Dubstepforum.com

ascent wrote:it has already been said that this thread is full of midrange and 0 reese

It has already been said that knockers should keep their negative and unproductive opinions to themselves.

AJGR wrote:heres a bit of history on the Reese

the original Reese bassapella 1988



then DnB stole it



don't know it went from being a bass sound to a lead

It's called evolution of a sound. Have you ever heard of this? But you're probably right, once a new sound is made we should definitely just use that exact sound and never let it change ever. Perfectly logical if you ask me.

cmgoodman1226 wrote:
It's called evolution of a sound. Have you ever heard of this? But you're probably right, once a new sound is made we should definitely just use that exact sound and never let it change ever. Perfectly logical if you ask me.

One of my biggest pet peeves bro. I agree with you so much.

I think Burial used a reese in ghost hardware. It's really subtle and in the background but it's an amazing use for it nonetheless

AJGR wrote:heres a bit of history on the Reese

the original Reese bassapella 1988



then DnB stole it



don't know it went from being a bass sound to a lead

Your answer is the late 90's. So it's safe to safe reeses have been distorted and twisting for quite some time now.

B-Frank wrote:

AJGR wrote:heres a bit of history on the Reese

the original Reese bassapella 1988



then DnB stole it



don't know it went from being a bass sound to a lead

Your answer is the late 90's. So it's safe to safe reeses have been distorted and twisting for quite some time now.

Quite safe just they way I like 'em.

Sick thread guys!

dj stick wrote:Sick thread guys!

Thanks man

dj stick wrote:Sick thread guys!

Not sick enough yet, I'm still struggling to get Noisia twist on my reeses

This was my attempt at creating something very similar to Koan Sound - The edge.

Its not amazing but it only took me about 30 minutes so with a bit more time it could sound a alot better.

The key to it was taking the reese and sending it to 2 send effects. Detuning these send effects ever so slightly from the input sourse (ie send 1 = -20 cents ---- send 2 = +20 cents). Panning them about 20+/20- and adding effects to the send channels.

Here in this preview i have exported it WITHOUT the send effects 1st and WITH the send effects afterwards. I will be more than happy to write about this if anyone is to find this useful

Soundcloud

^ This is sick

illtabulous wrote:^ This is sick

Hell yeah. Wanna get more specific man? This sounds really cool. Put on your teaching hat

Ok...here's the next step I've taken with my reese synthesis...glide is FUUUUUN!!!!

Soundcloud

Nice Reeses Toolman4 and Mattb123.

I've been going for something a little more subtle where I've been listening to a fair bit of Noiisa, Calyx etc.

Soundcloud

It consists of two different reese's. One on the kick and another after it. This is not for any particular reason, its just how I felt it sounded in their track.

In picture 1 it shows my first reese. (The reese on the kick drum) You can copy settings if you feel like doing so, only bit you cant see is the voicing,unison on 3, turn on pitch cut-off. fader all the way to the right, change number to 0.33. Also turn your pitch range down to -12 because as you can see the pitch bend is going down an octave. This is really important for giving the reese "movement". The reese also has a BiFilter 2 on it, with a comb 2 setting selected. This effect has almost random automation across the note. There is no specific way to use this, just experiment until it sounds good. It has a compressor on it which is just being used to sidechain with the kick. A bit of chorus to make it blend a little better. I have also sent this to the two send channels at -20 (will explain the send channels below) as I didn't want this bass to have as much stereo width as the second bass.

The second reese (see picture below) is the exact same patch, with different modulations and effects. As you can see the pitch bend is slightly different. You can also see from the picture that on the EQ there is a chunk of a frequency taken out. This is because the EQ point (frequency) is being automated quite rapidly over a short period of time, just to get a bit more movement in there. Then I have wacked the BiFilter 2 on there with the comb 2 setting, again with pretty much random automation (will include some automation snapshots if anybody might find that useful?). You can ignore the compressor on there, i duplicated the first reese, meaning the compressor on this channel is doing nothing. There is a camelphat on there, only doing an LFO'd notch filter, played around with the rate, depth and cut-off until I thought id sounded okay. Lastly another BiFilter 2 with a comb 2 setting, with again random automation for extra movement. This channel is sent fully (at 0) to the two send channels (see picture below for send channels).

Ill add now that the BiFilters are not completely wet on the dry/wet scale. The dry/wet is about half way. The main movement of the sound is coming directly from massive, with the help of the pitch bending (again very important for movement!)

