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After some long work i have developed a fairly good understanding with all of my effects and created some rather nasty sounding basses, my question now is what are some of the correct patterns of laying down effect chains to achieve this sound around 1:30 into the song...



NOW before anyone tells me, Bass > Effects > Resample > Effects > Resample > Effects
i know that, this isn't a 'how to you make this' but rather a "different patterns of effect chains and resampling to make sounds of this caliber.
I know a fair amount of people here know how but the plain answers is less than useless, they just don't help.
Just wanting to learn the design of this through the process of effect chains and the patterns used

Something like:
-Compress bass then add flanger
-Add notch filter and resample
-Distort with "__" with "50%" of dry/wet
-Resample and Parallel Compress, add Modulation???

You know what i mean, whats on your minds about the sound?

We can only give you an idea of what's going on, but you won't be able to replicate the sound. Every reese has a sound of its own, and it was mangled, reversed, stretched, sometimes every note even has a different automation on it. What I can tell you is to read DOA's threads about neurofunk reeses (there are many) and our dear reese bass thread, lots of great info in there. Get creative and get experimentative is the best advice I can get you, sorry if does not satisfy you, but there's nothing more that I can say. Resample a lot, chop up a riff, have different automations going on, go crazy with the filters, split the frequencies, distort and all that standard process. It's all about the experimentation.

Hircine wrote:We can only give you an idea of what's going on, but you won't be able to replicate the sound. Every reese has a sound of its own, and it was mangled, reversed, stretched, sometimes every note even has a different automation on it. What I can tell you is to read DOA's threads about neurofunk reeses (there are many) and our dear reese bass thread, lots of great info in there. Get creative and get experimentative is the best advice I can get you, sorry if does not satisfy you, but there's nothing more that I can say. Resample a lot, chop up a riff, have different automations going on, go crazy with the filters, split the frequencies, distort and all that standard process. It's all about the experimentation.

OK i hear you but you got any advice on what not to do?

Thatoneguy1224 wrote:

Hircine wrote:We can only give you an idea of what's going on, but you won't be able to replicate the sound. Every reese has a sound of its own, and it was mangled, reversed, stretched, sometimes every note even has a different automation on it. What I can tell you is to read DOA's threads about neurofunk reeses (there are many) and our dear reese bass thread, lots of great info in there. Get creative and get experimentative is the best advice I can get you, sorry if does not satisfy you, but there's nothing more that I can say. Resample a lot, chop up a riff, have different automations going on, go crazy with the filters, split the frequencies, distort and all that standard process. It's all about the experimentation.

OK i hear you but you got any advice on what not to do?

Don't over distort, don't touch your low range, make sure you have a sharp high end but nothing ringing, don't go crazy on stereo width and make sure to scoop out those nasty muddy frequencies around 250hz ~ 500hz.

Hircine wrote:

Thatoneguy1224 wrote:

Hircine wrote:We can only give you an idea of what's going on, but you won't be able to replicate the sound. Every reese has a sound of its own, and it was mangled, reversed, stretched, sometimes every note even has a different automation on it. What I can tell you is to read DOA's threads about neurofunk reeses (there are many) and our dear reese bass thread, lots of great info in there. Get creative and get experimentative is the best advice I can get you, sorry if does not satisfy you, but there's nothing more that I can say. Resample a lot, chop up a riff, have different automations going on, go crazy with the filters, split the frequencies, distort and all that standard process. It's all about the experimentation.

OK i hear you but you got any advice on what not to do?

Don't over distort, don't touch your low range, make sure you have a sharp high end but nothing ringing, don't go crazy on stereo width and make sure to scoop out those nasty muddy frequencies around 250hz ~ 500hz.

Ok whats more important, to create the sound with the effects or to have a good base of the bass?

Have you watched the Icicle Masterclass mate? He has a whole section on processing bass.

Heres part 1:



The others 3 parts are on youtube as well.

things you need: white noise, distortions - and lots of it, multiple filters (low, band r/p, and high pass - people forget to use them all). most the neurofunk lines are basically interactions between a reese, white noise color automation, filters, and distortion to bring out the harmonics.

things you don't need: everything else.

One thing I've always been curious about that I could never really implement into my reeses was compression. District and Sleeper are both imo masters of making their reeses sound like their being squeezed and forced out if that makes any sense.

