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
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?
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.
ADSR Envelopes Attack Decay Sustain Release
How to create a clear mix
Welcome to another article about mixing and mastering. In this article, I will mainly look at the subject on how to create a clear mix. While some of these methods might be questionable, in practice I use a lot of these techniques to make it all work within my own mixes. The whole goal while mixing is to put a balance between sounds. A good mix prevents things from jumping out in the mix, or a good mix will prevent things from sounding to flat in the mix. There might be different reasons why people would mix in different ways. Since a mix is a personal thing, it may vary per situation. Often I have caught myself making 2 different mixes where the outcome will vary on the whole arrangement even. I am just saying this because a mix, in particular, can have an impact on how the song plays like.
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.
Welcome to another experiment. Last year I bought the Polymodular systems from Blamsoft for around 25 euro. While this system is totally under-rated (4 stars where it should have been 5) I sometimes like to have fun making a real complex build out of these. Since in theory these are modeled after 'modular synthesis'. Thus they are ideal for those type of tasks to create an own custom modular synth from the ground up. When you think 'modular' synth, you will most likely think that it is all monophonic. The part that shines with these things is that they can be monophonic or polyphonic. For instance the oscillator that comes with the polymodular setup is the VO-1 (Viking oscillator). While it originally has an output slot for the Monophonic, it also makes use of a poly CV (where these devices are still one of the few that support it).
Thor in Reason workshop
Welcome to a new video series about Thor in Propellerhead Reason. In this series I will touch different elements on how to do sound design in Reason. This complete series will be going through some basic elements first trying to answer most of the 'basic' questions that people may be having when looking at a device like Thor for the very first time.
I'll be going in depth about the following items to start with:
Envelopes and LFOs