Welcome back to another a small video tutorial series about Europa the Shape shifter in Propellerhead Reason 10. In this small series I will briefly talk about what Europa is and touch the more interesting subject like how to deal with sound design using Europa. In the first video I will briefly touch the subject on that Europa is a wave table synthesizer that can reshape the wave table by using the shape knob. Then there are the different modulators to throw the sound in a whole different direction. What makes Europa kind of unique is the spectral setup that comes with it. Since at some extend you will be touching the additive realm with this one. The sound will then pass on to the unison and the audio filter. The last chain of events are the effects.
While Europa explains itself (since its layout is pretty clear) there are some additional videos from the propellerhead website you may find interesting to watch in case you are touching a whole new realm. While in the following video series I will skip most of the basics and dive right in to doing sound design in a linear method. When you have seen these videos, you should not really have a problem to make a sound work inside Europa.
In this first video I will mainly touch the surface real quick just to talk you through it so you have some understanding how this thing works. While going through this video my initial idea was to create a bass sound, but went for a pad instead.
Europa is a beast of a synth to create basslines with. In the following video I will explain the concept on how to use a wave form and use a modifier to reshape the sound. Best modifiers on my list for making bass sounds work are FM, Faded Sync or Phase distortion.
In the next video I will do my best at explaining a linear sound design method. It is a similar design pattern I use myself when looking at different synths like the Subtractor, Thor or VSTs even. Since it will start with the oscillator and then go through the process from what modulates what.
In the (for now) last video I am setting up a pad using phasing or audio cancelation deliberately to make changes in the stereo field while making use of a technique called bi-naural processing. This method will not work proper when you are used to mixing in mono. I would just mention it, since I have been getting this question a lot since the whole 'mixing in mono' actually became a thing. The idea here is to make use of sine wave to create timbre variations over left vs right in a different way.
Written by hydlide