Soundcloud

This is probably my favorite example of it and I've wondered if it was just compressing the shit out of the reese or if there was something else going on I'm missing. Wondered if anyone could shed some light!

im pretty sure the pros dont do anything complicated since song composition is more important than individual sounds, it takes a lot of practice but u can get these sounds with a very short chain, in minutes and without resampling much.
it depends on your chain/process.
lately i hardly automate to save time, i distort a lot at the end and use a bit of EQ. i let the flanger's and phaser's LFO to be my only modulation (i put them early in the chain) then i loop the bass pattern and record it for 5 minutes then crop out the better sounding parts. some are good enough to use already but i usually throw the new basses back into the chain to do the same again (have to readjust the EQ/distortion a bit when resampling but this can take a matter of seconds or minutes). VERY simple way to get good basses.

I been making a lot a of recess latly. I been getting some good results with slow lfos, notch filters, banpass filters. Resampling then being gentle with fx not drowning the sound , adding phasers and flangers with slow lfos, distorting then automating a banpass filter. Resampling cutting the best bits ,loading in to a sampler pitching up or down a few semi tones . Main thing is to experiment, its a fine art your never make the same reese twice.

Huts wrote:One thing I've always been curious about that I could never really implement into my reeses was compression. District and Sleeper are both imo masters of making their reeses sound like their being squeezed and forced out if that makes any sense.

Soundcloud

This is probably my favorite example of it and I've wondered if it was just compressing the shit out of the reese or if there was something else going on I'm missing. Wondered if anyone could shed some light!

Sidechain it to the kick, send it to a small reverb aux, compress the shit out of that reverb room, heavy chorus action. Instead of filtering rhythmically, filter for bass movement and lay a nice riff.

Hircine wrote:

Huts wrote:One thing I've always been curious about that I could never really implement into my reeses was compression. District and Sleeper are both imo masters of making their reeses sound like their being squeezed and forced out if that makes any sense.

Soundcloud

This is probably my favorite example of it and I've wondered if it was just compressing the shit out of the reese or if there was something else going on I'm missing. Wondered if anyone could shed some light!

Sidechain it to the kick, send it to a small reverb aux, compress the shit out of that reverb room, heavy chorus action. Instead of filtering rhythmically, filter for bass movement and lay a nice riff.

Nice one thanks, definitely going to give this a try

Huts wrote:

Hircine wrote:

Huts wrote:One thing I've always been curious about that I could never really implement into my reeses was compression. District and Sleeper are both imo masters of making their reeses sound like their being squeezed and forced out if that makes any sense.

Soundcloud

This is probably my favorite example of it and I've wondered if it was just compressing the shit out of the reese or if there was something else going on I'm missing. Wondered if anyone could shed some light!

Sidechain it to the kick, send it to a small reverb aux, compress the shit out of that reverb room, heavy chorus action. Instead of filtering rhythmically, filter for bass movement and lay a nice riff.

Nice one thanks, definitely going to give this a try

Just experimented a bit, bouncing all that + a bit of brick wall limiting you can sound even fuller. Try making 2 detuned saws one octave above a single saw, send the saws to a band reject filter so you get that high register noise sound and put a lp filter on the lower saw. put the voices to 6 and a bit of unisono, then distortion.

why don't people post examples of their neurofunk reeses

Fowles wrote:why don't people post examples of their neurofunk reeses

top tune in my sig. The reese took VERY little processing to make. nothing more than a plain Reese layered with white noise, filters, distortion and eq.

Hircine wrote: Sidechain it to the kick, send it to a small reverb aux, compress the shit out of that reverb room, heavy chorus action. Instead of filtering rhythmically, filter for bass movement and lay a nice riff.

Having some really nice results with this. Had a question though, do you put your compressor on the reverb bus or on the channel strip with the reese? I've been messing around with putting it on each and I can't really tell much of a difference, if there is any at all. I'm assuming the bus will come into play after all the effects so I should hear some differences because the compression is either before or after the reverb, I'm terrible with compression though so idk.

Fowles wrote:why don't people post examples of their neurofunk reeses

Eh okey so after some experimentation this is what I came up with:
Soundcloud

Edit: I should note that the sound is straight out of massive and there are no external effects or filters applied