Deep House Pad in Propellerhead Reason
Welcome back to another article about the Genre Deep House. In this specific article, I will be mainly focusing on Pads. While Pads in the Genre Deep house are not that common in the old school deep house songs (since they are all about making things sound like disco). During the modern days, Deep House started to lean towards the more ambient type of pads just to get a dreamy feeling into the genre itself. A deep house pad can go in different directions and angles. Since if you take an empty track that contains just a bass line, a few percussion elements it the pad drives the mood. Then you can already think about the idea that a pad is almost like the carrier of the full song. Some pads can be mysterious, others can be moving, it can also be resonating and sometimes you will need a more bright pad (to stretch it towards a more uplifting mood). This is partially why making a Deep-House pad can sometimes be a hard job to do. Because if the tone is wrong, the mood can also be wrong.
Interesting piano setups for Reason
Welcome back to another article about Propellerhead Reason. While during this week I have been starting to explore a genre of Deep House I thought it would be fun to mainly talk about different type of piano setups you could be used in this realm. Deep House is a genre that touches the realm of Jazz, Soul, and Blues. Where a lot of instruments that are used are soft picking type of sounds. While at the same time a lot of acoustic instrument is used. This is what separates the origin of house music (since that genre was originally all based on using sampled material). At the same time, deep house is often seen as a more chilled down version of house music. While a lot has changed during the progression of time (since is a genre that started to rise up during the '90s) a lot of the basics of the genre has still remained the same. But I will go more in depth about this in a later article.
One thing I really like about this type of house music is that electronic pianos and real pianos play an important role in this genre. While real pianos are often filtered as such (to mimic the idea that it turns in to an electronic piano again). In Reason itself, there are a lot of different options that can be used to make use of a piano that could fit in a genre like Deep House itself. So I would like to share some different ideas that touch this realm. I might add, I will be using Reason 9 while writing this article. So some of the patches that I am providing may not work in older versions (just saying).
Filtering different octaves
Welcome back to another reason tutorial. In this tutorial, I want to write down a chain of thoughts regarding filtering different sounds that sit in a different octave range. This process could be done manually but sometimes I like to use this setup for let's say a live performance type of setup. In theory, this setup does not require that much to begin with. A single combinator patch housing 3 different patches sitting in 3 different octaves could be a starting point. It could also be done with 2 octaves though, or with one... just take your pick.
Combinator Run patches and how they work
How to create a hoover lead
There are all kinds of different takes regarding a hoover lead. In this article, I am going to set one up using Thor where some thoughts behind the way I am setting this one up. It isn't that hard to understand a basic hoover sound. In theory, a hoover sound has mostly a saw wave character to the sound itself. The major difference between a traditional saw wave and a hoover is that there is a lot of detuning taking place and while moving from one note to the next you glide the sound so it goes gradually up and down in pitch. Now that we have talked about the basics... here we go.
In this article, I will do a small write-up about a technique I sometimes use to drive a filter into a different analogue type of filter effect. While normally you could use the Thor Filter with Self Oscillation. This is a nice touch since you are adding a sine wave on top of the waveform itself. This method is ideal for making your filter scream analogue (since in the analogue world this technique is often applied because they respond to frequencies). A lot of analogue filters also love the idea of using control voltage inputs where these inputs are controlled by oscillators (which are often free running or used in combination with a sequencer). These type of setups make the filter rather aggressive, yet unstable at the same time (something that a digital filter does not do since they often sound very clean). So with that said, I will create a setup and show you a method to put dust on a filter.
Not so long ago I saw a new shop item flying by called the ZPlane Morphing filter from Lab One Recordings. While the ZPlane Morphing filter is inspired by the Red Queen Equalizer it has the added touch to it to morph two filters using a morph rotary. In theory, this is similar to using 2 filters in parallel and use a balance knob in between to balance two different filters. While I have made setups like these many times before using the Mixer 6:2 or Mixer 14:2 there is one device (which is a free rack extension) that can do something similar in this context.
Because I am about to touch the rack extension realm, and the earliest version I have installed at this point in time is Reason 9.5, I will add that all the example files I will be presenting are made with Reason 9.5. While they should work with Reason 6.5 and above, I hereby cannot fact check if this will work properly in older versions of Reason (just adding this as a disclaimer).
Generative music using Reason and modular synthesizers part 1
Generative music using Reason could be done since Reason 4.0. There is the option to use an LFO and throw this against a drum machine (Redrum Drum computer). While at the same time you can also use the Thor step sequencer. You can use the Matrix Pattern Step sequencer to scale the note information. In theory, this will not be the ideal solution (out of the box). Since note values (Control Voltage) can result in a random state. Just to provide additional information about the concept I will also provide a few combinator patches that should work in terms of the older versions of Reason (like Reason 4 or Reason 5).
Subtractor layers using Propellerhead Reason
Welcome back to another article about our good old friend, the subtractor polyphonic synthesizer. The thing with this classic synthesizer it just never gets old. Every time I load it up, it just puts a smile on my face. Might it just be because it screams classic and old, or just because I am revisiting an old friend. Every time I pull a few strings on this thing there are always different type of sounds I can get from it. While limiting myself out with that old thing (hey remember that Reactor Refill I did back in 2015? That was all based on subtractors). The reason why I always love to use this synthesizer is because of the option of subtractive phasing. Multiply I personally do no use that often just because I always have a feeling it tends to make it rather unstable sonic wise. While subtractive can be used to sweep through a wave form rather gradual or in some cases rather fast. There are plenty of different options.
In this tutorial we'll be looking at ambient music in Propellerhead Reason. A lot of times ambient tracks are pretty much 'empty' as a whole. In comparison to, lets say, EDM music there is much more going on. Ambient tracks are usually about drones and soundscapes. While in a lot of times the bass line can be used as a syncopation for the track itself. They can also be used in different ways to drive the listener nuts at some point, not really realizing what is going on with the track. This is also on of the reasons why an Ambient Bass is pretty hard to do right. Because you want to avoid the so called four to the four type of rhythm. And because they are sometimes hard to make from a sequence perspective it often gets underestimated.
Key Flux Capacitor
The following Combinator patch for Propellerhead reason 5 I am providing is part of a video I recorded a few days back. The initial idea was to create a toggle set up, where you are able to enable different sounds by triggering different keys (on the midi keyboard). While the initial set up used toggle buttons on Thor, this had one minor draw back: the buttons are not velocity sensitive.