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Track in my signature has some reeces. First time I really tried it out so it might be a bit raw.

set out for a dungeon bass, ended up with one sounding a little more koan like...oh well if anyone wants the patch let me know, its in reason 6.5 and ull need the saturator, but its free

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Here's 3 similar reese basses that I made last night. I added some loudness maximizing, but other than that it's pretty much coming straight out of Massive. They're fairly abstract right now rhythm-wise, but I bet with a bit of resampling I could get them to work together in a track.

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And then here's a little thing

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blinkesko wrote:So I was messing about with some reeses yesterday, and I made one that to me sounded very close to one of the basses in Killsonik-Bloodlust
I think the key of the example is off, 'cus I haven't heard the tune in a while, but anyways..
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HOLY SHIT TITS. So god damn close! Incredible.

blinkesko wrote:So I was messing about with some reeses yesterday, and I made one that to me sounded very close to one of the basses in Killsonik-Bloodlust
I think the key of the example is off, 'cus I haven't heard the tune in a while, but anyways..
Soundcloud

Would you mind doing a short explanation on how you made that higher-pitched sound?

Im on a cabin right now, will make a short tut tomorrow

EDIT: And here's the tutorial
I'll focus mainly on the high pitch synth, the lower one is just there to fill in the blanks.
Okay, so it's a pretty simple patch in massive.
All oscillators are the default square-saw 1, and are sent to filter 1.
Osc 1 is tuned -11.89.
Osc 2 -12.10
Osc 3 -12.00. Osc 3 is not at full volume, like the others, but between 2-3 oclock. There is some phase modulation on it aswell, about 9 oclock and -12.00. This adds some grit to it all.
The filters are in series. and mix is at filter 2. (So it goes first through filter 1 then to 2.)
Filter 1 is a lowpass 4 filter with resonance at about 7 oclock. Cutoff being modulated by lfo5. Drag it so that the lp filter is fully open and the green side of the lfo thing goes down to 1 o'clock.
Lfo 5 is a default sine-lfo with rate 2:1.
Filter 2 is a bandpass filter. Cutoff at about 10 o'clock, bandwith 11 oclock and resonance between 9-10 oclock. Cutoff being modulated by LFO6. Make it so the grey lfo thing goes up to 1 o'clock.
LFO6 is a saw-shaped lfo, rate 1:12.
Insert 1 i P shaper, both knobs at 50%.
FX1 is Brauner tube, default settings. And then I have a phaser on fx2, all knobs at about 10 oclock.
Voicing
Unisono 4, pitch cutoff on and about 3-4 ticks to the right.
Pan position on, 1 tick to the right from mono. Mono and legato (not necessary though)
EQ on, high shelf at about 10 oclock.

Link to patch: http://www.mediafire.com/?qp5kkvaf596hgty
This is how it sounds without external effects, like we just made it, and then with effects
Soundcloud

EXTERNAL EFFECTS:
Eq, taking out a little bit of high end
Camelphat for some tube distortion, xcita and a tiiiny bit of mech.
Then another camelphat (two in a row, wtf was I thinking.) MOAR tube and xciter, and an even tinier bit of mech. Some flanger, 10%, magic eq 35% and compressor 45%.
Eq, taking out the low end.
Big ass flanger, experiment a little with this one, had it at a slow rate though.
Another eq , lowering some of the lower mids, since the flanger boosted these for some reason.
Sausage fattener at 10%.
camelphat, same as the 2nd camelphat, but without the flanger.
Eq, just to look at everything
camelphat AGAIN, fuck the rules. Some tube, xcita, tiny bit of mech and 20% flanger.
EQ, taking out low-end.
Ohmicide, 10db bitcrusher between 0 and 200 hz. This is being automated so the bitrusher takes over alot as it plays. (So it goes from 200 to 5K.) 10db soft clipper at 200+
Eq, take out more low-end.
Camelphat, some more tubedisto, a bit of flanger and some magic eq.
Eq, make sure there is nothing below ca 75hz.

My hands hurt now >.<

Maybe I'll just bump this thread so you guys know I've done the tut, lol

Nice one man your tunes are sounding really awesome these days!!!

Fbac wrote:Nice one man your tunes are sounding really awesome these days!!!

