How to Create Reese Bass: The Complete Guide to the Iconic Drum & Bass Sound
The Reese bass is one of the most iconic sounds in electronic music history. From its origins in early jungle and drum & bass to its modern evolution in dubstep, neurofunk, and bass music, the Reese bass has remained a cornerstone sound for over three decades. This comprehensive guide will teach you how to create this legendary bass sound from scratch.
The History and Character of Reese Bass
Understanding the Reese bass's origins helps you grasp what makes this sound so special and how to recreate it authentically.
The Reese bass gets its name from Kevin Saunderson's track "Just Want Another Chance" released under his Reese alias in 1988. The bass sound in that track, created on a Casio CZ-1000 synthesizer, featured a rich, detuned quality that became instantly recognizable. When jungle and drum & bass emerged in the early 1990s, producers latched onto this sound, making it the defining bass characteristic of the genre.
The classic Reese bass is characterized by its thick, detuned quality that sounds like multiple bass notes playing slightly out of tune with each other, creating a chorusing, beating effect. It has a dark, ominous character perfect for the underground vibe of drum & bass. The sound is rich in harmonics, giving it presence across the frequency spectrum, and it has movement and modulation even when playing a single sustained note.
Modern Reese basses have evolved significantly from the original, incorporating heavy processing, complex modulation, and hybrid techniques that blend the classic detuned character with contemporary sound design. However, the fundamental principle remains the same: layered, detuned waveforms creating harmonic richness and movement.
Essential Tools for Reese Bass Creation
While the original Reese bass came from hardware synthesizers, modern producers have numerous software options for creating this sound.
Serum by Xfer Records is excellent for modern Reese bass creation. Its visual feedback and precise detuning controls make it easy to dial in the perfect amount of beating and chorus. The effects section and modulation capabilities allow for complex, evolving Reese sounds.
Vital offers similar capabilities to Serum with excellent results for Reese bass, and it's completely free in the basic version. The detuning and unison features are comparable to Serum, making it an excellent choice for producers on a budget.
Massive and Massive X by Native Instruments have long been favorites for Reese bass in the drum & bass community. The Performer and modulation options create complex movement, and the sound character is particularly well-suited to dark, neurofunk-style Reese sounds.
Sylenth1 remains popular for Reese bass due to its thick, analog-style oscillators and straightforward detuning controls. Many classic neurofunk producers swear by Sylenth1 for Reese bass.
Hardware synthesizers like the original Casio CZ series, Roland Juno-106, or modern options like the Behringer DeepMind can create authentic analog Reese sounds with character that's difficult to replicate digitally.
Your DAW's stock synthesizers can often create convincing Reese bass sounds. FL Studio's 3xOsc, Ableton's Operator or Analog, and Logic's ES2 all have the necessary features for basic Reese creation.
The Fundamental Technique: Detuned Oscillators
The core of any Reese bass is multiple oscillators playing slightly detuned waveforms. This creates the characteristic beating and chorusing effect.
Selecting Your Waveforms
Start with sawtooth waves as your primary waveforms. The saw wave's harmonic richness provides the foundation for the Reese sound's characteristic depth. Classic Reese uses pure sawtooth waves, but don't be afraid to experiment with slightly modified saws for unique character.
Some producers prefer using two slightly different waveforms rather than identical saws. Try pairing a sawtooth with a pulse wave or using a sawtooth alongside a slightly detuned square wave. This creates additional harmonic complexity and can make your Reese sound more unique.
Detuning for the Reese Effect
The magic of Reese bass lives in the detuning. Load two or more oscillators with sawtooth waveforms and tune them slightly apart from each other. Start with subtle detuning—detune one oscillator up by 5-10 cents and another down by 5-10 cents. This creates gentle beating and movement.
For more aggressive Reese character, increase the detuning to 15-25 cents. This creates faster beating and a more intense, modern sound. For extreme neurofunk-style Reese, push detuning to 30-50 cents, creating rapid modulation and aggressive character.
