Category: Creative Reason Projects

My quest for new creative ways to use Reason and Record software from Propellerhead.

55 – Key Trig Patterns (Part 3)

In this tutorial, I’m going to go all out and create a one-finger band Combinator which makes use of MIDI Key Triggering to launch an array of patterns for all my instruments. In other words, I’m going to construct a song using a single Combinator and some Reason devices. You can use this as a template for your own ideas, and simply switch out the sound generating devices and patterns to create your own track.

In this tutorial, I’m going to go all out and create a one-finger band Combinator which makes use of MIDI Key Triggering to launch an array of patterns for all my instruments. In other words, I’m going to construct a song using a single Combinator and some Reason devices. You can use this as a template for your own ideas, and simply switch out the sound generating devices and patterns to create your own track.

You can download the project files here: one-finger-band. There are two .rns files for those using Reason 5, and 2 Combinator files (one for Reason 5 and the other for those still running Reason 4). You can also open up the Combinator inside Record and use it there if you like. Note: please respect that these project files, like everything else on this site, is under the Creative Commons 3.0 licensing, meaning you can mix, remix, share, and play around with the song to your heart’s content, but you will need to provide the source info and a link back to my site here in any productions you do with this file. Share and share alike ok? And you can’t make any money off the file. It’s not going to win any awards anyway. But if you remix or play with the file, send them back to me privately and I’d be happy to showcase them here in a new posting (send to my email in the top menu), I’d love to see what you come up with. Don’t be shy!

Before jumping in, I just wanted to give a shout out to Hydlide, who did a great tutorial over at TSOR (The Sound of Reason) site which shows you how you can split several Thor patterns along all the octaves of the Combinator Key Range. Have a look at his creative Thor Step Sequencer tutorial for some fresh ideas. So thanks for ripping off my idea Hyd. Thief! 🙂 All joking aside, if it wasn’t for him wanting to see a third part to this series, I wouldn’t have written this “next part.” And now you’ll all have to suffer through more MIDI Key Triggering madness.

Here’s a video showing you what I’m explaining below. It’s a bit of a showcase for the song I created. Read on to see how the Combinator is setup.

Explaining the “One Finger Band (Latched – R5)” Combinator

The idea behind the Combinator builds upon the previous two tutorials I wrote about Key Triggering your Patterns. However, there’s a few new ideas in this one which I’m going to highlight below. I also have a few tips for those of you trying this out on your own.

The main thing I learned while doing this is that it’s much easier to program a song using the “Momentary” method of Key Triggering. The reason is that it’s easier to write notes into the sequencer. You place the note along the clip lane for as long as you want your pattern running. Simple enough. If, on the other hand, you are programming your notes in using the “Latch” method, you need to provide a start and stop note on the same key to trigger your pattern to turn on, and then turn off. Which can get a bit fiddly. Even so, I tried it using the “Latched” method, just to see how it would work. So to summarize, if you are programming your song in the studio, you’re probably better off using the “Momentary” method. If, on the other hand, you are playing “Live,” you’ll probably benefit more from the “Latched” method, because you don’t have to have your fingers on the keys to keep things running. BUT (and this is a big BUT), you DO need to remember which patterns are running at any given time, so you know which key to press to turn them off when you want them to stop.

It would be really nice if you had a keyboard that had lighted keys to note which ones are on and which are off. But I don’t know of any manufacturers that supply such a keyboard. Pad Controllers are a different story. And controllers with lighted buttons are even better (like the Livid Ohm64, Novation Launchpad, and Akai APC40), because you can assign a key note to each button and they will be lit when on and unlit when off, making this whole setup a piece of cake.

So back to the template. Here’s how the key range works for the Combinator:

The Key Mapping area of the Combinator, where we use the Key Range to map our Kong drum pads, Dr.OctoRex Loop Slots, and sound device pattern triggers to individual keys.
The Key Mapping area of the Combinator, where we use the Key Range to map our Kong drum pads, Dr.OctoRex Loop Slots, and sound device pattern triggers to individual keys.

