Help with designing a simple Reese
- This topic has 11 replies, 5 voices, and was last updated 4 years, 4 months ago by ,TBC.
2019-05-21 at 01:05:50 #80405,TBCParticipant
As the title suggests I am looking for advice on how to develop that typical low pass Reese heard in a lot of liquid the past 5 or so years. I know it’s pretty simple and it frustrates me, but every time I’ve tried to make this sound it just seems to sound like trash.
I use Serum or Operator for bass. Really just cause it’s all I have at the moment. I am more practiced with Serum. Even after doing post processing it just doesn’t sound loud enough and doesn’t have impact. However, I have only tried to use a sine wave and the default wave for a and b respectively.
I usually don’t layer a sub underneath, but I am wondering if that would help with my workflow. In the past it has just made it seem like it was harder to mix (probably due to unfamiliarity).
Anyway, hopefully this isn’t too confusing. I have included some examples for reference. Obviously there is automation and post processing, etc.
Thanks in advance.
https://www.youtube.com/watch?v=yGToqbVXe1I –SATL Everything Anything
https://www.youtube.com/watch?v=Gh8INtAV6P8 Ailx Perez X Monty- Good To Me
https://www.youtube.com/watch?v=RitdYcLbXck Whychek- Cross My Mind (might be a bad example)
https://www.youtube.com/watch?v=m8IzYXg32Xk KLAX- The Sway
2019-05-21 at 01:49:45 #80412,TBCParticipant
2019-05-22 at 02:24:32 #80507,HarryParticipant
Try reaching out to Whychek and Philth, both have been very responsive on social media in my experience.
Typically I think of reece basses as detuned basses, more of a held note sound rather than a punchy, percussive 808-type bass, or heavily modulated and resampled basses. Sometimes I hear pad patches that with some adjustments to ADSR settings, could probably make good reece basses.
Here are a few Serum patches that might give some ideas, can’t remember when I made them exactly:
If you wonder how or why I did anything in particular, let me know, I’ll see if I can explain the patches.
"Knowledge kept is knowledge lost." - Bobbito Garcia
2019-05-23 at 03:53:54 #80614,TBCParticipant
Thanks for the info. This really helped. It’s funny you say that about reaching out to them. I was actually considering asking Philth if he is still doing the 1 on 1 mentoring. In my situation, not sure if it would work.
2019-05-23 at 13:59:27 #80652,HarryParticipant
I met Whychek randomly through a large FB group (Heavyweight Bass), and he’s been easy to chat with. I’m pretty sure Philth still does 1-on-1, I’ve asked him a few quick questions on Instagram, and he’s always gotten back in touch. What’s your situation though, if you don’t mind elaborating?
"Knowledge kept is knowledge lost." - Bobbito Garcia
2019-05-22 at 06:19:15 #80512,shrikeParticipant
Not sure you would call many of those bass sounds a reese, although some def are.
Detuned saws, my man. That is the start.
For grins I made a fresh reese. This should knock your dick in the dirt at least a little.
Re-create this in Serum and then tweak to your heart’s content (be sure to click the image to get all the FX & whatnot…4 images in total):
Pay attention to the curve in the bottom right, for the “note” property. This is what creates the movement at higher notes, and it’s a very sensitive parameter. The other key is the slight detuning in the “FIN” tuning for each oscillator. This is what gives the reese its primary character: two sawtooth oscillators fighting against each other ever so slightly.
Also note that no sub was needed to layer underneath. This patch hits 0dbfs for the fundamental sub freq, and is the start of a loud tune, if so desired.
Also, I made this one a bit neuro-y. I’m just not a liquid guy…neuro is in my DNA. Most of this is caused at the filter level, esp the level of resonance.
As Harry said with his patches (gonna knick those, BTW!), please ask any questions you may have.
_-| get to work |-_
2019-05-23 at 04:36:31 #80615,TBCParticipant
Thanks. This helped a lot. Makes sense.
2019-05-25 at 23:09:14 #80849,TBCParticipant
Hello again. I actually had time to open up Ableton and do this. Nice patch, I can see how this can turn into some crazy sh**. I like neuro too, so this will come in handy. Thanks again.
2019-05-22 at 20:41:07 #80589,carapacednbParticipant
Ay, this video might be a bit too rudimentary for where you’re at, but it gave me the knowledge to create a reece with almost any synth plug in. All about the phase cancellation.
2019-05-23 at 04:37:32 #80616,TBCParticipant
I’ve seen this before and forgot about it. Thanks. This guy has a lot of good stuff. Shame he doesn’t upload that much.
2019-05-23 at 17:57:17 #80687,carapacednbParticipant
Listening to the Good to Me, working in FM8, I would try:
Operator F: Sine Wave – Ratio set to 0.000
Operator E: Sine Wave – Ratio set to ~0.230-.350 (use your ear to match the rate of the “wubbing” or whatever), set E’s level to something like 20-40 and modify Operator F.
Add Chorus and some Reverb effects.
Then side chain the kick to your bass channel to create that ducking effect.
I’ll try this later. Just wanted to recommend something off hand.
2019-05-23 at 07:24:22 #80623,Jards.Participant
i also like this style a lot what i do is i have a bass split in Sub and mid range i normally make one with the monologue and process them a lot with filter Automation at least my midbass.
Ive had a Chat with submarine the other time because i like how the Notes switch in lot of 1985 tunes he told me that i can get that effect with glide. for example im Pretty sure in the perez & monty tune good to me you have those peaking notes in the mids i guess ist made with a second note in glide Funktion. filter the mid but not that much that you cant hear it and boost it with a Sub in my opinion
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