For the send channels I panned them -23/+23. Turned them down a bit. Wacked an EQ on both with a high-pass to make sure there is no lower end interference with the input source. Then i put the pitch shifters on. Turn the mix all the way up. Semi-tones to zero and cents to -13/+20 (I got it wrong in last post, the detuning in cents slightly differ to make each channel different). I then pressed the triangle button at the bottom of the pitch shifters and changed the stereo link to "Inv." (you don't have to do this and i'm not even sure what it does but it just sounded a lot wider to me). The rest of the settings are exactly the same for each channel as regards to the bitcrusher, exciter and overdrive.

Lastly I grouped the reese's together via a bus (not including the send channels, just the midi channels), put an EQ on boosting the low end to bring out the sub (usually would high-pass and make own sub but was feeling lazy and couldn't be bothered creating the modulations within the sub to follow) and put a very subtle reverb on them with the low frequencies taken out the reverb and the high frequencies taken down a bit, just to gel them a bit more.

As you can see in the pictures I have bounced down the reese sounds, there is no resampling going on here, it was just to make sure I was hearing the exact same sound every time because with midi, every time you hit a note it will sound different with this kind of sound, especially with all the modulations going on.

One thing I did forget to do to my patches before bouncing down was adding a white noise oscillator. If you listen to Koan Sound - The Edge you can hear some sort of white noise that is also being modulation but since its at such a high frequency and wide, it makes us perceive the bass as being a lot fuller.

Sorry for going on. I just didn't want anybody missing anything

Hope you found this useful !




Reese 1.



Reese 2.



Send Channels.

B-Frank wrote:Nice Reeses Toolman4 and Mattb123.

I've been going for something a little more subtle where I've been listening to a fair bit of Noiisa, Calyx etc.

Soundcloud

Sweet! Would love a tut on that.

And a little offtopic but, love the drums, made them yourself?

dj stick wrote:

B-Frank wrote:Nice Reeses Toolman4 and Mattb123.

I've been going for something a little more subtle where I've been listening to a fair bit of Noiisa, Calyx etc.

Soundcloud

Sweet! Would love a tut on that.

And a little offtopic but, love the drums, made them yourself?

I'm at work so I will have to go off the top of my head:

The reese:

First and foremost, resampled about 3 times with different automation at each stage. Automated just about everything from notch positions on EQ with slice automation on the notch size. Assorted parameters inside a subtle flanger, room size on reverb, a few parameters on chorus such as depth can't remember what else but I did automate a lot. Used compression which brought the sound out a lot and was essential.

The original Reese was made in massive (feel a bit unoriginal saying that, everyone uses it). 2 saw waves -12 ... detuned by 00.25 both ways which is obviously the essential ingredient of a reese. Went into the voicing tab and as I change with the majority of my sounds I changed the Unison to 3, Legato triller and monophon. Got the glide setting set at about half way, this is absoloutely vital. Changed the Envelope, had to alter the attack slightly to get rid of a harsh click and turned the level up the whole way but I do that with the majority of my sounds. Also played with Ring Modulation and Phase modulation both were enveloped I believe. All sorts of Envelopes and LFO's which I couldn't possible remember or put into a forum post. Tube distortion and a subtle dimension expander. Also played a little with the feedback knob and added a parabolic shaper I think.

A great great tip I can give you... I bounce it all to audio when resampling after I am happy with my Reese I chop up the wave form slightly and re-arrange to taste.


The drums:

These are a lot simpler and in fairness I only made them for demonstrational purposes. I started off making DNB so I can make much better ones than that.

But the source samples have to be good, a kick with a good thud and a clean punchy snare. The snare is something I prepared at a different time, was layered. Started with the kick and snare. After that I take rim shot sample, take the attack, decay and everything right down and have the hold set on a very low setting so it turns the sound to a subtle punchy little click. Low cut it as i do with just about everything I need to and add delayed. Then I add them in to taste, it gives you a lot of shuffle. Then add in a few splashy little shakers that give it a nice feel. Then I chopped up a few breaks and low cut them (absolutely paramount that you do this or they interfere too much).
That is all I did for the demonstrational drums but usually I'd add in a high passed rock break over the top to add some splash and fill out the sound more and add a lot more incidental percussive sounds.


Wow, what a wall of text...

Ps: Forgot to add I used a fair few effects such as Camel Crusher etc etc etc... Also I forgot to add the original reese had a pretty subtle double notch filter in massive itself.

Woah... looks like its reading time... excellent.

Check out my Koan Sound-esque reese...
Soundcloud

alexvont12 wrote:Check out my Koan Sound-esque reese...
Soundcloud

are you satisfied with this?