Here are a few various Thor patches I’ve come up with in the past week. There’s 6 in total, with Bells, Leads, and Pad sounds. Some are eerie, some industrial, and the Bell sound is like a kid with a toy. Just some various sounds you’re free to use.
Description: These are a few various Thor patches I’ve come up with in the past week. I was going to provide a few Thor patches to Robb’s excellent site: Reason Patch-A-Day (and yes, that’s a different Robb — you can tell because of the second “b”). However, I came up with more than I expected and so here are a few “extras” if you will.
There’s six patches in this zip:
(Lead) Tightrope Bounce
(Lead) Trance Trauma
Throaty and Bouncy
Footsteps Behind you in the Night
Marauders
Modular Bells
They are basic Thor patches. Feel free to use them in your own projects, and if you do, please let me know so I can post a link to your work here. Also let me know what you think. Comments and discussion are always welcome! And keep checking in here, because there’s much more in store and coming your way soon.
Here’s the lowdown: I own an iPod Touch, and so I have a scaled down version of the iPad. Do I produce music on it? Nope. Do I want to? Maybe. Why don’t I? Because it’s finicky, toyish and still doesn’t have the feel of working in a real DAW or control of working in a real DAW. And worst of all, it doesn’t have any Propellerhead software on it.
“Magical” and “Revolutionary” is the way Apple is describing their new 9.56 x 7.47 inch iPad to the public. But does this device really deliver for Musicians like you and me, who use Propellerhead Reason and Record?
Here’s the lowdown: I own an iPod Touch, and so I have a scaled down version of the iPad. Do I produce music on it? Nope. Do I want to? Maybe. Why don’t I? Because it’s finicky, toyish and still doesn’t have the feel of working in a real DAW or control of working in a real DAW. And worst of all, it doesn’t have any Propellerhead software on it.
On the positive side, I love the flat surface touch control. There’s no doubt that this is the most intuitive and tactile way to control any software. Give me touch, and give me more of it. Let me glide the faders and knobs with a single finger. Let me zoom in and out of areas by pinching and prying apart with my thumb and forefinger. Yeah! I love that.
I was reading in the latest issue of CM (Computer Music magazine) — issue 150, that the App developers were saying this would be a really great product. No offense, but that doesn’t tell me anything. Of course the App developers are going to start promoting the iPad. It gives them a platform to build more and better Apps for which they will make more and better money. Then I read how a certain person from a certain controller company thought the iPad wouldn’t be good for live performance (I share his belief, btw). But again, of course he’s going to dismiss the iPad because it will mean less sales for his company. Everything points to the fact that nobody really knows the impact the iPad will have. And it’s just too early to tell. And way too early to buy IMHO.
And then I read in the CM article that a certain head of Propellerhead software gave the iPad cautious praise. Does this perhaps hint at the possibility of the Props putting together an App of their own, specifically for the iPad? Perhaps. If that happens, I would most definitely give it a great deal more consideration. But this is all rumors and heresay for now. Nobody really knows. So save your money and put the $500 iPad cost to better use by getting an audio interface or nice set of monitors (ok, maybe just 1 monitor, but it’s a start).
Here’s what keeps nagging at me:
Playing “Live” might be a problem due to the fact that the sensor technology is such that when you get all sweaty, the touching might not respond. And even if you’re not all sweaty, the touch system on my iPod Touch can be finicky and non-responsive at times. This still needs to be worked on.
If you’re in the studio, it’s just an overgrown iPod (for now). It’s got the same apps, and the same OS running it. This means that you still can’t multitask, and existing apps don’t take advantage of the additional space.
Did you hear me? It can’t MULTITASK. You can run one app at a time, no more. Which means you can’t run two plug-ins at once, or control a DAW and a synth at the same time.
If it’s one thing I’ve learned from Apple, it’s never to buy the first product release. Why? Because they save all their goodies for v.2 and v.3 product launches. Right now this is nothing more than a larger iPod Touch. Wait 6 months for the iPad v.2 when Apple has had a chance to a) sort out the bugs, b) add new and improved functionality and c) app developers have had a chance to catch up.
Case in point: my girlfriend bought me the first release of the iPod Touch and 4 months later the iPod Touch release came out with double the amount of space for the same price. I understand that technology keeps moving forward, but Apple just doesn’t take a breather. And as a result, I become a very jaded customer who will never buy the first release. Of course, Apple probably doesn’t care one bit about this situation. There are plenty of others who will jump on the bandwagon to buy this device and even — god forbid — PREORDER! But hey, to each their own. And if you preorder, I wish you the best of luck with your new iPad. Don’t say I didn’t warn you.
