Что такое reese bass
Reese Bass Redux
We go back to basics with the iconic Reese bass sound, demonstrating some simple techniques before moving on to a more advanced variation.
In 1988, techno pioneer Kevin Saunderson created the futuristic ‘Just Want Another Chance’ under his Reese pseudonym. The track’s rumbling synth bass was sampled for the hugely influential jungle anthem ‘Terrorist‘ by Renegade & Ray Keith in 1994, and the sound quickly became an underground dance favourite, cropping up in many jungle, hardcore and speed garage tracks. As drum and bass evolved, producers began distorting it to create the kind of huge, mid-heavy bass sounds heard in tracks like Ed Rush, Optical & Fierce’s ‘Cutslo (Lokuste mix)‘. ‘Reese’ eventually became a term used to describe practically any sustained full-range bass sound, and these kind of noises are now a dance music staple across genres.
As Saunderson revealed in a recent Attack interview, the original bassline for ‘Just Want Another Chance’ was created using a Casio CZ phase distortion synth. That’s still a great option for an authentic Reese, but authenticity isn’t necessary to create solid bass sounds. In this walkthrough we’ll go back to basics with some more accessible approaches to Reese production using any simple subtractive synth, then explore how we can develop those techniques to create something more advanced.
Basic Detuned Sine Reese
Let’s begin exploring these sounds by creating the simplest Reese possible. We’re using Ableton Live’s Analog, but practically any virtual analogue synth will do. In Analog, load the synth up, then click the Amp 1 panel to bring up the amplitude envelope and turn the Sustain value up to 1.00. While you’re at it, turn the Release down to 24ms. This gives us a solid, sustained sawtooth tone. (Click images to enlarge.)
Next, click the Global panel on the right hand side of the instrument, and set Voices to Mono so we can only play one note at once.
This creates harmonics with rhythmic movement, the tempo of which can be controlled by adjusting the fine tuning of either oscillator.
You’ll notice from the Analog channel’s quickly rising and falling level meter that this version of the sound has a rather inconsistent volume level.
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Synth Bass: 7 Bass Types and How to Build Them
Synth bass is an essential sound in many different genres of music production.
From retro synth-pop to mainstage EDM, there are a handful of important styles of synth bass to know.
But programming your own bass synth sounds with plugins is difficult and time-consuming—especially if you’re just getting started with synthesis.
Even so you can make plenty of important synth bass tones if you understand how they work.
In this article I’ll go over the top 7 easy to build styles of bass synth.
1. 808 bass
The 808 bass sound is one of the most recognizable sounds in music.
It’s all over hip-hop, trap and R&B.
The sound originally came from the Roland TR-808 drum machine. It’s unique because the TR-808 is actually an analog synthesizer designed for drum sounds.
The notoriously fat kick drum voice can be warped and tuned to create the subby sound of 808 bass.
The easiest way to get the sound is to use an 808 sample pack. But any synthesizer with a sine wave oscillator can easily create an 808-type bass.
All you have to do is set a super fast attack and longer decay or release time. It helps if you’re using a nice fat sounding synth!
Here’s an easy to follow tutorial on 808 bass:
2. Reese bass
Reese bass is a popular electronic bass sound built with detuned saw waves.
It’s a thick, chorused sound with lots of depth and movement.
Reese bass is a popular electronic bass sound built with detuned saw waves.
Reese bass is another synth bass that’s easy to program with almost any subtractive synthesizer.
The basic trick is to use a synth with multiple oscillators and detune them to create the syrupy thickness of the sound.
Adding a sub oscillator and rolling off the filter cutoff completes the heavy low end sound.
Here’s an easy to follow guide to building a Reese bass:
3. Wobble bass
Wobble bass is the signature sound of dubstep and its related genres.
It’s often created using FM or wavetable synthesis for the extra distorted and metallic tone that cuts through the mix like a knife.
The wobbly character of the sound is created using aggressive modulation from an LFO or envelope connected to the synth’s filter or VCA section.
The modulation is often synced to the song’s tempo to create the rhythmic action in the sound
Some dubstep wobble basses are so aggressive that they dominate the mix and extend well into the midrange.
Some dubstep wobble basses are so aggressive that they dominate the mix and extend well into the midrange.
Here’s a few tutorials on how to make wobble basses in wavetable synthesis:
4. Octave bass
Octave bass is a retro sound that’s used in classic synth-pop, synthwave and 8bit genres.
It’s created by holding single notes with an arpeggiator set to two octaves up/down. When the arpeggiator is synced to the song’s tempo with an eight note division, the bass alternates between a low and high octave on the off-beats.
It’s a super recognizable synth bass that gives any song a foundational bass groove
You can use almost any type of bass tone with this arpeggiator setup, so it’s not limited to retro styles only.
5. Portamento bass
Sometimes you’ll hear a fat monophonic bass that glides between notes.
The gliding effect is called portamento and it gives your bass sound a unique feel and groove.
Most synth plugins have a portamento control that adjusts the time it takes for one note to glide to another.
