Shape from Lectric Panda
Shape from Lectric Panda is a utility that was originally designed by Lectric Panda and was released as a separate Rack Extension. While synchronous was more an effect process generator where the curve could also be used as an external control voltage output. Shape, on the other hand, is all about that idea yet take it towards a whole different level. When I originally bought Shape as a utility to sculpture a sound in all kind of different ways, I started making use of this device more often especially in terms of Genres like Ambient music, IDM, Breakcore, and Glitch. Part of the beauty lies in the way you can reuse the same pattern, yet do it differently while the waveform progresses over time. So from an evolving point of view, that is pretty much perfect for the genres I just mentioned.
Polymodular systems build Complex
While I have been working on a few different ideas to make a patch inside the Polymodular systems there is one thing I haven't tried myself yet, so... time to do it. First of all, let me share my thoughts before I am going to provide the whole concept as I have made this one. Normally if you take an instrument that contains an envelope the envelope will be used per voice. While in theory, you can manipulate envelopes (and what they do) inside the Polymodular systems. So they do not always have to listen to a single note or key. They can also be set up different. With that idea in mind, I thought of one easy method to 're-trigger' the envelope (and thus retrigger the envelope on all keys while they are still playing). This can be done by using 2 different distributors. One for being the normal 'sequencer' while the other acts more like an envelope re-trigger device. If you would then think about the number of options in that realm... let me not even start there.
Polymodular Systems Build Dirt made in Propellerhead Reason 9
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.
Polymodular Build Native
I am really having a blast with these poly modular synths as you can tell. The following build was just another idea to use native VO-1 Viking oscillators to trigger Frequency modulation. While sometimes I have a feeling that FM in the VO-1 feels odd (because it sometimes 'resets' itself, where I am not sure where this is coming from). But by doing FM just gentle it works fine and makes a pretty aggressive tonal character. I like FM in Thor, I also love FM in Blamsoft eXpanse. Sometimes I tried to do some FM inside the VK-1 (the synthesizer counterpart of the VO-1 Oscillator).
Polymodular build Pulse
The following modular synthesis build I want to share today is based on the Polymodular system, using most of the devices from that system. The oscillator is the VO-1 (which is similar to the Vk-1 Viking synthesizer but then without the use of filter and envelopes). The benefit of the VO-1 oscillator is that it also contains a tuning fork at the rear of this device. Which can be great once you want to have a different pitch per note. This can be handled by using the 8 audio outputs while using the little tuning knobs to tune the audio outputs individually.
Polymodular Build Malstrom Swirl
Good evening, I just finished working on yet another polymodular systems build. This one is also based on using Malstrom Graintable synthesizers. While in the previous build I focus more on having a more 'constant' sound. This build is all about movement in the waveforms and making use of the movement using movement to move things around different. Confusing right? Just to explain this bit, inside the Malstrom you can find several wavetables which are all about moving through different bands if you will. For instance the Sweeping Saw, the Spectral Sweep, the Vocoder Bands and Swirl and so on. Especially the last three I just mentioned are quite interesting to get some random sweeping sounds from them. Even while there is also a random sweep wavetable. But that one is still based on a pattern.
A Polymodular build using malstroms
Today I have created another Polymodular build using malstrom graintable synthesizers as a source. The main synthesizer for these builds are set to Sawtooth 16 with a minor motion attached to them. This makes the synth itself sound quite mysterious from what I can tell.
How to make use of send effects in Reason
Regarding mixing and mastering send effects will always play an important role in making a mix work. As I have mentioned in my other article about 5 mixing tips that usually work there are a few elements I have thrown in this list that can be used with send effects. Since we rely on volume, panning, eq, compression, and depth it is the latter which can the quite an essential part of using send effects. While some may see these type of busses as magic (since it is a matter of adding an effect and twist a knob) there is some bigger theory what defines a send effect and how to make use of it. In this article, I want to point out a few different ideas.
The Echo and creative effects
While you are thinking about The Echo you most likely think "delays" right? Normally I would use the Echo just as a delay buy with a touch of magic on the delay itself. Since in theory, the Echo is like the big brother of the DDL-1 Digital Delay. It can do the exact same thing, but it can also be thrown in a creative direction while doing so. In this article, I would like to address a few tips and tricks regarding the Echo which might not be that obvious. While they are right in your face you may not have used the echo in this way more or less. I will skip the break out section in this article since I have also discussed that in a different one. So let's jump right into some, shall we?
The best mastering suite
Mastering engines for Music. A topic that always comes back to me. While I get a lot of questions about what the best mastering engine is I am going to explain everything about how my engine works. It is very simplistic yet very effective for what I do: Make stuff loud!
When it comes to mixing and mastering I prefer to focus more on the mix itself rather then having something "magical" in my mastering suite to make things better for me.
Mastering engines should be simple. They should not be complicated. If the master sounds off, then this usually means there is something wrong with the mix itself. So I fix the problem under the hood rather than trying to fix the master itself.
While I am using Reason 10 for this video it is a general topic which also applies to other daws such as ableton live, FL studio and so on.
Drum microphone placement
I am Hydlide of Reasonexperts. In the following video I want to explain a simple, yet effective trick, to mimic the idea of microphone placements to give room to a sound. I use this technique a lot especially when it comes to create those large scale orchestral sounds. Since it allow you to reshape sounds per channel in this context while just focusing on the mix channels only. In fact, it is more a mixing trick rather then a sound design trick just be fair.
For the following video I will be using Kong the Drum designer to make it work, but as you might understand from this article it works with any instrument. Since it all depends on the amount of parallel buses you would apply to them anyway.