Filtered Reese Filth sound? How can one achieve this.

Discussion in 'Production' started by Filth_Scholar, Nov 28, 2013.

  1. Filth_Scholar

    Filth_Scholar New Member

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    Alright people.

    Any help on this topic would really help.

    This is what I wish to achieve...





    I'm not a total noob, I get frequencies and placement in space etc Well at least I think I do.

    I'm guessing theres some trick with the cutoff and resonance but wondering if a certain wavetable will emphasise more of the peaks and troughs of the filtered sound.

    I'm made a reese type bass but having trouble controlling it as the higher up I play, the quicker the oscillation of the wave causing a wobble effect of which; I have no control! :mad_guy:

    Here's what I came up with so far...



    Any light on this would be sweet.

    VSTi's
    • Massive
    • Sylenth
    • Cyclop
    • Imposcar
    • Razor
    Thanks
     
    Last edited: Dec 18, 2013
  2. Raptor's Den

    Raptor's Den Member

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    Alright buddy! One way to achieve that type of bass sound is as follows.

    Osc 1 \
    - One osc is detuned a tad from the other to create natural modulation within your bass!
    Osc 2 /

    Now to get those sounds, you can do LOADS of things. One example is Sidechain Compress with a kick that you use the kick to modulate your bass sound instead of a filter. then resample and modify with effects from there!

    And keeping in mind to be gentle! These heavy sounds dont come from heavy effecting. They always come from gentle tinkering with your parameters. Its all Sound physics so make it count and right to your efforts!

    Play with your synths. But from what I can see you dont even know where to start with your synths! Know this, that when you have a higher frequency its tighter, and when you have a lower frequency, its looser, so what happens in essence, are that the waves, when detuned just a slight tad, start to wobble its own self. That only happens when both oscillators are on at the same time! They need to feed into each other and modulate each other. How physics of it works is that both the frequencies at the same time collide and need to push their energy somewhere somehow, so it naturally forms a reese bass! its a harmonic and beautiful thing that im sure you will be stuck for hours playing with different pitches. This only works when you are in the same key and go about half way up in pitch or down to the next key.. Never two different octaves.

    Unless you are in a higher pitch. Idk what the music term is called but then you can play two notes at the same time of different octaves and it will play very well together! Creates a deeper high pitched sound! But yeah man play with it! <3 spend time working on these sounds! It takes truly FOREVER to make and finish a beautiful bass! Im about to get to making some right now actually!
     
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  3. Filth_Scholar

    Filth_Scholar New Member

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    Nice one pal,

    Right, so Ive read it. I think I get it, gonna get on it later.

    Just one question.

    Compressor on my synth track, Done
    Side-chained to be controlled by a kick drum, Done.
    This is giving me ducking in the bass when the Kick Drum hits. Done
    How do I get the side-chain to modulate massive effects or is this just for the Amplitude?

    Resampling...? Would be 'bouncing' that certain region then adding more Effects? Just so I'm sure with the term.

    Thanks for this dude.

    Good luck with the E.P. Sounding cool
     
  4. RUSSLA

    RUSSLA DNBF Monarch

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    Yeah resampling is how you described, without sounding too clique, the possibilities are endless
     
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  5. Raptor's Den

    Raptor's Den Member

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    thanks bud! Appreciate it! But yeah I mean what I said was just one single example, so I mean yeah make something cool out of that and feel it! but definitely those were just single random examples I pulled out! theres tons of different ways! FM8 btw is one that is a GREAT one! Massive is great to make filtered sounds and filter and modulate the shit out of them. FM8 is great in many ways, you can do what massive does and much differently, and as well, FM8 I personally prefer, cause it is really a powerful synth!

    For massive yeah as Russla said you can do anything, the possibilities are truly endless!

    Its all about taking something from its bare base and transforming it through resampling and adding effects into the fat, alien, mechanical sounds we hear today!

    Example here:


    How I did this bass:

    Fm8 -> created the proper base sound. Something heavy, yet nothing intrusive. I detuned some of the parameters to give it a reese modulation effect. Then simply resampled and added effects from there on! There were almost 30+ effects on it!

    Starting with Ohmicide I made the sound fatter and brighter and prominent in specific regions such as 2khz -7.4khz. Then I added camelphat to phatten up the sound :D. Then I Added a delay that I tightened in the millisecond regions to give it a really mechanical robot sound! Then with the proper eqing I brought out regions that were dull and not heard like in the 2,000 hz region- 4,000 hz. Just enough so its not too much, etc! Then when I was satisfied with the sound, I simply resampled, divided the sound into two separate layers. One for purely sub bass of the bassline, and one for just the midrange and high treble end! I added more effects in there too i forgot exactly what but as you can see, Just play with your sound and get to learn sound physics... its a beautiful thing! and once you learn it you'll be making basslines like a champ! Knowing how the sound is affected in whatever way. its like chemistry hahaha
     
    Last edited: Dec 4, 2013
  6. D-Jhepz

    D-Jhepz ◕‿◕

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    a good trick i found with a side chain compresser isd to sidechain then resample then slightly adjust the settings such as release and threshold and you can some proper almost wub like effects just with the compresser
     
  7. Mania

    Mania i fukin wot m8

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    Hey buddy, from a bit of analysis of the second track i can tell you a few things.

    - First off, it was made with a very voicey reese, with the saw's detuned at least 30c.

    - Second, the reese has a really low register from being played low on the keyboard (c2, maybe c1), a modulating oscillator probably an octave below the saws, and what sounds like tone shaping with a characterful amps, although it is generally hard to tell how different reeses get their character because there's so many possibilities.

    - Thirdly, the filtering is done with what sounds like a 12db/o or variable-state bandpass, made to 'growl' with a modwheel (probably not an LFO due to the varying rates and lengths of the growls). There are also definitely one or two notch filters, which are skinny enough to keep it full, but fat enough to be very noticeable. These might be automated alongside the bandpass modulation or with a relatively slow LFO.

    - Fourthly, there doesnt seem to be much distortion, but of course there is some somewhere in the chain. Maybe just a bit.

    The first track sounds very similiar, but with faster bandpass modulation and played an octave or two up.
     
  8. Filth_Scholar

    Filth_Scholar New Member

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    Thanks for the responses guys. I've been tinkering away... Recently upgraded to Logic Pro X so having some issues getting my head around the new things but will defo post an update with my new tips in action.

    Purchased some new plugins too :1: FM8, KONTAKT and OhmBoys effect package. Twiddling fingers lol

    Time for some fun.

    p.s Cool track Raptor, sounds really clean. The drums sound real snappy. Might have to hit you up for some advice on that too.