VS 20: Redux Bass Part 2

First part of this post is here. And this is where we left off:

It has decent movement inside but it’s time we start adding some definitive modulation and try to get some sequencing ideas to actually use it in a track. Many ways to do that but for the sake of this tutorial I want to keep it simple. I’m mainly going for a lowpass filtered bass sound here although I’ll add in some parallel processing to get a more complex sound.

Update: This part was a bit messy as I realized what I’ve written wasn’t really describing the actual routing, so I’ve edited a bit and added an image.

The routing scenario here looks like this:


To get this configuration, 3 send devices are used. In first 2, “keep source” is selected therefore the signal is effectively duplicated. The 3rd send device mutes the source so it’s a serial routing, meaning the signal is carried over to that track instead of being duplicated. Still, the core of our sound will be the first filter as it’s the loudest. (See the outputs of the 3 filter tracks.)

So Filter 1 first. We’re gonna go with a single 2P K35 Redux filter with little drive and even less resonance. I control this with a hydra which is basically a meta controller with which you can control multiple parameters. It’s actually not necessary as you can do the same with a macro control but old habits I guess. A key factor here is the difference in Hydra control settings. The curve and range variations offset every cutoff point a little bit when automating the sound and this yields a more complex filter sound. I’m playing 3 random notes here using the glide setting in Redux. The result of the first filtering layer:

2nd filter. It’s another lowpass but this time a moog with a bit more resonance and drive. There’s also a chorus here. As stated above, this is mixed low so the difference is pretty subtle but these will add up.

And the 3rd filter. This is a bandpass with medium resonance and low drive. I haven’t actually tested it but the drive settings combined here should make quite a difference as they keep the dynamic range in check. So if you are trying this out with a standard filter and getting jumpy results try adding saturation. The result is below:

At this point all 3 signals will be summed and routed to the final FX chain. This one includes a notch filter that’s cutoff being controlled by the hydra. As an extra movement, it’s bandwidth is being controlled by an LFO with a free running phase. It then goes through a chorus (some more fattening), a cab sim (for extra distortion colour), and finally some reverb (for a little bit of depth). But before it goes through this final chain I highpass the signal and cut off the sub 100 hz range.

The reason for that is I like reinforcing a clean sub under my basses to keep it consistent and Redux is great for that. For doing that here I’m using a lowpassed squarewave (through the modulation page) which I tune as necessary to the sub range. In this case that’s -14 semitones. This results in a powerful and clean sub you can turn up & down as necessary in your mix.

The 2 final layers (sub and highpassed bass) then goes through a final saturation. Again it’s a Camel Crusher but I’ve added an analog filter to the Redux patch in FX chain 06 which pretty much does the same thing. Again try experimenting and see which saturator works best for you. Watch out for dynamic range!

This is it. Using some basic pitch glides and automating the hydra (macro control 1) you can get tons of variations that you can cut up and rearrange as necessary. And I’ve done exactly that to demonstrate the possibilities. To get even some more variation I’ve also done this little phrase trick in which I’m using 0Yxx command to pseudo-randomize the sample start offset! This is only possible in new Redux phrases and I’m loving it. It makes better use of our reese sample by randomly retriggering it from 4 different positions. Of which 2 are actually played back in reverse! Try doing that in Kontakt!

You can go a lot more fancy using reverse commands and whatnot but this post needs to end somewhere so here’s my little demo using the final Redux patch:

That’s all. Thanks a lot for reading and I hope you find it useful. Let me know what you think!

Until next time,




  • Bendish

    Would be great if you could route fx chains into other chains saving on the send method.

    • Yeah, some sort of parallel/modular routing option would be great indeed. Using instrument effects kind of make up for it but something like Ableton’s effect racks work much more elegantly IMO.

      I’m sure Renoise dev’s will come up with something good in time though.

  • misksound

    i’ve just been plodding through your tutorials every day lately, as it’s a great way to remind me what’s possible with renoise, as I unlearn my Live 9 workflow. These are great man, and I actually had an old renoise project file called “Bass Playground” that was pretty much this! Ableton’s effects racks are great and all, but such a pain in the ass sometimes, and Renoise’s multiband send is rad! Sure routing in renoise can be frustrating at times, but remember that 0Jxx command isn’t too bad ;)

    big up on the reminder about the 0Yxx command too! need to dig into that one more!

    • Hey Misk, good to know! I didn’t know about 0Jxx command so thanks for the heads up. I’ll see what I can do with it.

      Admittedly, I don’t use 0Yxx too often either but it’s a great command really. I’m usually too much of a control freak to let random things run freely (which is a shame!)