Fury Bass Synthesizer

Fury is a monophonic bass instrument for Reason, built for dubstep-style subs, Reese basses, growls, wobbles, stabs, and pitch-drop hits. It combines a formant "growl" stage, BPM-syncable motion, a staged distortion path, and a rear panel that splits the sound into separate sub, body, and texture outputs for parallel processing.

The front panel is a 4U layout: Perform on the left, then Core / Oscillator / Growl across the first tier, Motion / Articulation / Output across the second, and a STATUS display column on the right. Most front-panel controls are saved with the patch and available for automation and Remote unless noted otherwise.

Getting Started

If this is your first time with Fury, five minutes here will explain most of the panel.

1. Load a factory patch. Start with 001 - Default Growl. Play a low note and hold it — Fury is monophonic, so one note sounds at a time.
2. Find the movement. Turn Motion → Depth up and down. That is the wobble. Switch Motion → Sync to BPM and pick a Synced Rate such as 1/8 to lock it to your song tempo.
3. Find the character. Turn Growl up, then sweep Vowel. Growl is the gateway control — with Growl low, Vowel and the formant wobble are deliberately subtle.
4. Find the weight. Oscillator → Sub adds a clean sine an octave down. Reese adds the detuned dual-saw layer, and Detune sets how wide and animated that layer feels.
5. Find the dirt. Output → Drive, then Fold, then Crush, in that order. They stack, so a little of each goes further than a lot of one.
6. Ride the Mod Wheel. It is a live intensity macro that adds Growl, Wobble Depth, Cutoff, and Bite together without changing your saved patch.

One habit worth forming early: when a control seems to do nothing, another control is usually setting the range where it can be heard. The Parameter Interactions section maps every one of those relationships.

Status

The STATUS column shows a live display of the main mono mix (after amp and limiter), plus a stack of waveform mini-scopes beneath it. Two small orange toggles sit in the STATUS header.

Live note activity uses the PERFORM Note lamp; live wobble phase uses the Motion Rate Lamp.

Turning the scope off is a genuine CPU saving on dense projects, and it costs you nothing but the visual.

Perform

• Mod Wheel is an upstream macro for Growl, Wobble Depth, Cutoff, and Bite. It makes a patch brighter, more animated, and more aggressive without moving the saved patch controls.
• Pitch Wheel is independent of Mod Wheel and of tone shaping. Bend sets pitch range only.

Core

• Glide changes pitch transitions only. Use Release for tail length.
• Mode affects MIDI note overlaps. CV pitch changes stay gate-based and smooth while the gate is held.

Oscillator

• Detune is most audible when Reese is raised. With Reese low, Detune has much less stereo or beating effect.
• At higher Detune settings, Motion Depth also bends the Reese detune spread, so wobble can come from beating and phase movement rather than only filter movement.
• Width uses the Reese side signal, so Width is subtle on mostly-Sub or mono oscillator patches.
• FM becomes sharper as Bite rises, and feels stronger at high Growl because Growl increases the modulation context around the oscillator.
• High Bite, Growl, and Reese together introduce a small high-passed noise layer for extra air and grit.

Growl / Tone

• Growl is the main gateway for vocal formant character. With Growl low, Vowel changes and formant wobble are intentionally subtle.
• Vowel raises the formant focus. Wobble still modulates internally at high Vowel values, but the audible sweep becomes much less obvious — especially when Cutoff is already open or Growl and Res are low.
• Bite brightens the oscillator, raises the upper formant, and makes FM motion more aggressive.
• Cutoff sets the base low-pass position while Wobble Depth adds movement above it. At very high Cutoff, wobble can sound flatter because the filter is already open.
• Res emphasizes cutoff movement. Raising Res often makes a quiet wobble feel more animated without touching the LFO rate.

Motion

• Depth controls how much the LFO moves the formant and cutoff paths. Growl, Vowel, Cutoff, and Res decide how obvious that movement sounds.
• Shape changes the feel of the same Depth amount. Square and Ramp usually read as more obvious dubstep movement than Sine or Triangle.
• Sync changes timing and phase behavior only. It does not add wobble depth by itself.
• Wobble CV is scaled by Wobble CV Amount before being added to Depth and clamped, so positive amounts can push a patch to maximum movement and negative amounts can invert the motion.