The root of this method is in how you program the Combinator Key Range assignments for the various devices. And we went over most of this in the second part of the tutorial. However, I’ve added in a few Dr.Rex loops and some variations, as well as a Kong device to play our drums. Since both those devices already have default key assignments, you don’t need to do too much to get them working for you. The other sounds are placed on other free key areas on the keyboard. Here’s how it breaks down:

  • MIDI Keys D#0 – B0: Dr. OctoRex Loop Player (Drum Loop with 8 variations in the 8 different slots). D#0 Stops the Loop. E0 – B0: Plays Loop slots 1-8. You can switch between the slots in mid-stream. And depending on how you have your “Trig Next Loop” set up, switching from one slot to the next will follow one of those three methods: Bar, Beat, or 1/16th note.
  • MIDI Keys C1 – D#2: Kong Drum Designer (Main Drums with a Basic drum setup on all 16 Pads). Plays Pads 1-16.
  • MIDI Keys E2 – G#2: Subtractor Bass. E2 – G2 plays Bass patterns 1 – 4 in a “Latched” mode. Therefore, you need to press the key once to trigger the pattern, and press once more to stop playing the pattern. G#2 applies a delay / reverb effect to the bass patterns. You can play each of the bass patterns or all of them combined if you like. Then press G#2 to apply the effect to the bass sound.
  • MIDI Keys A2 – C3: Thor Pad Sounds 1 & 2. These keys play 4 different pad patterns. Both pad sounds are joined together, so the patterns here will play both simultaneously. That’s why I separated them by panning them left and right. The Pad patterns are also “Latched” to the keys. You can also shuttle both pad sounds left and right by using Rotary 4 on the Combinator. This applies an LFO waveform to pan the sounds back and forth inversely. Increase the amount of movement by moving the Rotary further to the right. Reduce the auto-pan completely by moving the rotary all the way left.
  • MIDI Keys C#3 – E3: Thor Synth. These keys play 4 different synth patterns also in a “Latched” mode.
  • MIDI Keys F3 – A3: Thor Rhythm section. Keys F3 – G#3 plays 4 different Rhythm patterns also in a “Latched” mode. A3 applies a distortion effect to the Rhythm patterns. In the same way as the bass works, you can play any patterns using the first 4 keys, and then press A3 to apply the distortion to the sound.

In just under 4 octaves, we’ve managed to provide all the instruments necessary to produce a track. That still leaves plenty more keys to assign to anything from sounds, patterns, and FX switches. Just because I stopped here doesn’t mean you have to. You can use the file as a template, but you’ll gain more out of understanding how the routings work, and what they are doing. This way, you can truly make the Combinator your own. So I encourage you to try your hand at creating your own template file along these lines. You might find it not only a creative exercise, but also a challenging and engaging way to work with the software. And finally, you might get a really nice reusable template that makes creating tracks quicker or “Live” play with Reason better.

This image shows the various Note Lanes for the Combinator. Each note lane represents a different sound source, Kong drum pad, or Rex Loop Slot selection.
This image shows the various Note Lanes for the Combinator. Each note lane represents a different sound source, Kong drum pad, or Rex Loop Slot selection.

If you are programming a song, you need to create a new note lane for each new track you introduce, because the Combinator IS the song. This is how I set it up in the project’s .rns file. So you can go through one track at a time on each note lane and place all your note triggers there. Alternately, if you are playing live, you can have the entire song on a single note lane.

In addition, when you load the Combinator into your project, you should be aware that the mastering is already built into the Combinator. Rotary 1 controls the Compression Input and Rotary 2 controls the Maximizer input. This mastering setup was largely borrowed from the “Hip Hop” mastering patch in the Factory Soundbank and then the devices were moved and rerouted into the Combinator. You can also create a “bypass” for the entire set of mastering devices and put that on button 4 of the Combinator if you like.