Thanks man!

blinkesko wrote:Im on a cabin right now, will make a short tut tomorrow

EDIT: And here's the tutorial
I'll focus mainly on the high pitch synth, the lower one is just there to fill in the blanks.
Okay, so it's a pretty simple patch in massive.
All oscillators are the default square-saw 1, and are sent to filter 1.
Osc 1 is tuned -11.89.
Osc 2 -12.10
Osc 3 -12.00. Osc 3 is not at full volume, like the others, but between 2-3 oclock. There is some phase modulation on it aswell, about 9 oclock and -12.00. This adds some grit to it all.
The filters are in series. and mix is at filter 2. (So it goes first through filter 1 then to 2.)
Filter 1 is a lowpass 4 filter with resonance at about 7 oclock. Cutoff being modulated by lfo5. Drag it so that the lp filter is fully open and the green side of the lfo thing goes down to 1 o'clock.
Lfo 5 is a default sine-lfo with rate 2:1.
Filter 2 is a bandpass filter. Cutoff at about 10 o'clock, bandwith 11 oclock and resonance between 9-10 oclock. Cutoff being modulated by LFO6. Make it so the grey lfo thing goes up to 1 o'clock.
LFO6 is a saw-shaped lfo, rate 1:12.
Insert 1 i P shaper, both knobs at 50%.
FX1 is Brauner tube, default settings. And then I have a phaser on fx2, all knobs at about 10 oclock.
Voicing
Unisono 4, pitch cutoff on and about 3-4 ticks to the right.
Pan position on, 1 tick to the right from mono. Mono and legato (not necessary though)
EQ on, high shelf at about 10 oclock.

Link to patch: http://www.mediafire.com/?qp5kkvaf596hgty
This is how it sounds without external effects, like we just made it, and then with effects
Soundcloud

EXTERNAL EFFECTS:
Eq, taking out a little bit of high end
Camelphat for some tube distortion, xcita and a tiiiny bit of mech.
Then another camelphat (two in a row, wtf was I thinking.) MOAR tube and xciter, and an even tinier bit of mech. Some flanger, 10%, magic eq 35% and compressor 45%.
Eq, taking out the low end.
Big ass flanger, experiment a little with this one, had it at a slow rate though.
Another eq , lowering some of the lower mids, since the flanger boosted these for some reason.
Sausage fattener at 10%.
camelphat, same as the 2nd camelphat, but without the flanger.
Eq, just to look at everything
camelphat AGAIN, fuck the rules. Some tube, xcita, tiny bit of mech and 20% flanger.
EQ, taking out low-end.
Ohmicide, 10db bitcrusher between 0 and 200 hz. This is being automated so the bitrusher takes over alot as it plays. (So it goes from 200 to 5K.) 10db soft clipper at 200+
Eq, take out more low-end.
Camelphat, some more tubedisto, a bit of flanger and some magic eq.
Eq, make sure there is nothing below ca 75hz.

My hands hurt now >.<

Well, I'm kinda drunk right now, but: 10/10. Thank you. I bet you were of a lot a of help to many people, the sacrifice of both of your hands was not unwarranted!

CBA to read through 27 pages............ Yeah, lazy i know but i spent about 18 months wondering "how does i make nasty reese basses lol" never actually experimenting. Ignoring all the "it's all down to the movement" talk, but these really opened my eyes.

http://www.youtube.com/watch?v=LEtw4lxf ... VyPxbwRkGg

http://www.dogsonacid.com/showthread.php?t=728627

Hope these can help some peeps out.

Reversed wrote:

blinkesko wrote:long ass tut

Well, I'm kinda drunk right now, but: 10/10. Thank you. I bet you were of a lot a of help to many people, the sacrifice of both of your hands was not unwarranted!

Hehe, no problem, I love helping people out with sounds

blinkesko wrote:Im on a cabin right now, will make a short tut tomorrow

EDIT: And here's the tutorial
I'll focus mainly on the high pitch synth, the lower one is just there to fill in the blanks.
Okay, so it's a pretty simple patch in massive.
All oscillators are the default square-saw 1, and are sent to filter 1.
Osc 1 is tuned -11.89.
Osc 2 -12.10
Osc 3 -12.00. Osc 3 is not at full volume, like the others, but between 2-3 oclock. There is some phase modulation on it aswell, about 9 oclock and -12.00. This adds some grit to it all.
The filters are in series. and mix is at filter 2. (So it goes first through filter 1 then to 2.)
Filter 1 is a lowpass 4 filter with resonance at about 7 oclock. Cutoff being modulated by lfo5. Drag it so that the lp filter is fully open and the green side of the lfo thing goes down to 1 o'clock.
Lfo 5 is a default sine-lfo with rate 2:1.
Filter 2 is a bandpass filter. Cutoff at about 10 o'clock, bandwith 11 oclock and resonance between 9-10 oclock. Cutoff being modulated by LFO6. Make it so the grey lfo thing goes up to 1 o'clock.
LFO6 is a saw-shaped lfo, rate 1:12.
Insert 1 i P shaper, both knobs at 50%.
FX1 is Brauner tube, default settings. And then I have a phaser on fx2, all knobs at about 10 oclock.
Voicing
Unisono 4, pitch cutoff on and about 3-4 ticks to the right.
Pan position on, 1 tick to the right from mono. Mono and legato (not necessary though)
EQ on, high shelf at about 10 oclock.

