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.
There’s a wealth of great information out there on recreating the sounds of old computer chips, like the Commodore 64 or old SID chips and video console chips, and using these sounds to create tunes (Chiptune). I honestly knew very little about the subject until I, along with several other very talented folks, were asked to put together some fresh new sounds for the Reason 6 Factory Sound Bank (FSB). So here I’m going to explore and explain how I created a few of these sounds, and show you that you can definitely recreate some convincing Chiptune sounds using nothing but Reason and a little experimentation.
Since everyone seemed to enjoy the Thor tricks I posted last week, I thought I would continue with the Thor synth and show you a few more ways to work on your synth and sound design chops in Thor. This time, we’re going to discuss the art of crossfading inside Thor. And hopefully you’ll learn some new tricks along the way.
This tutorial is one that might show you a few new tricks with Thor. Recently I’ve been doing a lot of new sounds in the Reason rack, and I wanted to show off a few new things I’ve found out as I was creating inside Thor. This will also take you on a journey showing how I would come up with a simple synth lead in Thor.
This article is not so much a creative experience as it is a basic concept and educational tutorial about how to create bypasses for your effect Combinators. You can use a bypass to enable the sound travelling through the effects processor to play while the effects are turned off, and then allow the effect to affect the sound when they are turned on. In essence, it’s a way to build your Combinators so that they can be more flexible, and still allow sound to pass through; letting you decide when you want the effects built inside them to take hold of your sound.
After working with the Thor step sequencer, and in honor of Music Making Month at Propellerhead Software, I posted a challenge on TSOR (The Sound of Reason): Create an entire song without the main sequencer in Reason. So here is my attempt at a song without a Sequencer. And I’m here to say, it can definitely be done!
Enough about Kong already. Let’s try something a little more interesting. Let’s start with a concept: Generative Music. And let’s see what we can do with it in a Reason environment. For starters, let’s see how we can extend the Thor step sequencer a little bit. Well, okay, let’s make it go absolutely NUTS!
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.