Enable portamento and set your synth to monophonic mode to make sure only one note can sound at a time.
This ensures that each note glides into the next and doesn’t sustain past the previous one.
Adjust the portamento time as you listen to the track to sculpt the feel and groove of the slide.
6. Plucked bass
Some genres like Future Bass and Lo-fi Hip-hop need a funkier synth bass that’s not as subby as an 808.
For these basses you can use a plucked sound from a subtractive or virtual analog synth to create a warm yet punchy bass.
Creating a plucked bass is easy if you know how to use envelopes and ADSR.
The trick is to choose a fast decay time and lower sustain level to emphasize the initial attack of the notes.
If your synth has a noise oscillator you can blend that in to add even more pop to the initial attack of the sound.
Here’s a nice tutorial for the Future Bass plucked sound with subtractive synthesis:
7. FM Bass
One of the greatest things about FM synthesis is how well it sits in a mix.
One of the greatest things about FM synthesis is how well it sits in a mix.
The nice complex attacks and overtones in FM sounds mean you can use extra fat bass tones without worrying about them disappearing in a dense mix.
FM basses were an important part of the 80s and 90s sound in electronic music. From mainstream pop to house and techno, many producers used the same presets from Yamaha’s classic FM synths.
Luckily, there’s an amazing free VST synth for FM sounds called Dexed that you can use to get these exact tones in your DAW.
Here’s a tutorial on how to get the ‘Solid Bass’ FM preset that you hear on many classic tracks:
Sweet synth bass sounds
Your bass tone is one of the most important parts of your track.
That’s why it’s so important to know how to work with your bass synths to get a satisfying sound.
If you’ve made it through this article you’ll have a great start for creating any kind of classic synth bass.
Precision или Jazz Bass? Отвечаем на главный вопрос басистов. Часть 1
Один из самых частых вопросов от бас-гитаристов: «В чем разница между моделями Precision и Jazz Bass?». Кто-то формулирует вопрос иначе: «Что лучше, P-Bass или Jazz Bass». На самом деле ни один из них не лучше, а в этой статье мы постараемся исследовать различия между двумя легендарными моделями.
Хотя многие спорят о преимуществах той или иной модели, между двумя четырехструнными титанами больше общего, чем кажется. Именно поэтому они и являются самыми востребованными моделями среди всех электрических бас-гитар:
• Обе делаются из одних и тех же пород дерева.
• На обеих длина мензуры равна 34’’.
• На обеих устанавливаются датчики Single-Coil.
Но каждая создавалась со своей собственной философией для разных типов музыкантов. Именно это и привело к различиям, о которых мы сейчас расскажем.
После успеха цельнокорпусных электрогитар Leo Fender решил, что сможет создать аналогичную бас-гитару, которая была бы достаточно громкой для игры в большом коллективе. Также он придумал устанавливать лады вдоль грифа, чтобы каждая нота звучала точно, каждый раз на одной и той же высоте. Кстати, Precision переводится на русский язык как «точность».
Первые датчики Precision Bass по сути были четырехмагнитной версией электрогитарного звукоснимателя. У них была одна пластиковая катушка, обернутая медной проволокой, и четыре магнитных сердечника. И хотя новая модель обеспечивала басистам невиданную ранее громкость, датчики оставляли желать лучшего.
Те первые модели P-Bass считаются легендарными, например Sting является их фанатом. Но спустя некоторое время Fender начали улучшать модель, и в итоге она приобрела сегодняшние характеристики. Первым из таких улучшений стали закругленные края и удобные контуры, это было намного удобнее во время длительных выступлений.
SPLIT-COIL ЭТО СИНГЛ ИЛИ ХАМБАКЕР?
Split-Coil является бесшумным звукоснимателем, хотя и не является хамбакером. Принцип его работы в том, что датчик разделен на две части, и в одной из них развернута фаза, что приводит к устранению шума. При этом их тембр остается полностью «сингловым».
Также дизайн Split-Coil устраняет проблемы с перепадами громкости. Из-за расположения половин датчика друг за другом значительно увеличивается сила магнитного поля, благодаря этому бас равномерно откликается на звукоизвлечение.
И немаловажным является расположение самих датчиков. Если сместить его в одном из направлений, звук окажется уже не тем. Сегодня это расположение называется «нековым», но это определение появилось только после создания Jazz Bass.
Reese Bass Sample
Description : made in sylent1
This 105 bpm trap bass synth loop has been kindly uploaded by RIIWLE. If you use this loop please leave your comments. Read the loops section of the help area and our terms and conditions for more information on copyright and how you can use loops. Any questions on using these files contact the user who uploaded them. Please contact us to report any files that you feel may be in breach of copyright or our upload guidelines.
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Description : Hope you find this useful. If you use one of my loops in your song, I’d love to hear it. More INFO on my PROFILE PAGE! Thanks
Looper Time : 2021-12-28 03:07:43 | Version l-3110
Preview sound: 154BPM REESE Bass WithSidechain.wav
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