The additional screen real-estate is great, and there’s no question that there is some promise here. It’s also light-weight. But let’s see some Apps built for it first. Let’s see Reason and Record for the iPad. And let’s see how the iPad can be the next super DAW controller and music-making machine. Then, and only then can we assess whether or not this product really is “Magical” or “Revolutionary.” Right now it’s a lot of hype.
There used to be an expression when I was a debt collector talking to deadbeats and trying to get them to pay their bills. It went something like this: There’s a lot of smoke on the barbecue, but I don’t see any meat. Somehow the imminent Apple iPad release made me think of that expression. We’ll see how much “meat” is actually there in the coming months.
What are your thoughts on the new iPad from Apple?
Usually we think of Multiband being reserved for Compression, but why not divide any type of effect, sound, or multiple effects and sounds into different bands using the BV512 Vocoder / Equalizer supplied with Reason. Doing so, you can divide effects and sounds into 32 distinct frequency bands, and that, my friend, can open the doors to a whole wealth of possibilities.
Usually we think of Multiband being reserved for Compression, but why not divide any type of effect, sound, or multiple effects and sounds into different bands using the BV512 Vocoder / Equalizer supplied with Reason. Doing so, you can divide effects and sounds into 32 distinct frequency bands, and that, my friend, can open the doors to a whole wealth of possibilities.
You can download the project files here: multiband-anything This is a zip file which contains an .rns file with 6 Effects Combinators to showcase how you can use the BV512 in Equalizer mode to split different effects to different frequencies in order to process your sound. All the Combinators process the same matrix pattern which is sequencing a Thor synth. Each combinator then outputs the sound to a separate channel on the main 14:2 Mixer. To hear the various effects, mute/solo the specific channels on this mixer.
Starting off Small: Understanding the BV512 Digital Vocoder
The BV512 is a Digital Vocoder which can be used as an EQ device as well. When set in EQ mode, you can select 4, 8, 16, 32, and 512 bands of EQ separation. You’ll have to understand that the 512 bands is an FFT (Fast Fourier Transfer) mode, which for all practical purposes will color your sound and will cause a slight delay in the realm of 20 ms. when processing audio through it. There will only be 32 bands displayed, but each of those 32 bands will actually control a higher amount of bands (512 / 32 = 16 bands each). So for this tutorial and for processing purposes I’m going to stay away from the FFT (512) setting, and instead focus on 32 bands or less (a much more manageable number for the following types of effects).
Just because I’m staying away from using the FFT (512) setting doesn’t mean it’s not useful. Try it out in your own patches, because you never know where you’re going to find that signature sound that makes your brain melt. And in certain situations, I really like the color of the FFT (512) setting.
A Basic Multiband Delay
At it’s simplest, here’s a method to split out a different delay to affect different frequency bands. First, the video. Then the instructions below:
First, Create a Combinator. Then inside, while holding down the Shift key, create a 14:2 Mixer, Spider Audio Merger/Splitter, BV512 Vocoder, and DDL-1 Digital Delay device, in that order.
Set the Vocoder’s Band Count to 16 Bands, and switch from Vocoder mode to “Equalizer” mode.
Hit to tab key to flip the rack around and route the L/R master outs of the Mixer to the L/R “From Devices” of the Combinator. Then route the Combinator’s L/R “To Devices” into the Spider Audio’s main L/R Splitter inputs. Send one pair of L/R split outputs to the Vocoder’s L/R Carrier inputs. Then send the Vocoder’s L/R Carrier outputs to the Delay’s L/R inputs. Finally, send the Delay’s L/R outputs to the Mixer’s L/R channel 1 inputs.
This image shows a single instance of the Vocoder and Delay hooked up to a Channel in the 14:2 Mixer.
Hit the tab key again to flip the rack around to the front. Hold the Shift key (if using Reason), or hold the Ctrl key (if using Record), and select both the Vocoder and the Delay devices. Then right-click and select “Duplicate Devices and Tracks.” Do this two more times to create 4 sets of Vocoder/Delay devices.
On the first BV512 (the low range), set bands 5-16 to zero. On the second BV512 (The low-mid range), set bands 1-4 and 9-16 to zero. On the third BV512 (the mid-high range), set bands 1-8 and 13-16 to zero. On the fourth and final BV512 (the high range), set bands 1-12 to zero.
