Reese – Just Want Another Chance (1988)
Say you have two waveforms. Doesn't matter what they are. If you
play them back together and they're perfectly in sync in frequency and phase,
your output is the same waveform with twice the amplitude (6dB higher).
If you put the waves out of phase, but with the same frequency, you
get constructive or destructive interference. Meaning, when they're perfectly
in phase you get that 6dB boost, but when they're perfectly out of phase you
get cancellation. In between those two points, you get different levels of
reduction.
Now what happens when you vary the amount of phase offset with time?
Now you get shifting amounts of phase interference, constructive and
destructive. You get this nice wobbly texture to the sound.
So the question is: how do you control the amount of phase shift
over time? Do you need a special synth for it?
Nope! It's actually really simple. You can prove this
mathematically, but if one of the waveforms is detuned slightly, it amounts to
that continuously changing amount of phase interference. We call that wobble a
"beat" frequency. Meaning if you have two waveforms out of tune by 1
Hz, there will be one "wobble" in the sound per second, or a beat
frequency of 1 Hz.
The "Reese" bass is a sound that makes use of those wobbly
beat frequencies to create dynamic moving textures in the bass sound. It's
common in drum and bass music, as well as dubstep and electro house.
What it comes down to is you start with two waveforms and detune
them so you get that wobble. Or add more to make the wobble more complex. You
add more and more effects to either bring out that wobble and dynamic texture,
or add more. An example would be using phasers and flangers while layering
different sounds together to get thicker, more interesting and continuously
evolving bass sounds. Commonly at that stage people start calling it a
"neuro" bass instead of a reese, a reese is usually considered to be
just the detuned waves.
But that's just needless terminology, the concept is you create a
continuously evolving and dynamic sound, and the easiest way to do it is simply
detuning waveforms. The "classic" reese is made from saw waves.
==
It's worth pointing out that some old-school reeses were probably
done with PWM, but as it turns out the sum of detuned saw waves is essentially
a variation of PWM. See also the hoover, which is a related sound. A notable
feature of unison detune reeses is that in most implementations the modulation
rate varies depending on what note you're playing - an effect which becomes
even more prominent when reeses are resampled and which is quite characteristic
of a certain school of DnB.
==
In house music it's kind of hard to pick up because these days you
really hear it in complextro. This track you
can hear several reeses that make up the bass line, they're the more elongated
bass sounds as opposed to the stabs. Lots of distorted sounds in there, you can
also hear some phaser/flanger action going on the reeses.
This is another electro tune with some reese/neuro action. You hear them on the end of the phrase in the drop. Lots of layered
phaser action in there, plenty of distortion as well.
It's hard for me to find more recent tracks with the
"classic" reese sound because it's kind of a tired sound to use.
Nowadays guys go out of their way to make the most interesting and evolving reese/neuro
sounds they can, and they can be really secretive about how they get them. It's
what I've been working on recently a lot actually because it's always been hard
for me.
This track has a really
well done reese in it that's more similar to the classic reese sound.
If you want to learn how to make these, start with /u/seamlessr and
his how to bass videos. They're fantastic for learning how to start making your
own!
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