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Here's a reese I made for the breakdown to a drum and bass tune I started a few hours ago.

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Here is one I made for a remix. Start at 3:48 to hear it. It was made (drum roll)..... without Massive so If anyone is interested in learning a bit about it I'd be happy to share, cheers.


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I've made countless reese basses that im happy with. I seriously have my own library now. However, I have SOOOOO much trouble arranging anything to sound tasteful and not just noisy. Its kinda my biggest problem, ive been producing for 4-5 years probably, yet its really been bugging me that i can mix well, design sounds well, and know my way around everything like the back of my hand, but still not be able to arrange a very interesting reese bassline. Anyone have any arrangement tips as far as reeses go?

Graw wrote:Here is one I made for a remix. Start at 3:48 to hear it. It was made (drum roll)..... without Massive so If anyone is interested in learning a bit about it I'd be happy to share, cheers.


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not bad. care to share your filtering/ modulation methods?

A couple months ago I was on the Dogs on Acid forums where there was talk about reeses. A fucking SICK producer who I've been following since made this absolutely brutal reese.

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All I know is that it's a simple reese with some panning and ran through shortcircuit for distortion and comb filtering.

gone for a more 'throaty' approach. Using massive, wow, sausage fatter, multiband-compressor and camelphat. First attempt at this stuff! hope you like.
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Fowles wrote:

Graw wrote:Here is one I made for a remix. Start at 3:48 to hear it. It was made (drum roll)..... without Massive so If anyone is interested in learning a bit about it I'd be happy to share, cheers.


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not bad. care to share your filtering/ modulation methods?

I've heard a lot that good sounding reeses are ~15% synth, the rest is done with audio afterwards. This one was about half and half.

My synth was Razor, which not too many people use/have so I won't go into how I made it in Razor. But it is applicable with any well designed reese.

So once I have my reese in audio with the pitch changes, LFO modulation etc. I take it and split it into two different audio channels. At this point it sounds really quite weak but I keep my reeses with minimum distortion up until this point. But this is how I breath some life and movement into it.

So I have my two audio channels with identical audio in them. I carve out kick and snare freqs. before I do all this so that I can begin making the reese sound big without those feqs. and not have to cut them later.

Audio Channel 1 - Used to get some distortion and grit out of the reese.
-Ohmicide - It'll be different for everybody but with this I do VERY light distortion to the ~ 500-1,500HZ range
-EQ to get unwanted frequencies out.
-Notch filter with an slowish LFO on it in the range that Ohmicide is distorting
-Low and HIgh pass filter
-Final EQ

Audio Channel 2 - Used to get width and fill the freq. spectrum a bit more.
-nXtasy to get some width and excite the sound a bit, applied to mostly the 5k and up range. (this plug in is seriously awesome, I use it all the time)
-Ozone 4 used for the stereo widening effect.
-EQ to get out some lower frequencies that started sounding muddy.
-LFO with a mild notch filter for movement
-Chorus, just a touch (I like the Maserati GTI a lot for this, sometimes I have to do it as a send FX cause it has some shitty gate thing on it that I don't know how to turn off.)
-Flanger, just a touch
-Low and HIgh pass filter
-Final EQ

So at this point it is sounding pretty all right, still kind of meh. But this is what I do that really makes it come to life. So channel 1 sounds quite a bit different from channel 2. Take those filters at the end the chain and begin automating them inversely of the opposing audio channel. For example, as I have Ch. 1 doing a moderate high/low pass sweep, I'll have Ch. 2 doing a moderate low/high pass sweep. I never have them entirely cancel each other out and allow them to phase with each other a bit by exposing the same frequencies at the same moment. Just have them weave around and in and out of each other a little bit, sometime overlapping frequencies, sometimes not. Use both HP and LP filters this way. This part usually takes forever.

Additionally, since each audio clip has the same pitch automation written into it, I'll go in a manually draw the automation a very very slight amount different from the opposite channels clip at certain points for brief seconds. This just gives a bit of character to it. I usually try to avoid changing the actually timing of the audio because that usually just sounds like shit. Just keep it to the pitch with a high quality pitch algorithm (Complex or Pro in Ableton) .

