#Fm8 reese tutorial Patch#
“Then I made a Reese bass with my Moog and I resampled that and put it into another group in the Phase Plant patch with a sampler, and it added such a new world of harmonics and really finished the sound off! I really liked the combination of digital oscillators and an actual Moog.” So you’ve got the modulation from the two sine waves going against each other, and when you add the noise, you get that whole crunch. “Then I had a second group with noise also going into the effects lane, and used the Faturator which gives you a really digital-sounding but thick Reese bass.
![fm8 reese tutorial fm8 reese tutorial](https://i.ytimg.com/vi/6znlqb5n65I/hqdefault.jpg)
That would just be a case of switching the instance.” I made this track a while ago called Driveyard and that was a triplet track with a staccato bass that would roll, and it switches tempo a few times in the track. So that works! If you want to switch tempos, I generally do prefer to have different instances of the plugin. “For the Auxiliary bass, I used the Kilohearts Multipass plugin on the group. Will you usually automate a single instance of a synth or use multiple instances for things like LFO tempo changes? There’s a lot of bass articulation in the track. Then I’ll think about how it was made based on the characteristics of the sound, because you’ll hear it and think ‘that’s a wavetable sound’ or ‘that’s something else’.” “Sometimes when I hear like a cool bass or something, I’m like ‘oh OK, I can make this’. You use both Native Instruments FM8 and Xfer Records Serum to make filthy bass noises in the video.
![fm8 reese tutorial fm8 reese tutorial](https://bassgorilla.com/wp-content/uploads/2017/05/Picture-1.jpg)
“It’s one or two octaves higher than you’d have the kick, so it will go down to about 200Hz rather than like 90Hz, and I used a triangle oscillator for the snare in Auxiliary.”