Ed’s Reasonable Help 2010

EditEd4TV’s Reasonable Help for 2010
Available now at: http://www.baumanproductions.com/reasonablehelp.html

It’s rare that I advocate a specific refill. I can actually count on my fingers how many refills I rely on in my own work, and would rather try and figure out the answer myself or else try building my own instruments and combinators. But when it comes to inspiration and I’m looking to expand my knowledge I can’t think of anyone better than Ed Bauman. In his latest refill offering “Reasonable Help 2010” he provides you with 50 amazing combinators which push the envelope on what Reason can do. And he sets off to prove that most anything you can think of in your head can be worked out in Reason routings and device Combinations.

Without a doubt this is one of the best refills I’ve seen, and it’s not because it’s packed to the brim with a ton of new sounds or new patches. If you’re looking for new sounds, there are other refills out there that can give you off-the-shelf sounds. This refill is aimed straight at the Sound designer who wants to learn how to route devices in reason. It’s also aimed at solving common problems that people face in Reason. How to create a noise gate? How do yo scrub your audio, how do you make reason strum a guitar? All of these questions and more are answered. Other common questions from the forum are answered too. How do you put your vocals through a vocoder to get that Telephone voice? Want an instant Steam Locomotive with Whistle and train speed included. It’s all in there.

In a nutshell, if you’re willing to sit down and look through the patches to see how they are routed, and read the accompanying documentation, you’re going to learn some new tricks and better your Reason skills. If you’re just starting out, you may not entirely be ready for this one. But if you have a decent grasp of how to route your devices together and want to take yourself to the next level, these 50 patches will open your eyes to some brand new ideas. The true benefit of Reasonable Help 2010 is in the educational value. What better way to expand your Reason knowledge than having a 50-session class provided by one of Reason’s top gurus: Ed. He’ll hold your hand the entire way, and speaking from personal experience, he’s always there to help if you get stuck. I highly recommend you purchase your copy now. At $50.00 it’s an awesome deal.

Ed was gracious enough to provide a free .rns file from Reasonable Help: EditEd4TV_GateModifier.

EditEd4TV's Reasonable Help Gate Modifier Combinator
EditEd4TV’s Gate Modifier Combinator

Ed also had some comments about this file, as well as some great insights into his work flow:

The reason I made this Gate Modifier patch was simple – the Slice Output of Dr. Rex is basically useless for triggering synth pads.  I wanted something that could easily serve as an “in-between” module to transform CV data into something more useful.  The concept is pretty simple: just take incoming slice data, which is basically just a small millisecond CV burst, and send that to Thor’s Step Sequencer CV Input Gate In Trigger.  That small gate burst is perfectly fine for triggering the Step Sequencer.  That trigger is used to trigger Thor’s Amp Envelope, which is held open depending upon the value of Combinator knob 1, which adjusts the Step Sequencer Gate Length value.  The Amp Envelope attack and release values are adjustable as well.  There’s also Gate Strength, which can be inverted so it sends negative CV values instead of positive values, which can be used as sort of a “ducking” feature.

So how do I go about this sort of thing?  Well, most of my patches always begin with a need, a want, a solution to a problem.  I always start with a Combinator with a Mixer inside.  I may ditch the Mixer later if it isn’t needed, but that’s the default.  At the heart of most of my problem solving solutions is Thor, since it offers so many incredible ways to take incoming audio or CV and manipulate it to death.  There’s almost always a way to solve a problem with Thor.
So sometimes I’ll just decide I’m going to tackle a problem, I’ll make the Combi and put the Mixer in there, along with one Thor, and I’ll just sit there and think, maybe for a few seconds, or maybe an hour or two… just thinking.  I’ll experiment along the way, maybe draw things out on paper so it makes sense visually instead of just mentally (sometimes if I’m away from home and I’m sitting somewhere on a video shoot I’ll start drawing out design concepts that just come to me, I’ll draw them out on paper, you can see 3 of them on the last few pages of the RH’10 PDF manual).
The worst is when inspiration hits when I’m driving, and all I can do is dictate the concept into my cell phone, which is somewhat difficult depending on the complexity of the design stuck in my head.  So, once I’ve come up with a solution, and I design it in a Combinator, I’ll sit and stare and think for maybe an hour or so, thinking… “If I’m the end user of this, what will I hate about it, what will I want, what would I change”, and I go about solving those problems.  Sometimes this can be really frustrating because I’ll come up with additions before I stumble upon some solutions, so I may end up programming knobs 3 and 4 to do something, then I discover it’s a much better solution if I have, say, the Mod Wheel do the same job as those two knobs, so I have to redesign my modulation routings and perhaps some CV cabling as well.
Eventually I land on the final design, and I’ll have some buttons or knobs left over empty, so I’ll try to come up with some fun stuff at that point.  That’s when I wish the Combi Pitch and Mod Wheels had labels as well, since they’re stuck being labeled via the Combi skin… Sometimes I use those two wheels for other things and I’m too busy/lazy to design a custom skin for those different purposes.  Also, I try to avoid tying up a knob with the “do not touch!” label, though sometimes it’s necessary.  And that’s when I wish the Combinator was 8×8 instead of 4×4, and I wish it had, say, 8 CV inputs and 8 CV outputs on the back as well, not necessarily tied to the knobs if you don’t want them to be.

