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“I created the Reese bass from that [Casio synth], and drum 'n' bass DJs have used it over the years. It was trial and error, man; I might play a line, and the line sounded cool, and then I needed to work on the sound. Sometimes I’d go in reverse and work on the sound first, and then play a line because it inspired me. Sometimes I might make a rhythm or sequence, and determine that I wanted to work on the sound, just getting into the parameters of it. It just inspired me to try different shit.
“I'd be getting into the oscillators, but it was trial and error. I didn't know a lot about that kind of stuff, but I knew it affected the way the original patch sounded. You just messed around with every button!
“Then, as you got more experienced, you started knowing how the parameters really affected it. Back in the beginning you didn't really know, you just kept messing with it until something great came out of it.
“So there was no real theory behind it, besides experimentation to make something happen differently to what was was already there. You get a lot of patches and stuff - anybody can use them and play the [synth] - but it's a little different when you start doing stuff like that, mixing another sound in, and coming up with something unique. I can usually tell when I have it right just by how the impact of the sound feels when I play on the keyboard, whether it's a deep Reese bass or any other type of bass.
“I'd think about the Paradise Garage [New York Club] and getting something dark that would work, that Larry Levan could play. That was my inspiration. If I've done something positive to have an impact on people… not everyone can make that happen. I have no problem with it! It's part of history. It would have been nice if I could have put a patent on it, but I ain't complaining!”