The beating frequency you hear is determined by the detuning amount. More detuning creates faster beating, less detuning creates slower, more subtle movement. Adjust to taste based on your track's tempo and energy level.
Unison and Voice Stacking
Beyond basic oscillator detuning, use unison features to stack multiple voices per oscillator. Enable unison on each oscillator with 4-8 voices. This creates thickness and depth that simple two-oscillator detuning cannot achieve.
Adjust unison detune carefully—too much creates a chorus effect that's too wide and loses the focused Reese character. Settings between 10-30 work well for most applications. Use stereo spread on unison voices to create width in the mid and high frequencies while keeping low frequencies centered.
The combination of multiple oscillators detuned from each other plus unison voices on each oscillator creates the thick, complex sound characteristic of professional Reese bass.
Filter Techniques for Reese Bass
Filtering shapes your Reese bass's tone and removes excessive high-frequency content that can make it harsh or thin.
Filter Type Selection
Low-pass filters are the standard choice for Reese bass. They remove high-frequency content while preserving the warm, full mid-range and low-end that defines the sound. Start with a 24dB/octave (4-pole) filter for steep roll-off that creates a warm, focused sound.
Some producers prefer 12dB/octave (2-pole) filters for a brighter, more open Reese sound. Experiment with both and choose based on the context of your track.
Certain synthesizers offer filter types that add character—Moog-style ladder filters, Oberheim-style filters, or British-style filters all color the sound differently. Modern neurofunk often uses more aggressive filter types that add resonance and character.
Filter Cutoff and Resonance
Set your filter cutoff initially around 1-3kHz to create a warm, full sound without excessive brightness. This range captures the fundamental and important harmonics while removing harsh upper frequencies.
Add moderate resonance (20-40%) to emphasize the cutoff frequency and add character. Too much resonance creates a honky, whistling sound, but the right amount adds definition and presence.
Adjust cutoff and resonance together—when you increase resonance, you may need to lower the cutoff slightly to prevent harshness. The goal is a sound that's rich and full but not piercing or thin.
Filter Modulation
Static filters work for basic Reese sounds, but modulation adds movement and interest. Use an LFO to modulate the filter cutoff slowly, creating evolving tonal characteristics over time. Slow LFO rates (1/4 to 1 bar) work well for subtle movement that adds life without creating obvious wobbling.
Envelope modulation on the filter allows the sound to evolve over the duration of each note. A slight envelope opening the filter at note start adds attack and definition, while decay brings it back to a darker tone for sustained notes.
For modern neurofunk Reese, faster filter modulation creates rhythmic movement. LFO rates of 1/8 or 1/16 synced to tempo can create wobbling Reese sounds that fit contemporary production styles.
Phase and Detune Modulation
Beyond static detuning, modulating the phase relationship and detune amount adds complexity and evolution to your Reese bass.
Phase Offset
Adjusting the phase offset between oscillators changes the initial alignment of their waveforms. Different phase relationships create different interference patterns and tonal colors.
Experiment with phase offsets of 0°, 90°, 180°, and 270° between oscillators. Each creates a different character in how the waveforms interact. Phase modulation via LFO creates evolving timbral changes that make your Reese sound less static.
In Serum, adjusting the phase parameter or using phase modulation creates constantly shifting interference patterns that add movement and interest to sustained Reese notes.
Dynamic Detune Modulation
Rather than using fixed detuning, modulate the detune amount with LFOs or envelopes. This creates Reese sounds that evolve in their beating rate over time.
Use a slow LFO to modulate the detune amount between oscillators. This creates a Reese that speeds up and slows down its beating pattern rhythmically, adding organic movement.
Envelope modulation on detune can create Reese basses that start with heavy detuning (aggressive beating) and gradually reduce to tighter tuning for a focused finish. This dynamic approach adds professional polish and keeps sounds evolving.
Sub-Bass Layer
Reese bass needs a solid sub-bass foundation to provide weight and power in the low end.
Designing the Sub Layer
Create a separate sub-bass layer using a simple sine wave or sine wave with minimal harmonics. This keeps your low end clean and powerful without the harmonic complexity of the Reese mid-bass clouding the fundamental.