The four BV512 devices with their Frequency bands divided, and 4 associated delay units
Set the first Delay unit at the top (the low range) to 1 step, set the second one (low-mid range) to 3 steps, the third one (mid-high range) to 5 steps, and the fourth one (the high range) to 7 steps. This way, each frequency will produce a different delay.
Again, press tab to flip to the back of the rack. Send the other 3 L/R splits from the Audio Splitter into each of the other 3 Vocoder’s L/R carrier Inputs. Then send each of the Delay’s L/R audio outputs to their own Channels on the mixer, so that Channels 1-4 are taken by the Delay Devices outputs.
Now all that’s left is to save the Combinator, and load up your favorite sound to pipe into this effect. To do so, open any instrument and route it’s L/R audio output into the Delay Combinator’s L/R “Combi Input.” Play the sound on your controller keyboard or set up a matrix pattern to sequence the instrument and you’ll hear a different delay for each of the four sets of bands. In other words, the frequency of the sounds you put into the combinator will determine which delay affects the sound. Different frequencies will get different delays applied. Then the sum of all these delayed sounds are mixed into the Mixer, and sent back out the Combinator.
If you give this some thought, you’ll realize that you can apply any number of effects chains to any of the 32-frequency bands of the BV512 to split up effects according to frequency. Furthermore, you can apply this multi-band technique not only to audio and effects, but also to Filters, LFOs and Envelopes which affect the audio. Let’s take a deeper look into how this is done by creating a multiband filter.
MultiBand Filtering: The next step
Now to get a little more complex. Let’s try Filtering our audio based on the Frequency of the incoming signal, and then providing a way to adjust the filter applied to each set of bands. Using our above technique, this becomes child’s play.
Building on the last Delay device we created, select all the DDL-1 Delay units and delete them all.
Then under the first Vocoder, hold Shift down and create a Thor device. Bring all the levels of Thor down to zero (what I call truly initializing Thor). Bring the range on the pitch wheel down to zero, bring polyphony down to zero, bypass all the oscillators and filters, bring all the levels down to zero, and turn all the green buttons off. Leave only the Global envelope Gate Trigger button on, and leave the Global Evelope ADSR envelope in its default position. This way, the envelope can affect Filter 3, which we’ll turn on a little later.
Thor fully initialized, except for the Global Envelope Gate Trig and Tempo Synch Buttons
Now that Thor is much more initialized, go into the MBRS (Modulation Bus Routing Section) and set up the following modulations:
Audio In1: 100 > Filt3 L.In
Audio In2: 100 > Filt3 R.In
Routings in Thor's Modulation Bus Routing Section (MBRS)
Next, duplicate the Thor device 3 times, and place each new Thor under each of the other Vocoders.
Flip the rack around and Move the L/R Carrier output on each Vocoder to the L /R Audio outputs of each corresponding Thor device (1 Mono/Left and 2 Right output on each Thor). Then route new cables from the L/R Carrier output on each Vocoder to the L/R Audio inputs of each corresponding Thor device (Audio In 1 and Audio In 2, respectively on each Thor).
The Back of the Rack showing the Routings for the topmost BV512 device and Thor device
Flip the rack around to the front again, and open up the Combinator’s Programmer. It’s time to add in our Filters and make them adjustable for each set of BV512 bands. For each Thor device, add the following modulations:
Button 1 > Filter 3 Type: 0 / 2
Button 2 > Filter 3 Comb Preset: 0 / 1
Mod Wheel > Filter 3 Res: 0 / 100
Now for each Thor, assign the Filter 3 Frequency to it’s corresponding Rotary as follows:
Thor 1: Rotary 1 > Filter 3 Freq: 1 / 127
Thor 2: Rotary 2 > Filter 3 Freq: 1 / 127
Thor 3: Rotary 3 > Filter 3 Freq: 1 / 127
Thor 4: Rotary 4 > Filter 3 Freq: 1 / 127
The Combinator's Mod Matrix settings for the first Thor
Now when you plug an instrument into this Combinator, you can selectively adjust the filtering of the various frequencies of the sound using the 4 Rotaries of the Combinator. Rotary 1 will affect the low range, Rotary 2 and 3 will affect the mid range, and Rotary 4 will affect the high end.