And here is an explanation of the inner workings of the rns file, direct from Ed’s PDF documentation:


This Combinator allows you to modify/extend Dr. Rex gates into a more useful state.

Knob 1 “Gate Length”: This knob adjusts the gate length.

Knob 2 ” Gate Strength”: This knob adjusts the gate strength.

Knob 3 ” Gate Attack”: This knob adjusts the gate attack time.

Knob 4 ” Gate Release”: This knob adjusts the gate release time.

Button 1 “2 Ordered”: This button switches the gate mode from single to two varying triggers.

Button 2 “16 Random”: This button switches the gate mode from single to 16 random triggers.

Button 3 “n/a”: This parameter is unassigned.

Button 4 “n/a”: This parameter is unassigned.

Pitch Wheel: This wheel is unassigned.

Mod Wheel: This wheel is unassigned.

Details: This Combinator is particularly useful when used with a Dr. Rex loop player. On the rear panel of Dr. Rex you’ll find a Slice Gate Output. Note that this CV signal is routed to the Spider CV Slice Splitter – this is purely for demonstration purposes. Note that the first split output is routed directly to Thor 1 Pad’s Filter 1 Frequency Modulation Input, whereas the second split output is routed through the GateModifier, then into Thor 2 Pad’s Filter 1 Frequency Modulation Input. Play back the demonstration sequencer and solo Mixer channel 1. This is the drumbeat that we’re using to send gate signals to the two Thor units. Return the Mixer back to normal and now solo Mixer channel 2. This is Thor Pad 1. Notice very short and barely useful clicks in the audio signal, which is a result of the very short slice gates affecting Thor’s filter. Return the Mixer back to normal and now solo Mixer channel 3. This is Thor Pad 2. Notice the much more active and useful affects on the audio signal, which is a result of the GateModifier creating better gate signals.

Inside the GateModifier you’ll find a single Thor unit. CV control needs to come directly into this Thor, into the Step Sequencer CV Input Gate In (Trig) jack. Each incoming slice gate will trigger a step in the Step Sequencer. This first step is set for a gate of 0%, but Combinator knob 1 (Thor Rotary 1) is used to adjust this gate length up to 100%, thereby creating much more useful gate lengths. This new gate signal triggers Thor’s Amplitude Envelope, which is then routed to both CV 1 and CV 2 outputs, where CV 2 is a polar opposite of CV 1. Though not used in this demonstration, know that CV 2 output is ready for use if needed as an inverted output. Combinator knob 2 is used to trim the strength of both of these outputs. Note that Combinator knob 2 is bipolar, with no affect on strength when centered. Right of center results in positive results (with negative results from CV 2 output) and left of center results in negative results (with positive results from the CV 2 output).

Combinator button 1 is used to change the number of steps of the Step Sequencer from 1 to 2, in a back and forth pattern. Step 2 contains modified parameters that create a different result than step 1, thereby making a noticeable difference in how the gated signal controls Thor. Combinator button 2 is used to change the number of steps of the Step Sequencer from 1 to 16, in a random pattern, with all 16 steps set for variable settings that result in an unpredictable, yet still slice accurate, gate signal.

Combinator knobs 3 and 4 adjust the Amplitude Envelope attack and release times, respectively.

