phaser, modulate the phaser in the mono section in harmor (Part A) and leave B alone with the phaser settings of A. This makes the stereo section make the waveform look like there's a sub bass underneath the mono reese but leaving the stereo reese alone keeping its originality. I finally layered a foley sample and exported it. Making this neurohop tune

Soundcloud

LogiSpark wrote:So this is my first time using time massive for reeses, I used the Chrome wavetable and only used bandreject. I used Frequent's tips from Covex about turning on the restart via gate, adding 4 unison, and then moving the vibrato depth just a tiny bit (you can't even see it) so you can get good phasing. I loved this patch so much I'm giving it away

Download my massive Chrome reese patch m8s

I used my average harmor resampling method but tried something new. I used Evoke's tips on exporting your bass as mono & stereo to get a good mix on your reese if I remembered In harmor, you should make sure you link parts A & B so both won't get weird conflicting changes, but when it comes to modulating the phaser, modulate the phaser in the mono section in harmor (Part A) and leave B alone with the phaser settings of A. This makes the stereo section make the waveform look like there's a sub bass underneath the mono reese but leaving the stereo reese alone keeping its originality. I finally layered a foley sample and exported it. Making this neurohop tune

Soundcloud

Sounds great! I'd say bring up the "mids" a little more to make it sound fuller (it just sounds a little wet/too resonant like IMO), although i'm sure this isn't your final product hence the WIP. I hate to go straight to maximus, but throw that on there and mess with the frequency gains, it always works well for me.

Excellent reese sound though. I definitely downloaded it.

https://soundcloud.com/nanjk/tension/s-J03RF

Decided to try resampling it this. The reese comes from a stack of 6 detuned saws, and with notches and chorus. I frequency split and apply a separate chain of chorus and other fx on each band Additional movement comes from a phaser and a band pass on only mids. And to get a darker feeling i eq'd out the high end a bit,

edit: nvm

WHO'S READY TO READ!!!

FM8 Low-Mid Range Reese

Here's something complicated I made the other day when I just started mucking around with FM8, attempting to create a Photon bass, I made this happy accident.

Soundcloud

FM8

-Look at the patch, I'll try to describe it, like I said before, this was an accident and I have no knowledge of FM8 what-so-ever



-Operator B is feeding into itself by 48%, please take note that Operator A is off. It is then feeding into OPS F by 31%, this fuses the triangle with a soft tristate (Maybe adding more triangle based harmonics in it). Operator C is feeding into F by 22% (Maybe adding more sine harmonics in it, possibly making the waveform more dynamic in some way). Operator D is feeding itself by 25% while feeding into C by 29%. Operator E is a lone-wolf, why? Because he's the main guy in all this, he's a sine wave! OP E is going out by 100% to ensure that he is numero uno! Operator F is getting all the "attention" from OPS B,C, and Z, she then has a straight up orgasm and I think that’s what gives the reese its airy, tonal texture.



The FX Chain

(Sorry for low quality)

-Look at the pictures, typing is too much XD

EQ & Chorus



Waveshaper



Compressor



Resampling



-I did some unique things in this harmor patch. I imported the basses in part A & B, but for part B I enabled side processing (Turns it into mono or stereo) so I can get a good double relationship on my bass. I did the Seamless unison tactic then enabled phaser but didn't modulate at all! WAIT! WHY IS HARMONIZER ENABLED?!?! Well, I though harmonizer makes things sound more "chord friendly" so I used it to add a nice texture to the Reese (You'll hear it when the reverb comes in)


Electro Saw Bass turned into Neuro Reese

Soundcloud

A very simple sound IMO

1) Make a simple saw bass patch (distort a bit heavily)

2) Low Pass and Volume automate in a way that is identical to the LP's automation

3) Bounce into Harmor (Stereo, Mono)

4) Simple Unison growl settings

5) Log Distortion at minimal

6) Enable Harmonizer (Makes it sounds more atmospheric when reverb automation is applied

7) Automate Low Pass' Width & Frequency

Reverb automate

9) Make neuro-dubstep ting

Fowles wrote:Soundcloud

everything in this track is a reese. gonna take it down soon cuz its very incomplete, but i thought i'd post it here while its up.

Really like those sounds man. Any chance of sharing your process?

nameless wrote:

Fowles wrote:Soundcloud

everything in this track is a reese. gonna take it down soon cuz its very incomplete, but i thought i'd post it here while its up.

Really like those sounds man. Any chance of sharing your process?

Which ones?

Soundcloud
FM8 reese patch with pretty simple processing (automated notch eq, mb compression, mb distortion, chorus, pp delay). To get proper sub movement I layered a modified instance of the patch where the main modulator instead acted as a sine carrier.

smile wrote:Soundcloud
FM8 reese patch with pretty simple processing (automated notch eq, mb compression, mb distortion, chorus, pp delay). To get proper sub movement I layered a modified instance of the patch where the main modulator instead acted as a sine carrier.

Really sick dude. How did the patch look?
Btw, är du svensk? :ooo Har jag frågat det förrut? haha

bouncingfish wrote:Really sick dude. How did the patch look?
Btw, är du svensk? :ooo Har jag frågat det förrut? haha

Thanks. Hm, I will answer questions that regard to concepts and not specifics.

Vet inte om du frågat, men ja. Jag är svensk.

smile wrote:

bouncingfish wrote:Really sick dude. How did the patch look?
Btw, är du svensk? :ooo Har jag frågat det förrut? haha

Thanks. Hm, I will answer questions that regard to concepts and not specifics.

Vet inte om du frågat, men ja. Jag är svensk.

Det är så svenskt här inne