I’m obsessed with figuring out solutions to problems. One problem I recently encountered when I was putting together some files for the Alias8 PDF Guide, was trying to get the Alias8 Rack Extension Fader to double for a second control. I wanted to be able to use it to adjust two different parameters (let’s say Amplitude and Pitch of a SubTractor). The idea and thought process behind it is pretty easy. You adjust the Amplitude by moving the Fader, then click a button, and the Fader switches to adjust the Pitch. Click the same button again, and it goes back to controlling the Amplitude.
With the advent of Reason 7, you get the Audiomatic Retro Transformer Rack Extension for free. This is like Instagram for photos, except it creates musical snapshots that can be applied to the whole mix or individual tracks. So I thought, why not create an FX combinator where you can select different Audiomatic presets using the Kong pads. The added benefit is that you can switch between them in real-time at any point you like using automation. I even added a bypass so that when an audiomatic preset is not selected, the original audio is passed through unaffected. Or, there’s a method to play it parallel with the original loop.
This article will introduce you to the Etch Red RE from http://www.fxpansion.com. This RE is a powerful dual multi-mode filter that can be set up in series or parallel. It also comes with a comprehensive built-in and external modulation scheme that is unlike any other in the stock Reason program. Aside from filtering, it is capable of several tricks such as gating, stereo widening, compression, distortion, LFO wobbling, Tremolo, and Vibrato effects. To top it all off, it comes with the ability to Frequency Modulate the filters (either internally via the 2 built-in LFOs, or externally using an incoming audio source). A lot of power for a very affordable Reason device. So let’s take a walk-through and learn a little more about it.
Reason is one heckuva great program. Reason is the reason I’ve created all these tutorials. Perhaps one of the most overlooked aspects to the program is the creation and usage of Templates. These amazing time savers can reduce your time to creating tracks immensely, and if you don’t use them now, hopefully you’ll realize their value after you read this article, and use them as an integral part of your process. So let’s get busy!
Matt Black (aka: Jiggery Pokery) has done it again. Instead of providing a new ReFill, he has dazzled us with a new Rack Extension: Shelob, a 4-input, 16 stereo /32 mono audio output Splitter. Think of it as 4 Spiders locked together in a nice compact unit, but with a few extras. And all for the low price of $9.00 USD. In this article, I’ll discuss a little about what you can do with this baby.
With the introduction of Rack Extensions from Propellerhead, we see a major shift of the company into the Plugin arena, although Rack Extensions are expressed as “plugins done right.” And the Props have introduced 3 new Re devices (Radical Piano, Polar, and Pulsar). Not too bad for a point release. Instead of focusing on the 6.5 release itself, and debating the cost (it’s been done to death in the forums), I thought I would start by taking a tour of Pulsar, a device that is free for 3 months, and $49 thereafter. Hopefully, by the end of this article, you’ll see why the price is justified. Pulsar is simple, fun, and capable of some very unique sound ideas. Let’s take a look at why this is the case.
In this fifth installment of my series on better patch design, I thought I would take a much-needed break from all the theory and synth jargon, and instead focus on some creative Thor synth ideas. I can almost hear the collective yawn after reading the last few articles. So let’s spice it up with a few videos that showcase some of the concepts we’ve talked about, but more importantly, let’s just have some fun fiddling around in Thor.
In this next installment of the Reason 101 guide to creating better patches, I’m going to focus on setting up the Wheels, Rotaries, and Buttons in Thor, and discuss some creative ways you can implement your modulations. Hopefully this will provide you with some further inspiration when you’re building your sounds.
In this third part of Reason 101’s guide to creating better patches, I’m going to continue to focus on Performance parameters in Thor. This time, I’m going to go over Key Scaling / Key Tracking, both in Thor’s Programmer panel, as well as in the Modulation Bus Routing Section (MBRS), as well as touch upon Aftertouch. Finally, I’ll go over a strategy you can use to approach setting up your Key Scaling parameters to get the most out of your patch and the keyboard’s range.
In this second installment of Reason 101’s Guide to creating better patches, I’m going to focus on Performance, Velocity, and how the MBRS (Modulation Bus Routing Section) in Thor relates to both. The focus is to look at new creative ways you can improve how Thor reacts to your playing style and explain some of the reasons why Thor is such a powerhouse of flexibility in this area. Again, I’m not going to be approaching this as a complete guide to every possible performance technique you can accomplish inside Thor, but rather try to outline its flexibility and show you a few key aspects of performance that you should think about as you develop your own patches.