Articulation

• Punch opens the filter on note-on. Combine it with moderate Cutoff, some Res, and lower Motion Depth for the clearest snap — heavy wobble or a fully open Cutoff masks the transient.
• Punch retriggers on every note-on while Legato still glides pitch between overlapping notes.
• Hard velocity also opens the filter slightly, with no knob involved, for more dynamic playing.
• Env CV Out reflects the amp envelope plus the punch contribution when Punch is raised.

Output

• Drive feeds the Fold stage, so high Drive makes Fold react more strongly.
• Crush happens after saturation and folding, exaggerating whatever harmonic shape Drive and Fold already created.
• Width depends mostly on the Reese side signal. With Reese low, Width has little material to spread.
• Limit catches peaks after the distortion chain. Heavy limiting can make movement feel flatter even with Motion settings active.
• Volume is the final level staging before the limiter, and is the right control for balancing hot patches.

Rear Panel

The rear CV Amount knobs are saved in Fury patches and edited from the rear panel. They are deliberately not exposed as Remote, MIDI, or automation targets.

Parameter Interactions

Fury is intentionally interactive: several controls feed the same internal tone paths. If one control appears to do less than expected, another control is usually setting the range where the change can be heard.

Upstream modulation

• Mod Wheel adds Growl, Wobble Depth, Cutoff, and Bite after the patch values are read. Treat it as a live intensity macro.
• Growl CV, Wobble CV, and Cutoff CV are scaled by their rear-panel CV Amount knobs before being added to their matching controls, then clamped. If the front-panel knob is already high, positive CV may hit maximum and stop adding audible change.
• Each CV Amount knob is bipolar: center disables that input, right is normal polarity, left inverts.
• Pitch Wheel changes pitch only — not oscillator shape, wobble timing, or tone.

Wobble audibility

• Wobble moves both the formant focus and the low-pass cutoff, but it needs enough Depth and a tone setting that exposes movement.
• With enough Reese and Detune, wobble also moves the detune spread, creating more neuro-style beating and phase motion.
• LFO CV Out carries the wobble shape even when Fury is not playing a note, so one silent Fury can act as a timing source for other devices.
• Vowel at maximum can make the wobble feel nearly imperceptible, because the formant focus is already high and the sweep has less vowel contrast.
• Wobble is clearest with moderate Vowel, raised Growl, some Res, and Cutoff set low-to-mid rather than fully open.
• If the LFO is visibly moving but the sound feels static: raise Depth, lower Vowel, lower Cutoff, raise Res, or switch Motion Shape to Square or Ramp.

Growl and brightness

• Growl mixes the formant-filtered signal into the oscillator. Vowel and Bite become more meaningful as Growl increases.
• Bite adds brightness before the formant and filter stages. It makes Growl and FM more aggressive, and it makes already-harsh patches sharper.
• Bite changes the source character; Cutoff controls how much of that character reaches the output.

Reese, Width, and Sub

• Reese creates the detuned side signal; Detune sets how wide and animated that layer feels.
• The top of the Detune range is deliberately more aggressive than the lower range. Use it for neuro Reese movement, and back it down for smoother traditional Reese basses.
• Width spreads the Reese side signal, so it sounds subtle on patches dominated by Sub or low Reese.
• Sub is a mono foundation. Fury keeps part of the sub cleaner and centered under the growl and distortion path, so keep Width lower on sub-heavy patches that need strong mono compatibility.
• Sub Out exposes that cleaner foundation separately. Main Out still includes the clean sub, so routing Sub Out elsewhere is a parallel-processing choice, not a replacement for Main Out.
• Texture Out is most active when Reese, Detune, Bite, and noise-producing settings are raised, and can be quiet on clean sub or simple oscillator patches.