This brings up another point. All the sounds inside the file come from the Factory Soundbank or else were built by me (most of the Kong drums, Synth, and Effects were my creation, while the rest were default patches, drum samples, and Rex files that ship with R5). So you shouldn’t have any problems opening the Combinator or .rns files on your computer.

Differences with the “One Finger Band (Latched – R4)” Combinator

Since Reason 4 users don’t have the new Kong device, I replaced this with a Redrum. The clips and notes in the main sequencer are still the same, but the drum sounds will be different. Each Redrum channel is triggered by a Thor device, and the Thor devices are mapped to the Combinator Keys in the Combinator Programmer. So the key assignments for the drums are different than the R5 file. Those with R5 can, of course, open both .rns files. Those with R4 can only open the R4 Combinator.

One other difference is that I had to remove the Dr. OctoRex device, so there is no “Drum Loop” note lane for the R4 .rns file. You can, of course add in any number of legacy Dr.Rex devices and Rex loops in your own template. Since I do all my work in Reason 5 and Record 1.5 now, I have to stop working with the legacy Dr. Rex loop player. So farewell Dr. Rex. I loved you while you were with us. R.I.P.

Careful with that Pitchfork, Eugene (any Pink Floyd fans out there?)

When I was trying to streamline things a bit, I got into a bit of a pickle. Rather than duplicate all the sound sources over and over just to recreate new patterns, I decided to Merge the Note/Gate CV from the “Pattern” Thors into the sound source devices. In order to do this, you need to use 2 Spider CV Mergers; one for the Note and the other for the Gate. However, when you do this, you’ll notice that the pitch of your sounds will go upward, depending how many sound sources you have connected to the Spider. You’ll need to pitch downward using the trim knobs next to the CV inputs on the Merger side of the Spider. This is fiddly because you need to adjust all four downward until you get the pitch you want (assuming you have four pattern devices merged into one CV output). Even merging 2 note CV sources into one will force you to lower the trim knobs a bit toward the left. As for the Gate CV inputs, you can turn all the trim knobs way up to 127. I don’t think this has any noticeable affect on the Gate.

This image shows the attenuation of the pitch on the "Note" CV Merger on the left and the attenuation of the "Gate" CV Merger on the right, using the CV trim knobs.
This image shows the attenuation of the pitch on the “Note” CV Merger on the left and the attenuation of the “Gate” CV Merger on the right, using the CV trim knobs.

This also complicates matters a little bit because you now have 3 parameters affecting the pitch of your sound: The Oscillators in the sound source, the Note values of the Step Sequencers on the “Pattern” Thors, and the combined CV output from the Spider CV Merger (which is attenuated using the trim knobs). Just be aware that the combination of all three parameters will affect the pitch of your sound. You can, of course, play around with all three to affect your pitch, but I found it’s usually easier to first set up your trim knobs to be in the right vicinity of the Octave you want the sound source playing, then leaving them alone and using the Pattern knobs to adjust the pitch.

Suggestions for Using this Combinator setup

  • Live Play. Ultimately, this has the potential to create some really monster setups where you have a wide array of devices and patterns playing those devices all along a single keyboard controller. And with the new Ableton Controllers out there, you can make great use of them for Reason also. All you need is a lot of lighted buttons that are set up to trigger MIDI Key notes, and you’re golden. You can even set things up logically. If you have an 8×8 64-button controller, you can use the first two rows to control Kong, the third row to control a Dr. OctoRex with loop slots (use 1 slot to stop the loop from playing, and 7 other ones for loop variations or entirely new loops in the other slots. And so on and so forth.
  • Remixing potential. Change around the patterns inside the various “Pattern” Thors and/or change the sound sources to your own patches to instantly create a variation on the Midi data that’s in your main sequencer. This takes very little time to do and can generate an entirely new sound or track for you. The beauty is in the fact that you’ve already built the template and laid down midi data. All the hard lifting is done.
  • If you’re feeling ambitious you can set things up to trigger the instrument direction switches (currently set up on Combinator buttons 1-3) from MIDI keys instead.

