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.
This ReFill contains many different experimentations and uses for Etch Red, and showcases the many possibilities of using this device, both in your instruments and as effects. There are many examples of Dubstep Basses, Pad rhythms, Wide Chorusing effects, Vibrato & Tremolo effects, and Filter Frequency effects. There are also a few Rex loops included to show you some examples of how you can integrate the Dr. OctoRex with Etch Red. My hope is that I’ve provided you not only with a highly playable and fun Refill to use as is, but also with many different designs that you can open up and look inside to spark your own experimentation and curiosity. In this way, Red can become a springboard for your own ideas.
In my fervent attempt to learn every single Rack Extension in the known universe, I stumbled upon Etch Red. And then I started creating, and just kept going and going and going. You see, this is part of the fun of the Rack Extensions. I’m starting to learn it’s not always about pitting the default Reason software against a particular Rack Extension. It’s just as important that a Rack Extension motivates you to create more. To that end, Etch Red was a seriously fun creative tool that allowed me to experiment on a large scale. So I thought I would share some of these experimentations with you.
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.
In this next installment of exploring the Pulveriser, I’ll go a little deeper and see how we can use it for more than just Parallel Compression. We can see how we can use it to warm or destroy a sound, and explore some of the CV / audio routing possibilities to get much more out of the device. And while it’s great on drum sounds and good to beef things up, it can be downright scary when used in a glitch environment. So let’s take a deeper look.
Now there’s a word with some power behind it: PULVERISE! Let’s pulverise our sound. New in Reason 6 is this wonderful Distortion-Compression-Tremolo-Follower-Filter-Parallel Processor — And oh yeah, it’s got a Lag feature too! Suffice it to say this thing is vintage goodness, and it can do an awful lot to your sound, whether you just want to warm things up a bit, or set your sound to completely self-destruct. Let’s push it to the limit and see where it takes us.
Let’s continue with the Alligator and find a few other tricks that it can perform. In the first part, I looked at how the Alligator works, and provided a few ideas for how to work with it. In this part, I’m going to get a little more practical and show a few new ideas you can incorporate into your tunes. Hopefully this will provide you with some new creative inspiration.
In this tutorial I’m going to talk about the new Alligator device in Reason 6. I think no other device has mystified so many since the RPG-8, and a lot of people have reluctance to really dive into it, thinking it’s mainly built for electronic musicians. Truth is that it’s a very easy device to work with, and it has applications for all kinds of instruments and all kinds of genres. So don’t be intimidated by all the knobs and levers. It’s a veritable evil laboratory, but getting it under control is easier than you think, and that’s the focus here.
This tutorial should prove a little enlightening for those that only think of Kong as a basic drum module. Here we’re going to twist it into the ultimate controller for everything under the sun. For starters, I’ll show how Kong can control 8 filters at once, and then I’ll move on to use Kong to control the FM Pair Oscillator in Thor. Using some of these methods, you’ll be able to control pretty much anything in Reason or Record with Kong; moving traditional device control from a basic keyboard to a Pad controller.
This beautiful little patch was contributed by Mick Comito, and it recreates the ReBirth Pattern-Controlled-Filter effect, but in the form of a Combinator that can be used in Reason and Record. I am thrilled that Mick came up with this idea and put this little gem together. If you get a chance, have a look at it and try it out. It’s really something interesting that can be used as an insert effect on any audio you throw at it.