Mastering suites are often being used for processing the final audio chain. The core function for the mastering suite is to have the final polished version of a track ready. With Reason 5 there are 4 main core components you could use to make a mastering suite work. An Equalizer, Stereo Imager, Compressor and finally the Maximizer. Each tool has its own unique function within the final master.
Creating an Analog synthesizer with Thor
I am Hydlide of ReasonExperts.com. In this article, I want to share an idea on how to create an analog synthesizer using Thor inside Propellerhead Reason. While the idea is nothing new (since I have talked about this technique in for instance creating a Moog synthesizer in Reason and while making video presentations like creating an analog synth using subtractors). I am always a fan of perfecting different ideas and this is just one of those moments. Since there is one setting, in particular, I find very useful to emulate the idea of analog style synths. And this would be the setting voice key. The idea I am going for is based on different ideas I did in the past but do something slightly different.
Electric pianos in Reason
Welcome back to another creative sound design topic. Today I am going to create myself an electronic piano that is based on a wide range of different theories. While some electric pianos (like the Rhodes for instance does) uses hammers that strike a metal plate which then goes through an amplifier. This has a similar character and concept when playing, for instance, a Vibraphone. Major differences there is that a vibraphone uses different sticks, while the Rhodes piano uses a type of hammer and the sound output will go through an amp.
Layered Basslines for Deep House
In this article, I want to give a very quick tip about how to layer a bassline yet have a lot more control on how to reshape it while using a sequencer. For this tutorial about Deep House, I will skip using the Combinator (since I want it to be as flexible as I can). The idea here is to have two bass guitars basically playing at the same time. And to do this, we'll be needed two basslines which are playing at the same time. Yeah, call it cheap and easy, but there is that.
The benefit of this technique (something I tend to use a lot myself) is that while using two tonal different types of basses they can also make the song travel in all kind of different directions. Lets it be more uplifting (tonal), or let it be more dark and depressing (subtone). By balancing them differently they can add a third dimension (groove). Since the tonal and subtonal sounds can play well with each other.
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).
self vocoded signals
Welcome back to another article about the BV512 vocoder. In this case, I will mainly look at self-vocoded sounds and how you can make use of the BV512 vocoder to create a different type of artifacts even while using the original sound you were using. In a nutshell, the BV512 vocoder translates pushes the input sound into the additive realm more or less. With that in mind, we can (when needed) make a blend from subtractive towards additive synth while using the vocoder in this context. To be fairly honest here, the BV512 is not the perfect vocoder while applying this technique since it shows 'weird' artifacts in the FFT-mode inside this device. But from a reason build in device perspective, it is the only way to do this. And as long there are no real other Rack Extensions that implement a vocoder in this type of context we'll just have to keep using this device until one gets developed (I would personally love to get one that is a native Rack Extension device for sure). But ok, this is a personal preference anyway. And I know parsec can be set up as a vocoded type of setup, but it is not the same thing.
Noise making effect
In this article, I want to explain the thought process behind the following effect. Since I had a weird childhood a lot of my soundscapes are just plain weird. Sometimes I like to use these type of effects just to have something unpredictable going on while at the same time make it musical. A lot of these type of effect relies on using the audio and make the audio shape the sound in different directions (also known as Audio to CV). At the same time, I want to have some form of manual control on this. The manual control can often be done by using rotaries while doing so.
Control Voltage Step Sequencer of Thor
In the following article, I would like to focus on one specific element that sits inside Thor the Polysonic Synthesizer. It will be the curve output from the step sequencer. While in practical usage the step sequencer is often used to play a sequence in a linear direction. A similar thing could be said for the Matrix Pattern Step Sequencer. Sometimes we just need a simple tool that allows a curve that can be stepped differently per note and sometimes we don't. There are all kinds of different options to make this work. For instance, we could use a velocity setting to act like a "hidden" cv controller (for instance using a Velocity to Filter to mimic the idea of a VCF (Voltage Controlled Filter)). In the next few paragraphs, I would like to use the curve from the Thor synthesizer to mimic this idea but have different things to control its output.
Creating an FM growl bass with Thor
Thor the polysonic synthesizer is cool at times. Till this day I still revisit this device for many different reasons. While it is flexible to play around with different oscillator types. The most interesting part is playing around with the Thor Modulation Bus matrix. Since in theory, this section can almost modulate any setting inside the device itself. The major problem with the mod bus matrix is that there are so many connections possible it is hard to write them all just down in one article. There is one item I find really interesting (and you probably have read about it on this website in particular) and this is the Oscillator to FM.
Making your own custom reverb
This article is going to be a long stretch and a daring one I might say. If you think in terms of "room" and "size" the first thing you think of is an effect called a reverb. Since a reverb creates "space" right? While using a reverb is basically something everyone has used, tried to manipulate and so on. Let me say this: did you know that you can mimic a reverb with a bunch of delays in a sequence? While most people tend to overlook the idea, it is quite similar to a plain spring reverb. Since in theory, a spring reverb (technically) passes on the sound over a spring, and the spring starts to "move" (tremor) based on the sound. This causes the artifact of a repeating sound that slightly gets altered by the frequency of the spring itself. While there are plenty of ways to mimic this behavior I am going to throw in one simple idea that will reshape the sound in a different way. Just keep in mind while a sound is traveling in a towards a specific object the composition of that object will have an impact on what the result of the rebound sound will be like. Anyway, enough about the intro lets start making a unique type of effect that could be a unique type of reverb while doing so.
Wavetable fun with the malstrom in Propellerhead Reason
Welcome back to another quick tip about Reason. In this article, I will be looking at the Malstrom Graintable. Just for the fun of it. When most people get asked the question about wavetables, the first option that usually comes to mind is Thor or these days Expanse. Others may prefer Europa or Grain. Without a doubt, Expanse is my preferred synth these days to do wavetable manipulation (just because it comes with sample loading). Sometimes I like to pick an odd synthesizer to do wavetable manipulation. The Malstrom fits into the category of odd synthesizers just because most people tend to avoid this green horror machine. The major problem with the Malstrom (at least from what I have heard of) is that it lacks a certain character, it has a thin metallic type of sound output and some have a hard time understanding the Malstrom in general. Once you start to understand what lies under the hood of this synthesizer it will make pretty much sense on how to make a sound work with the Malstrom itself. The only disadvantage with this 15-year-old synth is that it is a bit limited by the wavetables that the Malstrom houses. But still, you can do plenty of things with this device alone.
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.