So there you have it: Part 3 in our MIDI Key Triggering explorations. Should I delve into a “Part 4” or move on to something new? And let me know if you have any other ideas that come to mind where Key Triggering is concerned. In parting, I’ll leave you with the sweetly dark ambient glitch sounds of my little experiment:

54 – Key Trig Patterns (Part 2)

So here we are once again with part two in our series on key triggering our patterns. In this part, I’m going to bring both methods together so that you can switch between the two methods with the click of a button. I’m also going to add a few new tricks into the mix. And finally show you how to hook everything up to your Kong pads, in the event you want to use the pads as triggers instead of your keyboard. So let’s dig our heels in.

So here we are once again with part two in our series on key triggering our patterns. In this part, I’m going to bring both methods together so that you can switch between the two methods with the click of a button. I’m also going to add a few new tricks into the mix. And finally show you how to hook everything up to your Kong pads, in the event you want to use the pads as triggers instead of your keyboard. So let’s dig our heels in.

You can download the project files here: key-trig-pattern-methods-2. It contains 2 Combinators and the .rns file that showcases the 2 main patches we’re building here. Load up your sounds inside them and have fun tweaking the patterns and controlling them via your key controller or Pad controller.

Bringing together the “Momentary” and “Latched” Triggering Methods

The two triggering methods are great on their own, but think of how great it would be to have both of them right at your fingertips. This technique allows you to switch between “Momentary” and “Latched” key triggers. And if you’re not sure what the hell I’m talking about, then you haven’t read Part 1 of the series, so go back in and read it would ya! Because this is going to be fun. First, the video to show you how it’s done:

And next, the full step-by-step for those that prefer to read through:

  1. Create a Combinator, and inside create a 6:2 Mixer, Subtractor, and holding down “Shift,” create two Thors. Completely initialize the Thor by removing the Oscillator and Filter, and bring all the parameter values to zero.
  2. Label the first Thor “Trigger” and the second Thor “Pattern. Flip the rack around and send the Curve 1 CV output from the “Trigger” Thor to the CV1 input on the “Pattern” Thor. Then send the Note and Gate/Velocity CV outputs from the “Pattern” Thor into the CV and Gate inputs on the Subtractor.
    3. The Curve 1 CV going from the "Trigger" Thor into the CV1 Input on the "Pattern" Thor.
    The Curve 1 CV going from the "Trigger" Thor into the CV1 Input on the "Pattern" Thor.
    The Note / Gate CV Connections from the "Pattern" Thor into the Subtractor.
    The Note / Gate CV Connections from the "Pattern" Thor into the Subtractor.
  3. Flip the rack back around to the front and create a 2-step pattern in the “Trigger” Thor. Switch the Edit knob to “Curve 1” and then set “Step 1” to zero (0) and “Step 2” to 100. Switch the Run Mode to “Step” and enter the following into the Modulator Bus Routing Section (MBRS):
      MIDI Gate (found under MIDI Key > Gate) : 0 > S. Trig (found under Step Sequencer > Trig)
    4. The Modulation Bus Routing Section for the "Trigger" Thor
    The Modulation Bus Routing Section for the "Trigger" Thor
  4. In the “Pattern” Thor, enter any pattern you like. Set the Run Mode to “Repeat” and in the MBRS, enter the following lines:
      CV In1 : 0 > S. Trig
      MIDI Gate : 100 > S. Trig
      Pitch Bend : 53 > S. Transp (found under Step Sequencer > Transpose)
    5. The Modulation Bus Routing Section for the "Pattern" Thor
    The Modulation Bus Routing Section for the "Pattern" Thor
  5. Open up the Combinator programmer, and uncheck the “Receive Notes” checkbox for the Subtractor. Also set the Key Range for both the “Trigger” and “Pattern” Thors to Lo: C-2 / Hi: C-2.
  6. Still inside the Combinator Modulation Routing area, select the “Trigger” Thor and set up the following line:
      Button 1 > Mod 1 Dest Amount : 0 / 100
  7. Then select the “Pattern” Thor, and set up the following lines:
      Button 1 > Mod 1 Dest Amount: 0 / 100
      Button 1 > Mod 2 Dest Amount: 100 / 0