Noise and FM edge

• High Bite, Growl, and Reese add a small high-passed noise texture before the final tone and distortion path, filling out the top end without a separate noise control.
• FM follows musical interval-style ratios as Bite rises, moving from a lower interval edge through octave-like bite into a more metallic high interval.
• If a patch becomes too fizzy, lower Bite first, then FM, then Drive and Fold.

Distortion staging

• Drive is the first output-stage intensity control and pushes the signal into saturation.
• Fold uses the driven signal, so Drive and Fold multiply each other's perceived intensity.
• Crush follows Drive and Fold, adding digital edge to the already-shaped signal.
• Limit constrains final peaks. Useful for control, but high values reduce perceived wobble and envelope dynamics.
• Body Out and Texture Out are already constrained by Fury's shaping and limiting path, but they are meant for further external processing. Watch levels if you also keep Main Out active.

Routing Examples

Clean sub plus processed mids

• Keep Main L/R connected for the normal patch sound.
• Patch Sub Out to a separate mixer channel for an independently EQ'd mono low-end anchor.
• Patch Body Out L/R through distortion, EQ, or compression when the midrange needs a different chain from the sub.

External neuro texture chain

• Patch Texture Out L/R into a flanger, phaser, comb filter, chorus, or extra distortion.
• Blend that return under Main Out. The original patch stays intact while you add animated top-end aggression.
• Raise Reese, Detune, Bite, and Width if Texture Out is too subtle.

Master/slave Fury wobble

• Use one Fury as the timing master and patch LFO CV Out to another Fury's Wobble CV.
• Patch Env CV Out to the slave's Growl CV or Cutoff CV for matching articulation movement.
• Patch Gate CV Out to the slave's Gate CV for the same triggering, then use different patches or octaves for layered basses.

Creative Rear-Patching

Starting points rather than rules. Keep Main Out connected while experimenting, then blend the extra taps in only when they add something.

Quick patch cards

Three-channel bass mix

Use one Fury feeding three mixer channels:

• Main L/R to the primary bass channel.
• Sub Out to a mono channel with low-pass EQ and little or no distortion.
• Texture Out L/R to a channel with chorus, phaser, flanger, comb filtering, or extra distortion.

That gives you a stable low end, a controlled main bass, and a risky animated top layer. Automate the texture channel level for fills so the patch can get violent without wrecking the sub.

Clean sub under external destruction

Patch Body Out L/R or Texture Out L/R through a heavy distortion chain, but leave Sub Out clean and centered.

• Lower the external chain's low frequencies so it does not fight Sub Out.
• Push Reese, Detune, Bite, and FM to feed more material into the external chain.
• Use Main Out as the reference, and mute it only once the parallel chain is balanced.

Use this when the main Fury tone is close but you want the mids and highs to go much harder than the internal Drive/Fold/Crush path allows.

One Fury as a modulation clock

Create a Fury instance with no audio routed, or with its mixer channel muted, and use it purely as a CV source:

• LFO CV Out to Wobble CV on one or more other Fury instances.
• Env CV Out to Growl CV on a second Fury.
• Gate CV Out to Gate CV on a layered Fury.

Set the master's Motion Sync to BPM and choose a Synced Rate. Multiple bass layers now pulse together while each keeps its own patch, octave, oscillator, and output processing.

Stereo texture return

Keep Main Out mostly mono-compatible and use Texture Out as the stereo excitement layer.

• Set Width modestly on the main patch.
• Patch Texture Out L/R into a stereo effect chain.
• Return that chain under the main bass and automate it up only at phrase endings.

Drops and fills stay wide without the core bass losing focus.

Envelope-driven second Fury

Use one Fury as the note source and another as a reacting layer:

• First Fury Gate CV Out to second Fury Gate CV.
• First Fury Env CV Out to second Fury Cutoff CV or Growl CV.
• Send the same notes to both, or drive the second from Note CV if you have a pitch CV source.

The second Fury can be a higher-octave growl, a noisy Reese layer, or a short stab that follows the first Fury's articulation.

Alternating wobble personalities

Two Fury instances, different patches, shared timing:

• Master LFO CV Out to both slave Wobble CV inputs.
• Slave A: smoother sine/triangle patch, lower Bite.
• Slave B: harsher square/ramp patch, higher Bite, FM, and Crush.
• Automate or mix between the two slave channels.

