Can someone tell me what this effect is?

[BlackPanther]

It basically starts at the 2:22 ish mark when that Reese comes in. How is that modulation done? I'm pretty sure I'm overthinking it, but if someone can guide me in the right direction I'd greatly appreciate it, thanks.

[dannthr]

It basically starts at the 2:22 ish mark when that Reese comes in. How is that modulation done? I'm pretty sure I'm overthinking it, but if someone can guide me in the right direction I'd greatly appreciate it, thanks.

An LFO modulating a band-pass filter--easy as pie.

EDIT: Rendering/Uploading a video of me creating that sound (or what I think you're talking about)--should be up in a couple hours (HD and whatnot, takes a little while).

[zircon]

Reese basses are an art unto themselves. Noisia is known for 'resampling', ie. taking a sound, rendering and running it through a variety of processors. The classic reese sound comes from detuned saws with (as Dan said) bandpass filtering. But you usually have another layer as well, like a really phat sine wave or filtered square, providing that constant bass. Lots of glide and a pitch envelope to give it that 'dive' kind of sound as well.

I highly recommend watching some videos here:

http://www.youtube.com/SeamlessR

This guy is a MASTER of aggressive basses... trust me!

[ectogemia]

I highly recommend watching some videos here:

http://www.youtube.com/SeamlessR

This guy is a MASTER of aggressive basses... trust me!

Seconded. Plus, he's a hell of a teacher. WATCH THOSE VIDEOS. All 2 dozen of them ;o

[dannthr]

I've never used the word "Reese" to describe a bass before and I'm not going to say I'm a master of aggressive bass or anything like that, nor is my posting this video a comment on Zircon's recommendation--I made this video immediately after I posted and then fell asleep when it was encoding.

So here, BlackPanther, I'm addressing your question in video form, but I do so as a sound designer familiar with synthesis, not as a beat master or some guy telling you how to make a sound.

I do so as a way of telling you not how to create a sound, but as a way to watch someone try to create something from scratch, trying things out, sometimes failing, sometimes succeeding.

You know those times when people ask a question on a forum and then someone posts a precious LET ME GOOGLE THAT FOR YOU post?

Your question feels like that to a sound designer, that's not a bad thing necessarily, it just demonstrates a lack of personal engagement/exploration.

Your question is taking the focus, but in earnest, I see a LOT of questions like yours on OCRemix, which only tells me that there are TONS of people who do not SEEM to make the effort to EXPLORE and TRY things out, one tiny step at a time.

Music production and sound design REQUIRE personal exploration.

With that, here you go:

[PrototypeRaptor]

Just adding my $0.02 here, though zircon and dannthr have covered the point pretty comprehensively.

There's a recent 'In the Studio' session with Noisia where he explains his primary workflow, it's a fascinating watch and really makes you appreciate the lengths he will go to for a sound.

You have to buy it from Futuremusic, but I would 100% recommend it:

Anyway, I think you'll find most of these bass heavy guys will do this in some way - you split the bass up into a sub and a mid channel. The mid channel is where you'll do all the fancy tricks, the sub channel is for power and lo end.

That noisia bass is definitely based off of some of the more exotic oscs in massive, and probably layered with a saw and some of the mod fx along with some unison detune/widening. To get that really 'convoluted' sounding reese you need to modulate a ton of internal frequencies, either with a combination of band pass/reject filters or an EQ mod. Then, there is a final, sync'd filter that gives it the 1/8th note wubs. This can all be done in massive, or, more typically, through several passes. ie: one wav is rendered out of the initial bass, then that is processed through filters and rendered again, etc, etc. Then you can layer the separate waves together to get even stranger frequency cancellations... and then match the sub layer up to the end result of all this for a huge, clean sound.

Yes, it is a major pain

[BlackPanther]

I've never used the word "Reese" to describe a bass before and I'm not going to say I'm a master of aggressive bass or anything like that, nor is my posting this video a comment on Zircon's recommendation--I made this video immediately after I posted and then fell asleep when it was encoding.

So here, BlackPanther, I'm addressing your question in video form, but I do so as a sound designer familiar with synthesis, not as a beat master or some guy telling you how to make a sound.

I do so as a way of telling you not how to create a sound, but as a way to watch someone try to create something from scratch, trying things out, sometimes failing, sometimes succeeding.

You know those times when people ask a question on a forum and then someone posts a precious LET ME GOOGLE THAT FOR YOU post?

Your question feels like that to a sound designer, that's not a bad thing necessarily, it just demonstrates a lack of personal engagement/exploration.

Your question is taking the focus, but in earnest, I see a LOT of questions like yours on OCRemix, which only tells me that there are TONS of people who do not SEEM to make the effort to EXPLORE and TRY things out, one tiny step at a time.

Music production and sound design REQUIRE personal exploration.

With that, here you go:

I'll just try and stick with what I came here for. The video did help dan and I deeply appreciate you taking the time to make that video. It did help a lot, especially the thing about the mouth. I've never heard that before, so that's a new tool to use to help me understand sound a bit more. Regarding exploration, I do understand where you're coming from.

I appreciate all of the responses I got in this thread. This'll help out a ton, thanks guys =).

[timaeus222]

After watching Dan's video, I want to add that it's not a resonant filter you should be working with to make that sound. Resonant filters give a vocal table between Ooh and Aah. At least, that's what I've been hearing when I used resonance.

This particular sound sounds like it's... going from Ee to Aah, somewhat. Kind of like Ee to almost Aah, with lots of detuning and an LFO on a bandpass filter.

[dannthr]

Resonance is on every filter--it's just a narrow boost at the cut off frequency--this is available on every filter because every filter has a cut off (on Band Pass Filters, this resonance boosts the center frequency).

Controlling how much resonance there is on the filter is important--exploration and experimentation is important.

The vowel sounds Ooooh have dominance in the fundamental, Aaaahs have a fairly balanced spread of overtones, while EEEEEs are bright with extra presence in the upper harmonics.

This is why people can tell when you're smiling over the telephone--their voice sounds bright and forward because their vocal resonance is occuring in the front of their mouth, at the teeth, allowing higher overtones to be emphasized.

[timaeus222]

Resonance is on every filter--it's just a narrow boost at the cut off frequency--this is available on every filter because every filter has a cut off (on Band Pass Filters, this resonance boosts the center frequency).

That's true---I was primarily talking about how it is on Zebra; there isn't a resonance knob for formant filters on Zebra, last I recalled.