That’s all there is to it. Now when you play the C-2 key on your keyboard controller, the trigger method is Momentary (the pattern starts when you press the key and stops when you release the key). Press Button 1 on the Combinator, and now when you press the key, the trigger method is “latched” (the pattern starts when you press the key and only stops when you press the key again).

Note: One sticky issue with this setup is as follows: Let’s say you have the “Latch” mode turned on (button 1) and press a key to play the pattern. If you switch the “Latch” mode off (button 1 again) before stopping the pattern, the next time you turn the “Latch” mode on again it will automatically run / play the pattern. If you always turn off your pattern before switching from “Latch” mode to “Momentary” mode, then you won’t have this problem. So keep that in mind. And if you have a workaround for this, let me know and I’ll be glad to update the patch.

The Completed Combinator front panel. Note that I mapped a few more Sequencer controls to the Combinator Rotaries and Buttons.
The Completed Combinator front panel. Note that I mapped a few more Sequencer controls to the Combinator Rotaries and Buttons. The patch is in the Project files so you can open it up and play with it.

Kong Pad Triggering (Obviously for Reason 5 users)

One other method is to use the Kong pads to trigger your patterns (and sounds). What we’re going to do here is set up the same Pattern which can be triggered from two Kong pads. Pad 1 will be a “Momentary” key trigger, and Pad 2 will be a “Latched” key trigger. In this way, we simply need to translate the triggers from Keys to Kong Pads. And it’s much easier than it seems. I’ll start over from the beginning. But first, here’s the video:

And next, is the step-by-step tutorial:

  1. First, Create a Combinator and inside the Combinator create a 6:2 Line Mixer and a Subtractor (with a sound you like loaded into the Subtractor — note that you can select any sound source you like inside Reason, even another Combinator). Then, holding your “Shift” key down, create in order a Kong, and two Thor devices. Move the Subtractor to the bottom of the devices in the Combinator (this just makes it a little easier to follow along our CV paths).
  2. Initialize both Thor devices, so that all the levels are set to zero, and all the oscillators, filters, and envelopes are turned off. Label the first Thor “Latch,” and second Thor “Pattern.”
  3. Flip around to the back and Show the Combinator programmer. Then send the Gate Out CV from Kong’s Pad 1 into the CV1 input on the “Pattern” Thor.  Then send the Gate Out CV from Kong’s Pad 2 into the “Gate In (Trig) of the “Latch” Thor.
  4. Send the Curve 1 CV output from the “Latch” Thor into the Gate In (Trig) of the “Pattern” Thor.
  5. On the “Pattern” Thor, send the Note and Gate/Velocity CV outputs into the CV and Gate inputs on the Subtractor.
    6. The back of the rack showing most of the Thor - Kong - Subtractor CV routing. Hard to show this all in one screenshot.
    The back of the rack showing most of the Thor - Kong - Subtractor CV routing. Hard to show this all in one screenshot.
  6. With the routing all set, flip the rack back around to the front. In the Combinator programmer, ensure that the only device receiving notes is the Kong device. Uncheck the “Receive Notes” checkbox for all other devices. Also label “Pad 1” on Kong to “Temp Pattern” and label “Pad 2” on Kong to “Latch Pattern.”
  7. In the “Latch” Thor, create a 2-step pattern. Switch the Edit knob to “Curve 1” and then set “Step 1” to zero (0) and “Step 2” to 127. Switch the Run Mode to “Step” and enter the following into the Modulator Bus Routing Section (MBRS):
      CV In1 : 100 > S. Trig (found under Step Sequencer > Trig)
  8. In the “Pattern” Thor, set the Run Mode to “Repeat” and enter any pattern you like into the Step Sequencer. This will be the pattern that plays your Subtractor. Enter the following into the MBRS:
      CV In1 : 100 > S. Trig

