LOW FREQUENCY. HIGH HOSTILITY.

BAD REESE↯

A stereo bass instrument for beautifully ugly sounds.

OUTPUT / OSCILLOSCOPE−∞ dBFS

Current Patch

Output −14 dB

01 SOURCE→02 DRIVE→03 SINE LAB→04 FILTER→05 PHASER→06 FLANGER→07 ECHO→LIMITER

MOVEMENT IS EVERYTHING

Modulation Matrix / PATCH THE CHAOS

SourceDestinationBipolar Amount

Amounts span the destination’s range. Routes add together; destination limits keep feedback and frequencies bounded. Filter modulation follows a logarithmic scale.

MONOPHONIC / LAST-NOTE PRIORITY

Make It Misbehave.

Octave Tempo Mod Wheel

PLAY: A W S E D F T G Y H U J K · Z / X: OCTAVE · SPACE: PANICREADY WHEN YOU ARE

Inside The Lab / Sound Design Notes

Reese DNA. Three detuned oscillator pairs form the stereo body. The sub is a separate sine, one octave below, routed around the effects. Try slow detune and notch modulation before adding distortion.

Sine Compression. Fast dynamics, makeup gain, and a sine transfer curve reshape the body. Push drive into a moving notch to make the harmonics breathe. Fold mixes in sin(x); it is waveshaping, separate from compression.

Feedback Territory. The echo filter sits inside the feedback loop. Bypass it to let full-band repeats circulate. The flanger has its own short feedback loop. Panic clears both tails.

Play & Capture. Use the piano, typing keyboard, or MIDI. MIDI velocity and CC1 are matrix sources. Patch files include every sound setting and route. Record captures the live stereo output in your browser’s supported format.