Tune your sub exactly to the key of your track for maximum punch and musicality. Detuned or off-key subs create muddiness and lack impact.
Keep the sub layer completely mono (no stereo width) for maximum punch on club systems and mono-compatible playback. Stereo sub-bass loses power and creates phase issues.
Crossover Point
Use a crossover frequency between 80-120Hz to separate your sub layer from your Reese mid-bass. Everything below this frequency is handled by the clean sub, everything above is your processed Reese sound.
Apply a steep low-pass filter (24dB/octave or higher) on your sub at the crossover frequency. Apply a matching high-pass filter on your Reese layer at the same frequency. This prevents overlap and maintains clarity.
Sub-Bass Processing
Apply minimal processing to the sub layer—the goal is clean, powerful low end. Use gentle saturation or harmonic enhancement to make the sub audible on smaller speakers, but avoid heavy distortion that creates mud.
Compress the sub gently (2-4dB gain reduction) with a slow attack to preserve transients and a medium release to control the tail. This creates consistent sub levels without squashing dynamics.
Saturation and Distortion
Processing transforms basic detuned oscillators into rich, complex Reese bass with character and presence.
Saturation Types for Reese
Different saturation algorithms create different harmonic characteristics. Experiment with multiple types to find what works for your sound.
Tape saturation adds warm, even harmonics and gentle compression. This works well for classic, warm Reese sounds reminiscent of vintage jungle productions.
Tube saturation creates rich, musical harmonics similar to tape but with slightly more color and character. Excellent for analog-style Reese sounds.
Transformer saturation provides subtle harmonic enhancement and glue. Use early in the signal chain for foundational warmth.
Analog-style distortion adds grit and edge without the harshness of digital clipping. Great for adding character while maintaining musicality.
Digital distortion creates brighter, more aggressive harmonics. Modern neurofunk Reese often uses some digital distortion for edge and presence.
Waveshaping literally reshapes the waveform for unique harmonic generation. Experiment with different curve shapes for unpredictable results.
Multiband Saturation Strategy
Apply different saturation types and amounts to different frequency ranges for optimal results. Keep the sub-bass (below 100Hz) clean or apply only gentle warm saturation. This maintains punch and prevents mud.
Apply moderate saturation to the mid-bass (100-500Hz) where the fundamental Reese character lives. This range benefits from saturation that adds body and warmth.
Go heavier on saturation in the mid-range (500Hz-3kHz) to add presence and harmonic richness. This range needs the most enhancement to cut through mixes.
Apply saturation selectively to high frequencies (3kHz+) to add sizzle and air without excessive harshness.
FabFilter Saturn 2 or iZotope Trash 2 excel at this multiband approach, allowing precise control over saturation type and amount in each frequency range.
Serial Saturation
Layer multiple saturation stages with different characters rather than using one extreme stage. Light tube saturation first for warmth, followed by moderate tape saturation for density, finished with gentle waveshaping for unique harmonics creates more complex, musical results than any single saturation stage.
This multi-stage approach is how professional producers achieve rich, complex Reese sounds that sound expensive and polished rather than simply distorted.
Modulation for Movement and Evolution
Static Reese bass sounds boring over extended periods. Modulation creates evolution and maintains listener interest.
LFO Modulation Techniques
Use slow LFOs (1/2 bar to 4 bars) to create gradual evolution in filter cutoff, resonance, oscillator levels, and phase relationships. This makes sustained Reese notes feel alive and evolving rather than static.
Faster LFOs (1/4 to 1/8) create more rhythmic movement. Modern neurofunk often uses tempo-synced LFO modulation to create Reese sounds that pulse and breathe with the track's rhythm.
Assign multiple LFOs to different parameters at different rates for complex, non-repeating modulation patterns. One LFO on filter cutoff, another on oscillator detune, a third on resonance creates interaction patterns that evolve organically.
Envelope Modulation
Beyond standard amplitude envelopes, use envelopes on multiple parameters. Apply envelope modulation to filter cutoff for dynamic tonal evolution from note start to sustain. Create movement within individual Reese notes rather than static tones.