Call-and-response movement without changing the MIDI pattern.

Texture-only riser or fill

• Raise Reese, Detune, Bite, and Width.
• Patch Texture Out L/R through delay, reverb, phaser, or distortion.
• Automate the effect return up before a drop, then mute it when the sub returns.

Because Texture Out is mostly side, noise, and high-motion material, it creates motion above the track without adding low-end weight.

Wobble CV inversion

Patch the same LFO CV into two Fury instances, then turn one Wobble CV Amount knob right and the other left. The first moves with the LFO, the second moves against it — no external CV inverter needed.

The two layers breathe against each other, one opening as the other closes. It is a good way to make a static one-note bassline feel like it has an internal conversation.

Quick Recipes

The wobble is not obvious

• Lower Vowel from maximum toward the middle.
• Raise Growl so the formant movement is actually mixed in.
• Raise Depth, or add positive Wobble CV.
• Lower Cutoff if it is fully open, then add Res to emphasize the movement.
• Try Square or Ramp Motion Shape for a more obvious rhythmic chop.

The growl is too harsh

• Lower Bite first, then FM if the edge is metallic.
• Lower Growl if the vocal formant is too dominant.
• Lower Drive or Fold if the harshness is coming from the output stage.
• Use Limit moderately — too much limiting pins the harshness forward.

The stereo width disappeared

• Raise Reese before raising Width.
• Increase Detune to give the Reese layer more side movement.
• Keep Sub as the mono anchor; don't rely on Width for sub-only patches.

The patch is too loud or too flat

• Lower Drive before lowering Volume if distortion is causing the level jump.
• Reduce Fold or Crush if the tone is dense but no longer moving.
• Lower Limit if wobble or envelope movement feels flattened.
• Use Volume last, for final patch balance.

Factory Patches

Fury ships 20 factory patches covering the main territory of the instrument:

They are tagged for Reason's browser by category and by tags such as Reese, Riddim, Neuro, Tearout, and Sub, so you can filter to a starting point instead of auditioning the whole bank. Patches tagged BPM use Motion Sync in BPM mode and follow your song tempo.

Browse them from Fury's own patch browser, or from the Rack Extension factory bank in Reason's browser. Saving your own version writes to your User Library and leaves the factory bank untouched.

MIDI CC

Fury responds to a fixed MIDI CC chart. Any Fury instance receiving these CCs on its device MIDI input responds identically — there is no per-instance MIDI Learn to configure.

To route a controller to the CC chart, use Reason's External Control Bus → Advanced MIDI path. Assigning a generic Remote "MIDI Control Keyboard" will play notes but will not move knobs from this chart.

1. Preferences → Sync: set External Control Bus A to your controller's MIDI port.
2. Hardware Interface → ADVANCED MIDI → Bus A, Channel 1 → the Fury device.

Saving that song as a template keeps the Advanced MIDI assignment for new racks.

Mod Wheel uses standard CC 1 and Pitch Bend uses standard pitch bend; neither is part of the chart above.

Stream Deck profile

A free Stream Deck+ profile for Fury is available at reason-fury-streamdeck — download the release zip and import it. Encoders send on channel 1 and require the same Advanced MIDI routing described above.

The profile has a page per section — Core, Oscillator, Growl, Motion, Output, Articulation, Performance — plus a Notes folder of bass pads. Oscillator and Motion use fixed-step dials for their Shape controls; Performance carries pitch bend and mod wheel.

Notes

• Mod Wheel is deliberately not saved as part of a patch; it is a live performance control.
• Pitch Wheel and Mod Wheel are independent. Mod Wheel does not change pitch, rate, sync mode, volume, limiting, or output routing.
• CV modulation is additive, so a high knob setting plus positive CV may clamp at the maximum value.
• Fury is monophonic by design. For stacked or chordal bass, use multiple instances — the rear-panel CV outputs are built for exactly that.

Support

Questions, bug reports, and feature requests: automate-pros.com/fury-support

Fury is developed by Automate Pros.