eXtreme Scream is an effects-based ReFill using the Scream device from Propellerhead Software. This ReFill contains many different experimentations and uses for Scream, with a focus on distortion, from mild-mannered, to full tilt throttle. All 10 algorithms are explored, as well as the various EQ (cut) and Cabinet models (body). An immensely wide selection of Scream presets and Combinators to bring your audio damage to new places.
Scream Therapy is an effects-based ReFill using the Scream device from Propellerhead Software. This ReFill contains many different experimentations and uses for Scream, with a focus on distortion, from mild-mannered, to full tilt throttle. All 10 algorithms are explored, as well as the various EQ (cut) and Cabinet models (body). An immensely wide selection of Scream presets and Combinators to bring your audio damage to new places.
Another Freebie Friday here at Reason101. This week, I thought I would put together a sample pack of sounds from my latest Thorium ReFill, which contains 500 patches for Reason’s flagship Thor synth. This way, you can get a feel for the kinds of patches you’ll find in that comprehensive ReFill. It also shows you some of the ways to program Thor to create many styles of sounds, from Chiptune to Guitar to Woodwind, as well as all the usual Pads, Basses, and keyed Synth sounds. It’s a vast expansive ReFill and comes at a very reasonable price. So if you want to dive into a few of the sounds you’ll find in there, then download this free patch pack and take a listen.
These patches were put together to create some frequency-splitting for the Synchronous device. Sure, you can kind of split the frequencies internally by using the BP Filter section of Synchronous, but how about splitting the entire device and sending one synchronous-affected signal to the High end, and another Synchronous-affected signal to the Low end. Here’s a way you can set it up. These are just two examples. There’s plenty of other things you can do with Synchronous and Frequency splitting your effects. For example, you could use the Alligator to send the three curves of Synchronous to the 3 different frequency bands via the Alligator. Or, you could set up Synchronous and the BV512 to send a whole bunch of Synchronous devices to different frequencies. Lots of interesting ways to Combine the Synchronous device.
Most people that have used Reason since version 1.0 might already be very familiar with the Subtractor. It was the first synth in Reason, and at the time, was the only synth in Reason. However, if you are just coming into Reason right now (version 6.5), you may not have ever used the Subtractor. Or maybe you haven’t touched it in a very long time. So this article will present some of the basic building blocks of Subtractor sounds. Use these 25 patches as starting points for your own creations, or use them as is. What I tried to do here is show some of the capabilities of the Subtractor synth via example patches. There’s no CV, no Combinators. Just straight single Subtractor sounds. As well as some tips for working with this — still amazing — synth.
Here’s a few patches I put together for Reason Essential users who have the Pulsar Rack Extension. It was pointed out that there were very few synths and effects bundled with Pulsar that are usable in a Reason Essentials environment (I think there were about 5 out of 90 synths and 11 out of 52 effects which were compatible with Reason Essentials). And being one of the team members that helped come up with those sounds, I felt it was a missed opportunity.
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.
As a sound designer, your job is to create sounds for others to utilize in their own compositions. There’s immense satisfaction to be gained on both sides as the artist gains access to a myriad of new sounds, and you, as a sound designer, get to benefit from hearing how others are using your sounds (and remuneration for your time and effort creating them is always a plus). So in this article, I’m going to explore some ways you can A) Make your patches more usable by the artist, and B) Think more creatively about the art of patch design.