Easy… He’s highpass filtering the distorted bits, and using a standard detuned sine wave sub bass for the bassy parts 
… those samples absolutely kick ass btw… I can see why you’re interested in doing stuff like that. I’ve actually wanted to go for a sound like that for a long time too 
… Any artists you know of that do those kind of beats? I’d definitely be interested in hearing some more shit like that! 
[EDIT]… Just checking out the artists you mentioned above… coolness 
[/EDIT]
Ummmh that really does some nice sounds… <3
I hope arguru is having fun times where ever he is =)
After opening this synth a got this feeling that has been long gone with most commercial synths… this synth just screams to be tweaked… 
another DIY renoise way:
trust your ears! if 2 layers isn’t enough for you, use three! or five or six!
not four. not seven. not eight. but nine could work,
but you can get a phat, twisted sound with two notes as well, without losing much of the harmonics. they say three is a charm, especially in soundscience, but breaking rules give interesting results.
now, the result will not sound 100% like Noisia or Limewax or Amon
Tobin, but the big plus of this technique is that you do not need to
sample your own sound after you set up your devicechain. You can alter
parameters for huge effects on your sound with all the freedom for
note and chordprogressions still at your disposal!
definately going to try that out ^
cheers for the tips botb.
this is good for DNB basses, just use its PWM and the subosc. 
http://kunz.corrupt.ch/?Products:VST_U-NO-60
so true…
cool !
Wich vst you use ¿¿¿
don’t you read. it’s samples of Current Value
I like this Current Value stuff!
Is this what is current on the DNB scene?
Nah, this is the extreme end of th spectrum. Comes from the Therapy style, which was pioneered guys like SPL, Dylan etc.
It is pretty much a better produced version of the stuff Speedranch and Snares were doing years back, with a slight DnB tilt.
Sounds very well made, if a bit too clinical.
Madness all the same.
I am going to see Paradox live tonight … yeah 
The world forgives you your frenchness
i had a thorough read of this thread and its sidelinks and I think i learnt quite alot, thanks for all of that! I did a sort of jumbled mishmash of following a few of the ideas in the various step-by-step guides to try and understand the concepts…and eventually got to this stage of making this fella
I was hoping to be able to make a sexy xrns to show off, but it evolved into using a couple of proprietry vst’s, not to mention panning out to several files of resampling…but i’ll give a little step by step of what i did anyway.
i rendered a sawform from z3ta+, then put it in two sample slots and detuned one of them to -25, then just put in a monotonal thing that was slightly rhythmical, and backed up with a sine wave detuned the same way (except to -34.4) coming in at the gaps of sound between the rhythmical bits… then split it up into 5 frequency bands, adjusting the limiting frequencies individually to cut out the shitty sounding parts (49hz-75hz hard edged, 640hz - 900hz -12db, 1k - 1.25k -12db and 4.5k - 6k -12db…) and adding a couple of effects, including a filtered delay on the higher frequency stuff
from here i got about 5 or 6 different renders of different mix balances between the divided up frequency send channels, so there were a couple of different “vibes” of bass in the different renders, then put them all in a new file and automated some level changes between the samples and generally messed around with finding out which bits of which samples i liked, and how they meshed etc… and came up with a sample that I loaded back into the original chain in place of the two saw-wave samples, and detuned one of them accordingly. I also played around with those 02## speed changes someone was recommending to play with, and it had some quite interesting results to the way the sound “spoke” at this stage of sound processing! Final step with adding a beat and making it vary slightly was simply to put sidekick in to duck the sub-bass and automate mixer level adjustments once again to play with which parts of the sound i wanted to hear at which times…
pretty alright-sounding for a first attempt at this method eh? 
Very much like your demo Alex, promoted. I’m listening on the speakers at work… Some bass filtering needed on both the kick and sub-bass.
Sick groove.
whats up alex! sounding good! I would suggest detuning both waveforms… it sounds good, but if you wanna get that self oscillating sound (wha wha wha) I would detune both of them (ex: +25 the other -25- you can try uneven detunings, but then phase issues come into play and mess with the mix- in which case, if i like it any way I just set a stereo expander to zero so it mono’s out to correct the phasing- but then you don’t get much of a stereo effect), that is unless of course you like what you did… i think it sounds good too either way 
, I guess I’m just formulaic.
do you think I can upload an example to you server to post up here? its like a 700 kb mp3 example… I wanna post a short tutorial, but want to include an example to go with it. This thread lit me up- I have been dedicating myself to the art or reeses ever since I asked how to do it on here a couple of years ago and have made quite a jump…
Hey louis, long time indeed. I had a look on your myspace recently and it was still the same old tunes, was hoping you hadn’t given the whole tracking thing away 
I’ll have a play around with some more bass tomorrow, try a few of your’s and mark’s suggestions…I’m all burnt out from filling in government paperwork today >_<
(legal problems, dont ask! the law is on my side I think at least…)
as for hosting stuff, sure… send me the file in an email if you want… to save me a little bit of spam, rather than posting the address here, can I get you to read the instructions carefully on www.dodgyrecordings.com 
or maybe you still have it written down somewhere from our little bit of correspondance ages ago…
Alright, done some playing around. Insofar as the reese sound, that’s really the bread&butter sound isn’t it?
On my R3, this is a patch of two 2-oscillator timbres:
T1 OSC1 - Sawtooth, detuned +12
T1 OSC2 - Sawtooth, detuned -12
T2 OSC1 - Sawtooth
T2 OSC2 - Sine, transposed down 1 octave
That’s basically all there is to the core of it. The crossing phases of the sawtooth waves create the whum-whum-whum-whum stuff, the lower Sine gives the lowend, the “centered” sawtooth carries the tune. I played around with more layers of “sawteeth” with unison, but frankly it just got messy when higher than 3 IMHO. This is stuff you can easily make with Renoise and a tone generator like the one that comes with Soundforge.
Beyond this though is when it gets interesting honestly. Leaving envelope generators out of it i reckon LFOs and effects work is where it all really comes together. Crossing notch filters on the same LFO but with inverted phases can give really interesting results, and some light flanging, possibly synced to “cross” the LFO’d filters. The real filth of it comes in with slight bit reduction. I didn’t think distortion did so much, probably the shitty onboard distortion on the R3, but bitreduction really added some crunchy midrange to it, and at extremes i’m sure there’s tons of use for it.
This made me think though, is there a way to set up a Renoise instrument to trigger more of its samples at once? Would save people a lot of work making exactly this kind of patch.
Another thing; it really, really helps if you add a little portamento to it, and not the 303 style bend, but the kind that recalls the last note pressed, regardless of interval between notes.
Ah, forgot the mp3. Shit recording i know, lacking the cables at my house to do a direct record, had to record it physically