Where do you go from here
Included in the project files are a set of 6 effects unit that utilize the Equalizer mode of the BV512 to divide the audio source into separate bands and apply effects to each of those bands. Here’s a brief explanation of each:
4 x 16-Band Delay FX: This Combinator uses the Vocoder in 16-band mode to create 4 splits of the audio source going through 4 different delay units. This combinator is the same one created at the beginning of this tutorial, except that there’s an additional delay created under each Vocoder in order to split the delays left and right (for a wider stereo separation). Each rotary controls the delay time for each left/right delay pair. And the buttons underneath each rotary will change the rotary between Steps / MS delay count. A very important feature of this Combinator is the Mod Wheel, which is used as a global Dry/Wet knob for the delay. In its default low-end position, there is no delay. Push the Mod Wheel all the way up and you’ll push the delay fully wet.
8 x 32-Band Delay FX: This combinator is exactly the same as the above 4-way delay, however this uses the Vocoder’s 32-band setting, and splits the signal into 8 different delay units (affecting 4 bands each). Since there’s only 4 rotaries and buttons, you can’t control each delay individually as you can with the previous Combinator. So I opted to put the global dry/wet delay knob on Rotary 1, and put a global steps/ms switcher on Button 1. The only real effect button 1 has is if you want to quickly edit all the delays and have them in MS mode instead, you simply press the button, then go into each delay to edit the delay time.
2-Band Phased Delay FX: This Combinator really was more of an experiment than anything else. The one interesting feature here is that the Vocoder Bands are curved so they blend into each other, rather than have an abrupt frequency change. You can see this on the Vocoder Band area.
Mixed-Band Reverb FX: This combinator uses the Vocoder bands as a notch and Bandpass frequency filter to send your audio through two very different Reverb effects. This goes to show you that there are a lot of possibilities when you start bending different frequencies on the BV512. Use the first Rotary to adjust the Dry/Wet Reverb signal affecting the low and high range of frequencies. Use Rotary 2 to adjust the Dry/Wet Reverb signal affecting the middle range of frequencies. I put a tight small room reverb on the low & high frequencies and a long hall reverb on the middle range of frequencies to show how drastically you can affect the ambience of your sound by toying with the different frequency ranges.
SuperSpreader FX: This is one way you can get some severe (and almost irritating) amount of stereo separation from a single sound source. I had to add a bunch of ECF-42 envelope filters in order to tame the sound somewhat. You can program this up if it’s to your taste. One thing that I wanted to point out here is that you can use Rotary 1 to invert the Frequencies, thereby flipping them around in real-time or in automation if you want to program the knob in the sequencer. Check out the Modulation Routing inside the Combinator to see how this is done. One drawback is that you can only affect 10 bands at once for any given vocoder, which limits you to using a set amount of band counts. But I’m sure there’s a way to push this limit using CV. Any takers want to give this a shot?
MultiBand Filter FX: Finally, you have the multiband filter FX Combinator which was featured in this tutorial, so I won’t go into too much detail here. Just note that I added a Delay and Chorus on Buttons 3 and 4 if you want to give those a try.
I can almost see the next question on your mind. If we can do all this with the BV512 in Equalizer mode, then what’s to prevent us from applying these same techniques using the MClass Equalizer? The truth is nothing! In fact, you can tailor the MClass Equalizer to a much finer degree than the Vocoder. However, the Vocoder can be a great way to test out quick ideas in a visually intuitive way. And as I hope I’ve shown here, you can still find this device highly flexible and usable. But that being said, there’s nothing stopping you from separating your signals using the MClass EQ, and even combining this with the MClass Stereo Imager to create some very unique Effects Combinators. If you have any ideas or come up with some brilliant effect unit out of this tutorial, please share, comment, and let us know about it.
This article will explore Monophonic versus Stereo and Monophonic versus Polyphonic. Two very different concepts, but both very important concepts. This is also a good opportunity to discuss the Effects devices and go over the suggested audio routing options for each.
This article will explore Monophonic versus Stereo and Monophonic versus Polyphonic. Two very different concepts, but both very important concepts with which everyone needs to get to grips. The reason I’m going to explain them both in one article is because they have similar terminology (they both share the term “Monophonic”). This can lead to some confusion. This is also a good opportunity to discuss the Effects devices and go over the suggested audio routing options for each.
