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.
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.
The Synchronous Timed Effect Modulator is a creative device from Propellerhead, where you can draw your own curves to control up to four built-in effects (Distortion, Filter, Delay, and Reverb) and their parameters. Here, I’ve put together a 13-page PDF guide to cover the device, soup to nuts. And still for the same price as a latte.
Synchronicity is an effects-based ReFill using the Synchronous Rack Extension from Propellerhead Software. This ReFill contains many different experimentations and uses for Synchronous, with its four built-in effects: Distortion, Filter, Delay, and Reverb. There are many examples of Beat Repeaters, Ring Modulated Glitch presets, Ambience generators, Vibrato & Tremolo effects, and all kinds of Filtering techniques.
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!
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.
This week I’m happy to share a contribution by fellow Reason nutcase, Mick Comito. He put together a synchronous-based Combinator called “Amaze Me,” and it’s pretty interesting. Using 2 Dr. Octo Rex loops, and a pulsar to control the freezing of the 3 Synchronous curves, this patch can add some really interesting spiciness to your tracks. It’s a nice, different way to enhance your tracks with some modulated effects. Have a look and see how Mick put things together.
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.
Meet the Echobode Frequency Shifter Delay, a creative FX device capable of producing Chorus, Amplitude Modulation, Ring Modulation, Frequency Shifting, Phasing, Flanging, and straight up Echo Delay effects for any kind of sound you want to throw at it. It’s a truly unique Rack Extension that adds something entirely different to the Reason Rack, and fills in another missing piece to the stock Reason puzzle. Here, I’ve put together an 8-page PDF guide to cover the device, soup to nuts. And still for the same price as a cup of coffee.
At long last, the much awaited Crapre is here from PEFF! Outstandingly crappy sound quality can only make your tracks betterer than ever. And so I thought I would provide some much needed information and documentation about this heavy duty device. After taking all last month to document Spacre (lengthy article posting to follow), I thought I would give this device a much-needed test-drive and overview. It was a daunting task.