Modulate oscillator levels with envelopes so the balance between oscillators changes over the note duration. This creates timbral evolution as different oscillators become more or less prominent.
Use envelope modulation on effects parameters—reverb mix, delay feedback, or distortion amount—to create notes that start dry and become more processed, or vice versa.
Macro Controls and Performance
Create macro controls that adjust multiple parameters simultaneously for complex changes with single knob movements. A "character" macro might simultaneously adjust detune amount, filter resonance, and distortion level for quick timbral changes.
This approach is particularly useful when performing or jamming ideas, allowing real-time Reese manipulation without twiddling dozens of individual parameters.
Effects Processing
Effects add space, width, and character to your Reese bass beyond basic synthesis and distortion.
Chorus and Ensemble Effects
Subtle chorus effects enhance the detuned character of Reese bass, though use carefully since the detuning already creates natural chorusing. Very subtle chorus (5-15% mix) widens the stereo field and adds shimmer in the mid and high frequencies.
Ensemble effects (like the Dimension D-style chorus) add subtle movement and width without obvious modulation. This works particularly well for classic jungle-style Reese sounds.
Apply chorus only to frequencies above 200-300Hz to avoid muddying the low end. Use multiband processing or frequency-split your signal to chorus only the upper frequencies.
Reverb for Space
Reese bass typically uses minimal reverb to maintain punch and presence, but small amounts add depth and dimension. Use short reverb (room or small hall) with 10-30ms pre-delay to separate the dry signal from the reverb tail.
Apply reverb only to mid and high frequencies (500Hz and above) to avoid washing out the low end. Keep the mix very low (5-15%) for subtle space without obvious reverb character.
For dramatic effects in builds or breakdowns, automate reverb amounts higher temporarily, then return to dry settings for drops where punch is critical.
Delay for Rhythm
Delay can add rhythmic interest and space to Reese bass lines. Use ping-pong delay synced to tempo (1/8, 1/16, or dotted rhythms) with low mix (10-20%) for subtle rhythmic echoes.
Filter the delay feedback heavily—high-pass around 500Hz and low-pass around 5kHz to keep delays from muddying the frequency spectrum. This allows rhythmic interest without cluttering the mix.
Dub-style delay (long delay times with high feedback and heavy filtering) works well for creating atmospheric Reese sections or breakdown moments.
Stereo Width
Careful stereo widening makes Reese bass feel larger and more impressive without sacrificing mono compatibility. Keep frequencies below 100-150Hz completely mono for punch and club system compatibility.
Apply stereo widening to mid frequencies (150Hz-1kHz) moderately, and more aggressively to high frequencies (1kHz+). This creates width where it's safe while maintaining punch in the low end.
Use mid-side processing to widen only the "side" channel information. This is safer than naive stereo widening that can create phase issues. Always check your mix in mono to ensure the Reese bass still sounds powerful and present.
Creating Reese Bass Variations
Professional tracks feature multiple Reese variations rather than using the same sound throughout. Creating variations maintains interest and energy.
Timbral Variations
Design 3-5 different Reese patches with varying characters—one darker with lower filter cutoff, one brighter with higher cutoff and resonance, one with aggressive distortion for intense sections, one cleaner for breakdowns, and one with unique modulation patterns.
Use these variations in different track sections to create dynamic contrast and development. The verse might use a darker, subtler Reese, while the drop features the most aggressive variation.
Rhythmic Variations
Beyond different patches, create variations in your Reese bass patterns. Vary note lengths between sections—longer sustained notes for atmospheric sections, shorter, more rhythmic notes for energetic sections.
Program different rhythmic patterns that complement your drums differently. Dense, complex Reese rhythms work well when drums are sparse, while simpler Reese patterns let busy drum sections breathe.
Use different octaves or register changes for variation. Drop the Reese an octave for heavy, deep sections, or raise it for tension and energy.