When I originally put together my Reason wishlist and posted it here on my blog, I made the fatal mistake of saying that I wanted the Matrix to be “Stereo.” I actually meant to say I wanted the matrix to be “Polyphonic.” Oh gasp! I know. The horror. So just in case anyone else is confused by these terms, let’s see if we can set the record straight.
First, there are two concepts:
Monophonic versus Stereophonic: This refers to channels in an audio system. Monophonic is 1 channel (or any single-channel system). Stereophonic is a two-channel system (left and right audio channels) which are reproduced by 2 speakers (left and right).
Monophonic versus Polyphonic: This refers to the number of voices that a Synthesizer can play at one time. Monophonic means the synth can play a single voice (single note). Polyphonic means the synthesizer can play multiple voices (2 or more notes). In Thor, you can have 32 voice polyphony, meaning you can have 32 notes playing simultaneously. In addition, Thor has Release Polyphony and can also have 32 notes sustain after you lift your finger off the key, or after the note’s end in the sequencer (in the case of midi).
There is also the term “Monophony” which refers to the melody line of the song. It is a song which contains only a melody line without an accompanying Harmony. So strictly speaking, if you have two notes played at once, each one octave apart, the song can still be considered “Monophonic.” Confused yet? I’ll let Wikipedia explain this concept of Monophony.
A few other notes:
In Reason, as in the real-world, CV relates to Monophonic and Polyphonic voices of a synthesizer. While Monophonic and Stereophonic channels in an audio system are audio-specific. The RPG-8 Arpeggiator and Matrix are termed “Monophonic” which means they can only control one voice of a synth at a time. If you want to create a “faux” Polyphony, you must first duplicate the RPG-8 or Matrix as well as the sound sources they are controlling, and then send the output of both these sound sources to their own audio channels; either mono or stereo, it doesn’t matter. You now have two-voice polyphony.
The above points out also that you can have a Monophonic synth that has a Stereophonic “audio” output OR you could have a Polyphonic synth with a Monophonic “audio” output. Plus, you can take a Stereophonic signal and make it Monophonic (panning both channels to center), but if you take a polyphonic CV and make it mono (sending it to a mono synth) you will just drop all the notes beyond the first or last one (just like playing a chord on a mono synth).
Effects Devices in Reason, and Reason’s Routing Suggestions
According to the literature in Reason and Record, there are specific ways in which the Effect devices should be connected. I’m going to plagiarize for a moment and take an excerpt directly from the help file. This excerpt explains the way Monophonic and Stereophonic signals are processed by the effects devices in Reason, and shed light on those little tiny diagrams on the back of the FX devices (come on, give me a show of hands. How many of you knew those diagrams were there to begin with? And how many knew what they meant?).
FX Routing Legend and Descriptions
So looking at the diagrams, we can see the following connections can be made by the Reason devices:
RV7000 Digital Reverb:
Mono In / Stereo Out
Stereo In / Stereo Out
Scream 4 Distortion:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
BV512 Vocoder:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
RV7 Digital Reverb:
Mono In / Stereo Out
Stereo In / Summed Stereo Out
DDL-1 Digital Delay:
Mono In / Stereo Out
Stereo In / Summed Stereo Out
D-11 Foldback Distortion:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
ECF-42 Envelope Controlled Filter:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
CF-101 Chorus/Flanger:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
Mono In / Stereo Out
PH-90 Phaser:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
Mono In / Stereo Out
UN-16 Unison:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
Mono In / Stereo Out
COMP-01 Compressor:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
PEQ-2 2-Band Parametric EQ:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
MClass Equilizer:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
MClass Stereo Imager:
Dual Mono In / Dual Mono Out
MClass Compressor:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
MClass Maximizer:
Mono In / Mono Out
Dual Mono In / Dual Mono Out
Phew! Now that’s quite a lot of information to take in. However, when you look at it, you can pretty much break it down into a few key points which are easier to remember:
All devices can be connected in Mono In/Mono Out except the MClass Stereo Imager (makes sense right? Because you can’t separate a mono signal or make it wider/narrower. It’s already mono, so you can’t make it more mono. You also can’t magically turn a mono signal into a true stereo signal). So forget using it for anything other than Dual Mono In/Dual Mono Out.
Every FX device except the Delay and Reverb devices can be connected in Dual Mono In / Dual Mono Out.
The RV7000 device is the ONLY device in Reason which is true stereo (Stereo In / Stereo Out). The RV7 and DDL-1 are the next best thing with a Stereo In / Summed Stereo Out.