Link to patch: http://www.mediafire.com/?qp5kkvaf596hgty
This is how it sounds without external effects, like we just made it, and then with effects
Soundcloud

EXTERNAL EFFECTS:
Eq, taking out a little bit of high end
Camelphat for some tube distortion, xcita and a tiiiny bit of mech.
Then another camelphat (two in a row, wtf was I thinking.) MOAR tube and xciter, and an even tinier bit of mech. Some flanger, 10%, magic eq 35% and compressor 45%.
Eq, taking out the low end.
Big ass flanger, experiment a little with this one, had it at a slow rate though.
Another eq , lowering some of the lower mids, since the flanger boosted these for some reason.
Sausage fattener at 10%.
camelphat, same as the 2nd camelphat, but without the flanger.
Eq, just to look at everything
camelphat AGAIN, fuck the rules. Some tube, xcita, tiny bit of mech and 20% flanger.
EQ, taking out low-end.
Ohmicide, 10db bitcrusher between 0 and 200 hz. This is being automated so the bitrusher takes over alot as it plays. (So it goes from 200 to 5K.) 10db soft clipper at 200+
Eq, take out more low-end.
Camelphat, some more tubedisto, a bit of flanger and some magic eq.
Eq, make sure there is nothing below ca 75hz.

My hands hurt now >.<

Fuckkk you went off. Thanks a lot man Imma try this out tonight.

I can just add that a separate white noise with the same modulation as the second filter in the tut will provide that top end that is in the tune. Just listened to it again, and couldn't remember that it had so much white noise

Hey, I'm just wondering... has anyone here experimented with layering a reese with some granular synthesis for an even more organic/moving sound? Nothing I have tried for myself, but the thought of it just sounded badass.

TIME TO REVIVE THE REESE BASS THREAD!

I just finished the singleplayer mode of the new Ghost Recon, and i have to say the synth / sounddesign in that game is fucking crazy. So many mindblowing awesome sounding reeses! They sound incredibly Amon Tobin-like and I am starting to wonder if there is some kind of holy grail among reese technique that makes your reese sound as crisp as these with that much movement?


0:23

direct link http://youtu.be/9r8lzfsctAA?t=23s
I've known Hybrids music (older stuff) for a while but never realized they do this crazy kind of stuff, seems kinda untypical

Wow haven't been on here in ages... Glad to see my Reese Thread is still kickin!

Reversed, the best tip i can give you is you really need a great starting sound. Notching and Comb Modulating a sound without crisp highs and full body in the low end is going to sound as dull after as it did before! Work on making some sweet fat warm crisp saws then Reese them out after the fact!

made that tune a while ago could have a look how i made it maybe someone can have a use for that sound

Soundcloud

CE9958 wrote:Reversed, the best tip i can give you is you really need a great starting sound. Notching and Comb Modulating a sound without crisp highs and full body in the low end is going to sound as dull after as it did before! Work on making some sweet fat warm crisp saws then Reese them out after the fact!

True, but i don't know what the source sound for this kind of reese is. Any typical saw-based sound seems wrong, so does a square-based reese. I don't know

So don't use them. Go record your toilet flushing and then notch the shit out of it. Not that that sound sounds particularly like a toilet flushing but you see what I'm getting at here? To me a Reese is a style of processing rather than a type of bass. If you're getting all into the specifics shit then technically a square based reese is called a hoover and honestly fuck that shit. You can treat anything like a reese (with varying degrees of success). To me that really does sound like a saw based reese. The way I would approach that is to take a nice warm saw or something similar to it. Something really warm and wide like what you hear in Deadmau5's saws usually (I've had good success coming from a moog slim phatty getting that sound) and then try to experiment with pitch bending. It sounds like a lot of the reese's in that track start out low and then get pitched up which is what makes that sort of wailing sound. Koan Sound does that a lot too.