In our example we’ve sent the gated signal to Thor’s Filter 1 Frequency Modulation Input CV jack, but you can of course route this signal anywhere you like. You’ll find this new signal works much better than the standard slice output of Dr. Rex. This GateModifier is also useful to modify the gate signals coming out of a ReDrum, where the ReDrum channel is set for gate mode 0 (sawtooth wave). Though you can get workable results by switching the ReDrum gate mode to 1 (square wave), this potentially affects the ReDrum channels audio waveform; in the case of, say, a crash cymbal, the affect of switching the gate mode to mode 1 are more often than not unacceptable (muted crashes). The alternative is to sacrifice a ReDrum channel to use purely as a gate signal in mode 1, which may also be unacceptable. Your best option may be to use the GateModifier Combinator, allowing you to select any gate output for use.

The Dr. Rex, Spider CV, Thor units, and sequence in this file are provided simply to test the Combinator’s features.

A huge thanks to Ed for putting this package together. You truly are an inspiration to all of us Reason users. Please keep doing what you’re doing and I look forward to your future products as well. You can purchase Ed’s Reasonable Help 2010 here:  http://www.baumanproductions.com/reasonablehelp.html


This is a cross between a beat or rhythm generator and a synth. I wanted to come up with a template to use as a hybrid that could be used to effect a great range of sounds and possibilities all from within a single combinator. Very light weight and easy to use. Great as a Combinator Template for your own sounds.

Download the Combinator: wonderland

Description: This is a cross between a beat or rhythm generator and a synth. I wanted to come up with a template to use as a hybrid that could be used to effect a great range of sounds and possibilities all from within a single combinator.

Features: Wonderland uses a Rex file for the driving rhythm behind a soft sounding synth. The NN-XT provides the synth layer, and the Rex provides the rhythmic layer. You can also adjust the filter frequency and a separate Pumping element in the mix. Here’s how the controls operate:

Pitch Bend: The pitch bend affects only the NN-XT synth layer, and pushes up or down by 4 semitones.

Mod Wheel: The mod wheel affects a few different parameters. Adjusting the wheel upward yields a more dreamy high-pitched sound.

Rotary 1: This controls the “Crudge” feature, which is a Sine wave sound shaper in Thor. Turned all the way left and you get no sound shaping applied. Turned fully right, and you get a grungy distortion to the synth layer. Note that higher filter frequencies will yield more distortion. Having the filter frequency Rotary all the way left will provide very little changes to the grunge effect.

Rotary 2: Controls the level of the Rhythm section (Rex file). All the way left and the Rex audio is essentially turned off. All the way right and the Rex can be heard fully (100).

Rotary 3: Controls the filter frequency of the synth layer. This Rotary is controlling Filter 3 in Thor. Turned all the way left and the Filter Frequency is fully cut off. Turned all the way right and the Filter Frequency is fully open.

Rotary 4: Adjusts the pumping of the Rhythm layer, however, the pumping is affecting the synth layer, so even if the Rex audio from Rotary 2 is all the way off, you can still get a Thumping from the Synth using this Rotary.

Button 1: When off, the Synth Delay (the Thor Global Delay) is not synced. When turned on, the Delay is synced to the beat of the main sequencer.

Button 2: This controls the distortion from the Scream device. Turned off you get no distortion. Turned on you get a Low Frequency Resonator distortion FX applied to the Rex Rhythm layer. This does not affect the Synth layer.

Button 3: This is an octave shift for the Rex Rhythm layer. When off, the Octave is set to the default (4). When on, the Rex loop plays 1 octave higher (5). This does not affect the Synth layer.

Button 4: This provides an “Underwater” feel to the Synth layer. Essentially it controls the Global Chorus in Thor. Left off, the Synth is untreated. Turned on, you get a very warbly chorus applied to the Synth which can only be described as a very quick oscillation as though you were under water.

Usage: You can use this any way you like. But mainly it provides a Synth/Rex Loop Rhythm for your tracks.

Other Notes: To edit the patch and use it as a template, switch out the NN-XT patch for some other synth sound you like (or any other sound patch or sound device, for that matter). You can also vary the rhythm layer by changing the Dr.Rex patch to something different as well. A final note: take a look at the CV setup happening with the Dr.Rex, Scream, and Thor, then look at the routings in Thor’s Modulation Bus. This provides a way you can use the Scream’s Auto CV to convert the Dr.Rex Audio into a CV source that is applied to several parameters within Thor to affect the NN-XT’s sound. Might provide some further inspiration for you.

As always, please let me know what you think or let me know if and how you use this in your own projects. Happy Reasoning!