The Devices that can be used as Mono In / Stereo Out are: RV 7000, RV-7, DDL-1, CF-101, PH-90, and UN-16.
Every device can be used as an Insert effect, however not every device should be used as a Send effect. Effects that should not be used as Sends fall under 2 categories: 1. Dynamics Processors (all MClass devices, COMP-01 and PEQ-2), and 2. Distortion Units (the Scream 4, and D-11).
This last point is not really related to the issue of Mono/Stereo, but is an important consideration when connecting devices in your tracks and is another point that shouldn’t be overlooked.
One other thing I wanted to point out. If you get a chance, you really should check out Hydlide24’s great video on different ways to create Stereo separation in Reason. There’s so much great information in this video, I thought this would be a relevant place for it. He tends to move a little fast through the video, but you can always pause and go over it a few times to follow along. Check out some of his other videos if you get a chance as well.
Hopefully this information is accurate. I’m human and prone to many mistakes. If there is an error, please help me point it out and make sure it’s accurate. I’ll ensure I get it corrected. And if you have anything to add, I welcome your advice and opinions.
The Question: How do you switch between multiple devices using a single Combinator Rotary. There are two methods to do this, one being good for those who have Reason 3, and the other more advanced method for those that have Reason 4 or Reason+Record. Learn both of these methods.
The Question: How do you switch between multiple devices using a single Combinator Rotary. There are two methods to do this, one being good for those who have Reason 3, and the other more advanced method for those that have Reason 4 or Reason+Record. The first method I’m going to call the “Matrix” method. The second is brought to us by Ed of EditEd4TV fame, and I’ll call this the “Thor Step Sequencer CV” method.
You can download the project files here: instrument-switchers. These include 2 .rns files outlining both methods below. I’ve also included the proper way to create an “Equal-Power Crossfader,” which seemed appropriate given that we’re talking about how to switch from one instrument to another. So if you have only 2 instruments and want to crossfade between them, you can look at the .rns file in the project file download to see how it’s done. If you want to learn more about it, you should read Peff’s detailed tutorial explaining this process over at the Propellerhead User Forum: One Hand in the Mix — Building Crossfaders using the Combinator. Anytime Peff offers something for you to read or download, you should always take advantage of that. His work is several notches above everyone else. And I’m not kidding!
This crossfader method has always been one of my favorites and one of the most useful building blocks in Reason, simply because you can use it in a variety of interesting ways, and map it to your hardware controller’s crossfader, if it has one.
The “Matrix” Method (for Reason 3 and up)
This method is the less preferred of the two methods, because there is a delay or lag involved in using the Matrix in this way. You can, however, change the time signature to 1/4 to reduce the lag, but any way you slice it, there will be a slight pause when transitioning from one instrument to the other using the Combinator Rotary. This just can’t be fixed. However, it doesn’t mean you can’t find some use from this method, and if you’re using Reason 3.0, then this is really the only solution you have, short of programming your mute/solo buttons in the sequencer. The method works like this:
In the combinator, let’s say you have 8 NN-XT devices, and all the devices are connected to a 14:2 mixer on their own channels. Create 8 matrix devices under the mixer and set them all to “Curve.” The curve should be unipolar. Program each of the matrixes to have the same 1-note, 1-step pattern. The level of the 1-step pattern should be raised fully. Now each subsequent matrix will have the pattern programmed on the next bank that follows, like below:
Matrix 1: A1; Bank A2-A8 should have the curve set to zero (fully off)
Matrix 2: A2; Bank A1 and A3-A8 should have the curve set to zero (fully off)
Matrix 3: A3; Bank A1, A2, and A4-A8 should have the curve set to zero (fully off)
Matrix 4: A4; Bank A1-A3 and A5-A8 should have the curve set to zero (fully off)
and so on. . .
The Matrix pattern banks: 1-step pattern for each bank. This image shows the first 3 matrixes -- Bank A1, A2, and A3. All other patterns on all other banks are turned completely off
Flip the rack and connect the curve CV from each of the matrixes to the levels in on each of the 14:2 mixer channels for each of the devices. Then turn the trim knob all the way right for all the level CV ins on the mixer.
The Matrix Curve CVs connected to the Level In CVs on the Mixer
Flip the rack around to the front, and set all the fader levels for all 8 channels on the mixer to zero (fully down).
The 14:2 Mixer with all Level Faders turned down
Finally, program the same Combi Rotary for each matrix to affect the “Pattern Select” parameter with min: 0 and max: 7.
