Nov 182015
96 - Parsec Additive Synth

Parsec is a Dual-sound engine Additive Synthesizer, which can produce up to 512 sine waves. Each of the sound engines come equipped with 2 modulators, pitch controls, and combined lowpass/high shelf filter. In addition, there is an 8-line Modulation Bus Routing Section (similar to Thor), Reverb & Delay FX, 2 LFOs, 2 Envelopes, and a shared Amp Envelope & Balance control between the 2 sound engines. Additive Synthesis is the opposite to Subtractive Synthesis. Instead of frequencies removed by filters, additive synthesis adds frequencies on top of each other and modulates them in a variety of ways. Read more about this synth and download a 5-page PDF outlining the synth.

Oct 282015
95 - Ochen K's Driver Synth

Here’s an idea. How about creating some better documentation for a Rack Extension that has none. That’s exactly what I did when Ochen K came to me to ask me about documenting one of his up-and-coming synth Rack Extensions: Driver. I really enjoyed documenting this device, because it was such a fun synth to play with. I really enjoyed creating sounds on it. It’s everything a synth should be. Simple, intuitive, and captivating. It took me less than an hour to really get going. In no time, I was making sounds and having fun. And that’s really what any Rack Extension should be about. Immediacy, fun, and getting lost quickly.

Feb 222015
94 - Synesthesia

In this tutorial, I’m going to walk through an interesting idea of taking images and turning them into sounds. Then I’ll go over a few different ways you can use these sounds musically within Reason. I’ve been toying with this idea for some time, and have found it useful for new and creative sound ideas. I’ve also found certain image types that work well, and others that don’t. So let’s start to explore the concept of synesthesia and how it can be combined inside Reason.

Feb 192015
93 - Organic Soundscapes

I recently challenged folks on Facebook to create an organic soundscape ( By organic, I mean sounds that come from nature and evolve naturally. This tutorial will highlight a few ways you can use Reason to create some of these organic sounds. Or at least, I’ll try and point you in the right direction.

Feb 032015
92 - Chenille Chorus RE (Part 2)

In this second installment of the Chenille BBD Ensemble Chorus RE, I wanted to take a look at some of the interesting things you could do with it. If you think that this device is simplistic, you’d be dead wrong. It’s a highly capable chorus device, with a lot of spirit all its own. And if you’ve used other devices by JP, such as Ammo, you’ll be quite at home tweaking this device’s parameters as well. Wide stages and delay range, two versatile LFOs with a broad assortment of parameter settings, dual depth/rate controls, dual filter, separate left / right mixing and feedback settings, and 3 different Phase modes, additional voices (Unison) — not to mention all the CV and automation options — all make this device one helluva Chorus!

Jan 272015
91 - Chenille BBD Chorus RE

The following is provided as an introduction to the Chenille BBD Chorus Ensemble. You can consider this Part 1 of a 2-part expose on the device. In this first part, I will introduce you to the device, and it’s many parameters in a short summary. In the next part, I will delve further into the device itself, and show off some of the things it can do, offering a few of my own patches. Think of this as the technical side of things, and use it to become familiar with the ins and outs of the device. This is an infinitely powerful chorus device, that goes well beyond the stock Reason CF-101 in many respects. And in my opinion, it’s a top notch device that is well worth a look. I highly recommend giving it a try if you haven’t already.

Nov 032014
90 - Reason101 Challenge (pt 2)

Last month I launched a new Facebook group called the Reason101 Music & Sound Design Challenge. The idea was to create a place where people could post their music and sound design constructions in a friendly place, then comment and provide constructive criticism on those postings. Often times, we get lazy or hit a rut. And challenges can be helpful to push us further with our development.

Sep 232014
89 - Reason101 October Challenge

This isn’t so much a tutorial about how to use the latest Reason hot new device or how to stretch CV cables into pandemonium. Instead, I thought about how to get all our creative juices flowing and what better way than to create a fun and simple daily challenge for the month of October. There are no prizes, no winners, and no losers. It’s just a fun little game that hopefully triggers some creativity and motivation to make more music and sounds.

Jun 242014
88 - Longer Pendulum Sequences

In this article, I’m going to discuss how to create longer Thor Pendulum sequences with multiple Thor Step Sequencers strung together. If you’ve read my last article on the subject, Longer Thor Step Sequences, you’ll be familiar with how to extend the Thor Step Sequencer to go beyond its limit of 16 steps. That type of sequencer is great if you want forward motion sequencers. However, the next logical question is whether or not you can create a pendulum style sequencer with the same limitless number of steps. As it turns out, there’s some very interesting things you can do to create a rocker seqeunce which goes forward, and then backward in reverse direction. Here are some of the solutions I came up with. Read on and then let me know if you come up with alternative methods.

Jun 102014
87 - Polar Tape Stop Effect

A Tape Stop effect is something that many Reason users have been requesting for quite some time. And Polar excels at this effect. A Tape Stop effect occurs when the tape is stopped while the audio is still being played. From a hardware standpoint, it’s never instantaneous. And the lag produced creates this classic Tape Stop sound. From an audio standpoint, what’s happening is the pitch shifts down, the volume lowers out, and a low pass filter closes. Digitally, Polar can accomplish all three of these at the same time, because it allows you to manipulate the “pitch,” “volume,” and “filter” in addition to the duration of the “lag” itself.