Then usually the last step is an L2, either insert or send to limit and compress the sounds together a little bit, and then maybe EQ again.

It is a long long long long long process but I really like the way they turn out so I don't mind doing it. Hope this helps a bit, cheers!

Eskimo wrote:^
Care to go a bit more in depth? That reese got some nice movement!

Patch: http://www74.zippyshare.com/v/36918291/file.html
Too complicated to explain, so much modulation and routing,

I bounced out 3 versions of midi, one playing a straight note, one sliding up to another note and automating macro 3 for the wobble and another with just a straight note and automating macro 3. Then after I bounced them out I arranged them and reversed them until I found a pattern I liked, the key to the movement is macro 3.

FL Project for FL users (Includes drums): http://www61.zippyshare.com/v/96842853/file.html

Have fun

thanks for the tips Graw, just got Razor myself so i would love to hear more about how to make Razor reese patches.

http://www.youtube.com/watch?v=on0YMaCPyWw Any thoughts on this? To me it's simply awesome, i would really like to understand how to obtain that reso and also how to make those awesome movements. BEAST SOUND DESIGN (mixdown and master not so good on the contrary)

Posted this in the growl bass thread, but might as well post it here aswell since it's a reese
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And without EQ Automation
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Basically just a standard reese patch, cranked the disto in camelphat up early in the fx chain, then some filtering and ohmicide and eq automation at the end.

needs more filtering. sounds kinda dull and flat. Id throw in a couple low moving double notch filters, with some low pass + high pass movement.


heres one i did in absynth this morning.

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Fowles wrote:needs more filtering. sounds kinda dull and flat. Id throw in a couple low moving double notch filters, with some low pass + high pass movement.


heres one i did in absynth this morning.

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heres a better sounding version of the same Reese in a track I'm working on.

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Fowles wrote: heres a better sounding version of the same Reese in a track I'm working on.

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Sounds pretty good, but it's not really hitting me where I feel it should. Maybe add a saw an octave below or something to get a little more weight out of it.

hudson wrote:

Fowles wrote: heres a better sounding version of the same Reese in a track I'm working on.

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Sounds pretty good, but it's not really hitting me where I feel it should. Maybe add a saw an octave below or something to get a little more weight out of it.

that sounds like shit.

I have a plugin that i use on all my basses, that when I put on a send, creates a sub bass out of the send channel. I turned that up all the way and its sounding much thicker.

Graw wrote:Here is one I made for a remix. Start at 3:48 to hear it. It was made (drum roll)..... without Massive so If anyone is interested in learning a bit about it I'd be happy to share, cheers.


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DAMN. That's a fucking great tune. I'd love to see how you made that.

I've been working on "impact" reeses (brostepish stuff) lately and I just came out with something cool. However, this lacks something compared to pro's reeses. It sounds thin. Any clue how to solve that ?

Here is the comparaison :
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I didn't try to replicate it, I just found it sounded similar. The first one is mine, the other one is the drop from Noisia's remix of Scary monsters and nice sprites.

Thoughts ?

FAARE FACED wrote:I've been working on "impact" reeses (brostepish stuff) lately and I just came out with something cool. However, this lacks something compared to pro's reeses. It sounds thin. Any clue how to solve that ?

Here is the comparaison :
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I didn't try to replicate it, I just found it sounded similar. The first one is mine, the other one is the drop from Noisia's remix of Scary monsters and nice sprites.

Thoughts ?

I've always noticed in that Nosia remix the midrange seems to have a fair bit of bitcrushing thats not immediately obvious unless you listen/focus on it - in some places it almost sounds like its slightly delayed from the actual midange. Also that midrange tends to be really wide in places, making it sound bigger. Also sounds ike they layered noise/foley to fade in as the sound plays.

Thanks for the tip about layering stuff and bitcrushing. But about making the midrange wide, how can I achieve that ?

FAARE FACED wrote:Thanks for the tip about layering stuff and bitcrushing. But about making the midrange wide, how can I achieve that ?

There's a few ways, if you're using Massive you can automate the pan position in the voicing tab. I always use Ozone's imager on stuff just to push the top end out too.