Processing Variations
Automate processing throughout your arrangement. Start sections with cleaner Reese bass and gradually introduce more distortion as energy builds. Modulate filter cutoff over 8 or 16 bars to create gradual timbral evolution. Change reverb and delay amounts for different spatial characteristics in different sections.
This dynamic processing approach keeps the Reese bass evolving throughout the track rather than remaining static.
Genre-Specific Reese Techniques
Different genres use Reese bass with different characteristics and contexts.
Classic Jungle and Drum & Bass
Classic jungle Reese is warm, deep, and relatively clean compared to modern styles. Use moderate detuning (10-20 cents) for smooth, rolling character. Keep filtering darker (cutoff around 1-2kHz) for warm, deep tone. Apply gentle saturation for analog warmth without aggression.
Layer Reese with simple sub-bass, keeping them clearly separated. Use minimal effects—just subtle reverb and maybe chorus—for clean, focused sound.
Rhythm patterns in jungle Reese often feature sustained notes that roll through the bassline rather than rhythmically complex patterns.
Neurofunk
Modern neurofunk Reese is aggressive, heavily processed, and often features extreme modulation. Use heavy detuning (25-50 cents) for rapid beating and movement. Apply aggressive distortion and saturation for grit and presence.
Use complex filter modulation creating wobbling, evolving sounds. Layer multiple Reese sounds with different processing for complex, thick bass.
Neurofunk Reese often features metallic, FM-enhanced tones, heavy resampling and mangling, and automation creating constant evolution.
The rhythms are typically more complex with shorter notes, rhythmic hits, and interaction with the drums.
Dubstep and Bass Music
Dubstep adapted Reese bass with its own character—more mid-range aggression and rhythmic wobbling combined with Reese's detuned character. Integrate wobble bass modulation into Reese design for hybrid sounds. Use LFO modulation on filter creating rhythmic movement while maintaining Reese's detuned foundation.
Apply extreme distortion and processing typical of dubstep production. Layer Reese with other bass types—growls, wobbles, and subs—for complex bass sections.
Dubstep Reese tends to be more rhythmically active, often serving as rhythm bass rather than sustained notes.
Advanced Techniques: Resampling and Hybrid Approaches
Professional productions often use advanced techniques beyond basic synthesis.
Resampling for Unique Character
Render your basic Reese patch to audio, then reimport and process it as a sample. This allows processing impossible in real-time synthesis and creates unique textures.
Timestretch the resampled Reese to different tempos for timbral changes and artifacts. Reverse sections for backwards Reese effects. Chop and rearrange slices for glitchy, rhythmic patterns. Pitch shift segments independently for harmonic complexity.
Apply extreme processing to resampled audio—heavy bit crushing, multiple distortion stages, granular synthesis, or convolution for unique character.
FM and Wavetable Hybrid Reese
Combine traditional detuned oscillator Reese with FM synthesis or wavetable synthesis for modern hybrid sounds. Use FM synthesis to add metallic, clangorous tones layered with traditional Reese. This creates brightness and aggression that pure detuned saws cannot achieve.
Wavetable synthesis allows scanning through different waveforms while maintaining the Reese's detuned character. Modulate wavetable position for evolving harmonic content that keeps sounds fresh and interesting.
These hybrid approaches create Reese bass sounds that stand out from traditional implementations while maintaining the fundamental detuned character.
Physical Modeling and Additive Synthesis
Some producers create Reese-like sounds using non-traditional synthesis methods. Physical modeling synthesis can create organic, evolving tones with natural movement. Additive synthesis allows precise control over individual harmonics for unique timbral crafting.
While these methods don't create traditional Reese bass, they can achieve similar detuned, beating characteristics through different means.
Mixing Reese Bass in Full Productions
Even perfectly designed Reese bass needs proper mixing to work effectively in complete tracks.
Frequency Management
Use EQ to carve space for Reese bass in your mix. High-pass filter to remove unnecessary sub-bass below your dedicated sub layer (typically 80-120Hz). This prevents phase issues and maintains clean low end.
Cut problematic build-up frequencies around 200-400Hz that can make Reese sound muddy or boxy. Use relatively narrow cuts to surgically remove problem areas without thinning the overall sound.