Now, when you turn the Rotary knob, it will run through all the matrix patterns and essentially only have one device playing at any given time. Each Matrix controls the level of each device, and only opens one device’s level at any one time.
It sounds much more complex than it is. But with this method, you can actually have the rotary adjust up to 32 different device levels; 1 device for each matrix pattern bank. There’s probably even a method to control more than this using 2 combinators linked together, but I haven’t delved that deeply into it, and I doubt you’d ever need to control more than 32 devices with a single Rotary. Perhaps that’s something which could be explored in another tutorial down the road. For right now, I’m much more excited about the next method below, used to control your instruments.
The “Thor Step Sequencer CV” Method (for Reason 4.0 or Reason+Record 1.0 and up — we hope!)
The second method capitalizes on a quirk in Reason which applies only to the Reverse or Random modes of the Thor Step Sequencer. Since this is a quirk, if the Props decide to “fix” this quirk in a future version of Reason or Record, we may be out of luck (and stuck with several Combinators that need to be redesigned), so hopefully this is a quirk that stays with Thor on into the future.
First, let’s build on what we previously did with the “Matrix” method. So open up the Combinator that you just built, and delete all the Matrix devices. Instead, in their place, create a Thor sequencer, and turn everything off. All the green lights need to go off, all the polyphony and pitch bend settings should be set to zero, and all the sliders in all the envelopes need to be turned down. Then bypass all the oscillators and remove all the filters. Just start at ground zero.
Next, in the Modulation Bus Routing Section (MBRS), enter the following settings:
S.Curve 1: 100 > CV Out1
S.Curve 2: 100 > CV Out2
Seq.Note: 100 > CV Out3
The MBRS settings and settings for Curve 1
In the Step Sequencer, set the Run Mode to “Step” and the Direction to “Reverse.” Also set the Octave setting to “Full.” Set the Edit knob to “Curve 1,” and set up the Step 1 curve to “100.” Then set curve 1 steps 2-8 to zero.
Move the Edit knob to “Curve 2,” and set up the Step 2 curve to “100.” Then set curve 2 steps 1 and 3-8 to zero.
The Thor Step Sequencer with the Curve 2 settings
Turn the Edit knob to “Note” and set up the Step 3 note to “E6.” Then set the note value for steps 1, 2, and 4-8 to “C-2.” C2 gives off a CV value of zero, while E6 gives off a CV value of 100. In this respect it acts just like the Curve values.
The Thor Step Sequencer with the third step "Note" setting
Flip the rack around and pipe the first 3 CV outs from Thor to the first 3 Level CV ins on channels 1-3 on the 14:2 Mixer. Duplicate the Thor two more times. The second Thor will handle steps 4-6 (Mixer channel 4-6 level CVs), and the third Thor will handle steps 7 & 8 (Mixer channel 7 & 8 level CVs).
The Thor CV cabling into the Level CV ins on the Mixer
Finally, go into the Combinator Mod Matrix and program the following for each of the Thor devices:
Rotary 1 > Step Count: 1 / 8
The Combinator setting for Rotary 1. All 3 Thors need this same setting. Note: The above image was taken with Reason 4. This used to be called the "16 S Sequencer Step Count" located at the bottom of that gargantuan list of assignable targets -- where you'd have to scroll to the bottom of the list. In version 5, it's now under "Sequencer > Step Count."
Now, when you turn the Rotary 1 knob, it will run through all 8 devices acting like a mute/solo button for all devices. If you think about the way this is working, it’s exactly like the Matrix idea, except you’re using the Step Sequencer in Thor. Each Thor handles 3 different mixer channels, and you can handle up to 15 devices at once with a Rotary (you can’t use the 16th step in the Step Sequencer in this way — but you can use all other 15 steps to control your instruments).
And here’s the magic numbers for the transitions between the 8 devices, using the Rotary:
Instrument 1: 0-18
Instrument 2: 19-36
Instrument 3: 37-54
Instrument 4: 55-72
Instrument 5: 73-90
Instrument 6: 91-108
Instrument 7: 109-126
Instrument 8: 127
Looking at these numbers, you’ll see that everything matches up just fine except the transition between instrument 7 and 8. Not sure why that is, but it’s a little quirky. Still, this technique is instantaneous between all the switches.