Boost presence frequencies around 1-3kHz to help Reese cut through busy mixes. This range is crucial for maintaining audibility on all playback systems.
Add air and space with gentle high-shelf boosts above 6-8kHz for modern, polished sound.
Compression
Apply moderate compression (3-6dB gain reduction, 4:1 ratio) to control dynamics and create consistency. Use attack times around 10-30ms to preserve transients while catching the body of the sound. Set release times to 50-150ms depending on tempo and rhythm.
Sidechain compression with the kick drum creates space for the kick to punch through. Fast attack (0-5ms) and medium-fast release (50-100ms) creates transparent ducking that adds rhythmic pump.
Parallel compression adds thickness and sustain. Heavily compress a duplicate Reese track (10-15dB reduction) and blend it underneath the main track for increased density and power.
Interaction with Other Elements
Consider how your Reese bass interacts with other mix elements. Leave space for kicks by using sidechain compression or programming Reese patterns that don't clash with kick placement.
Balance Reese with other bass elements if present. If you have sub-bass, mid-bass, and Reese all playing, ensure they occupy different frequency ranges without excessive overlap.
Use EQ to create pockets for other elements. If you have pads or synths, cut some of their low-mid range where Reese dominates, and cut some of Reese's high-mid range where pads live.
Common Mistakes and How to Avoid Them
Learning from common errors helps you create better Reese bass more quickly.
Excessive Detuning
New producers often use too much detuning, thinking more is better. Extreme detuning creates chaotic, unfocused sounds that lose the musical quality of classic Reese. Start subtle and increase gradually until you achieve the desired effect.
Overprocessing
Heavy-handed processing destroys the character you're trying to create. Too much distortion creates harsh, unpleasant sounds. Too much compression squashes dynamics. Too much reverb washes out the punch. Use processing tastefully and always compare to your dry signal to ensure you're enhancing rather than destroying.
Neglecting the Sub-Bass
Reese mid-bass alone lacks the weight and power needed for club systems. Always pair your Reese with a solid sub-bass layer. The combination creates full-spectrum bass that translates across all playback systems.
Static, Unevolving Sounds
Reese bass without modulation and variation becomes boring quickly. Use LFOs, envelopes, and automation to create evolution and movement. Tracks with static Reese throughout lose listener interest.
Poor Frequency Balance
Reese sounds that are too dark lack presence and get lost in mixes. Reese sounds that are too bright sound thin and weak. Find balance through careful filtering and EQ that provides both warmth and presence.
Conclusion: Mastering the Reese Bass
The Reese bass is a fundamental sound in electronic music that every producer should master. From its humble origins in late-80s house music to its evolution as the defining sound of drum & bass and its adoption across bass music genres, the Reese remains relevant and powerful.
Creating great Reese bass requires understanding the fundamental technique of detuned oscillators, mastering filtering and modulation for tonal shaping, applying appropriate saturation and distortion, and layering with solid sub-bass foundations. Professional-level Reese also demands creating variations for dynamic tracks, mixing properly in context with other elements, and developing your unique take on the classic sound.
Start by creating basic Reese patches using the fundamental techniques outlined here. Experiment with different detuning amounts, waveforms, and filters. Add processing gradually, always comparing to professional reference tracks in your genre.
As you become comfortable with basic Reese creation, explore advanced techniques like resampling, hybrid synthesis, and complex modulation. Develop multiple Reese variations for your tracks and learn to use them dynamically throughout your arrangements.
Most importantly, study how professional producers in your genre use Reese bass. Load reference tracks into your DAW, analyze their frequency content with spectrum analyzers, and A/B compare with your own Reese sounds. This develops your ear for what professional Reese bass should sound like.
The Reese bass is endlessly deep—you can spend years exploring variations and techniques while continuing to discover new approaches. This depth is what has kept the sound relevant for over 30 years. Whether you're making classic jungle, modern neurofunk, or any other bass-heavy genre, mastering the Reese bass is essential to your production skillset. Now fire up your synthesizer and start creating.