I haven’t yet taken a look to see what else can be done with this technique, but it certainly opens the door to a lot of other possibilities. If I get a chance, I’m going to try exploring some other avenues with this little trick and I’ll keep everyone posted. Let me know what you think of this tutorial, and if this will help you build your own patches. And thanks go out to Ed for taking the time to show me how this worked. If it weren’t for guys like Ed, we’d still be working on our patches in a cave.
I was just way too excited not to post this here. I just released my new Dream Sequences EP with 5 tracks. 3 are remixes of tracks found on my Qxotc Slp CD and 2 are brand new tracks that have not been released yet. You can find both the CD or MP3 downloads at CD Baby. As the description says on there, these tracks are “Sonic sequences that came from a series of ambient glitch dreams I once had.” That sums it up nicely! Leave some love here or out there if you order or listen to the tunes. All comments and feedback are welcome and very much appreciated!
I was just way too excited not to post this here. I just released my new Dream Sequences EP with 5 tracks. 3 are remixes of tracks found on my Qxotc Slp CD and 2 are brand new tracks that have not been released yet. You can find both the CD or MP3 downloads at CD Baby. As the description says on there, these tracks are “Sonic sequences that came from a series of ambient glitch dreams I once had.” That sums it up nicely! Leave some love here or out there if you order or listen to the tunes. All comments and feedback are welcome and very much appreciated!
In my opinion, it’s one of my best CD/mp3 offerings yet and my favorite by far because it incorporates not only some of my favorite Ambient Glitch tracks, but also because my good friend Matt Pearson from zenbullets helped to collaborate on it. He provided the artwork for the cover and the CD itself, and he’s such a talented guy that I was really truly priviledged to work with him. If you have some time, you should also check out his Abandoned Art site, which is devoted to his generative art.
You can see what Matt has to say about the music in his Phi Sequence post on his site. Again, I can’t thank him enough for working with me.
To kick off the release of this EP, Matt has also kindly put together this video. Note that the video is a much better quality than this, and Youtube tends to squash the actual quality to make it fit for internet consumption. But still, I think he did a stunning job on the video.
Let me know what you think, and as always, thanks for looking and listening!
Layered Synth Patches to celebrate the 2010 Olympic Winter Games in Vancouver. A creative way to present some sound themes in Reason and Record.
This is going to be a little different from my past tutorials. Since this is just as much a forum for creativity as it is a forum for ways in which you can get the most out of Reason and Record, I wanted to take a little time out to offer up an idea I had the other day while watching the Olympics.
Download the project files here: olympic-patches. There is one Reason (.rns) file which contains 5 Combinators. The matrixes that are attached to each of the Combinators are there to preview the sounds. You can mute/unmute the Mixer channel to hear the proper Combinator. They are not meant to be played with each other. Though if you can find a creative way to do this, have at it!
I thought to myself, what about creating a themed set of Combinators, which are based solely on layered synths. The idea came as I was watching the speed skating competition and I started getting some ideas for sounds running through my head. So while I had Record opened, I started working on creating what I felt was the sound of skaters. This further led to the thought: Why not create a series of patches based on the sounds of the Olympics. Now, there’s 15 different events in the Olympics, and that means a lot of Combinators and a lot of programming. So before I go completely nuts with this idea, I decided to first offer up 5 patches for 5 different events.
Here’s a few sound samples using the “Speed Skaters,” “Curling,” and “Alpine Ski” patches:
And here are a few more sound samples showcasing the “Hockey,” and “Biathlon” patches:
Olympic Patches - A tribute to the 2010 Vancouver Winter Olympic Games
The main premise was to create Combinator patches that encourage you to explore the rotaries and buttons without any preconceived notion of how they are planned out or mapped to the devices inside. So for that reason, I’m not going to go into detail on how things are routed. Rather, I’d prefer if you gave them all a listen and use your ears to explore the types of sounds these patches can generate. So try them out, and give them a whirl. Let your ears be your guide as you make adjustments. And once you’ve done that, then feel free to take a look and see how they are programmed.
I have to say I felt a little sense of pride putting these together, since I’m originally from Canada, and Canada was putting on this year’s Olympic games. The feather in the cap however, was when Canada won the Gold Medal in the last Olympic event yesterday: Men’s Hockey. I have to say, that made my night.
Do you have any Layered Synth ideas of your own that you would like to share here? Do you like these patches? Anything you would do differently. Please feel free to start up a discussion about them. Do they inspire you to create your own themes? What kind of theme would you create? What do you turn to for inspiration? I’m curious.