Now when you press Pad 1 on Kong, the pattern starts and when you lift your finger from the pad, the pattern stops (Momentary). If you press Pad 2, the same pattern plays in “Latched” key trigger mode, which means the pattern starts and plays until you press on Pad 2 again. This is the easiest way I’ve found to set up both a “Momentary” and “Latched pattern on Kong Pads.

The front panel, showing the 3 Kong Pads setup to control your Pattern in the Thor Step Sequencer.
The front panel, showing the 3 Kong Pads setup to control your Pattern in the Thor Step Sequencer.

Taking Kong a Step Further (Stepping it up a Notch! — ok enough with the bad puns)

Let’s do one last thing. Let’s add a new element to a third pad which switches between the 1-shot and Repeat modes. This will affect the way the first 2 pads work a bit, but it will be worth it just to add this functionality.

  1. Duplicate the “Latch” Thor and label it “One Shot.” Then move it to the top of the other Thor device.
  2. Flip around to the back of the rack and send the Gate Out CV from Pad 3 into the CV1 input on the “One Shot” Thor device. Then send the Curve 1 CV output from the “One Shot” Thor into the CV1 input on the back of the Combinator (click the “Show Programmer” button if it’s not visible). Also set the trim knob to 127 and switch to “Unipolar” mode.
  3. Flip back to the front of the rack and in the Combinator’s programmer panel, select the “Pattern” Thor, and enter the following in the Modulation Routing:
      CV In 1 > Run Mode : 3 / 2

Label Pad 3 on the Kong device to “1-Shot / Rep.” and you’re done. Now you can switch between the two run modes using the Kong Pad 3. Note that if you switch from Repeat to 1-shot, both Pad 1 and Pad 2 will act the same way and play the Pattern through once and then stop. There won’t be any difference unless you have Pad 3 set to “Repeat” Run mode. But still, this can extend the Kong functionality just a little bit more. And with some ingenuity you can add other things to the Kong pads, such as an octave up/down shift (see my Kong Piano Roll tutorial for that little trick).

One Final Note about the Kong Setup

I know some people will say, “Well why can’t I put the ‘Momentary’ / ‘Latch’ on a single pad and then use that pad to switch between the two (as the Combinator button does)”? Truth is that I gave this idea a shot, and you can download the idea here: Kong-Pad-Trig-Sequencer(Alternate). However, I couldn’t seem to get around the fact that it was a little quirky. You’ll see the “Pattern” triggers from Pad 1 and the  “switch” toggle is on Pad 16. The problem is that if you press the pattern pad (Pad 1) an even number of times, everything works great. As soon as you press Pad 1 an odd number of times, and then switch from “Momentary” to “Latch” mode using pad 16, the pattern is set off and runs once Pad 16 is pressed. I traced it down to the fact that if the “Trigger” Thor’s step sequencer is left on the second step when switching to “Latched” mode, the pattern automatically runs (or remains open to run). Ultimately, I need a way to reset the Step Sequencer back to “Step 1” when Pad 16 is pressed (or rather, when sending the gate out from Pad 16). But it was very late last night and I couldn’t figure out how to do this. So if anyone has a solution, please let me know and I’ll fix the patch and re-upload it.

So what do you think? Does this setup work for you? Stick around. There’s going to be plenty more to come your way.

53 – Key Trig Patterns (Part 1)

I’m sure most of us have used the Matrix or Thor Step Sequencer to some extent. But how often have we thought about using our keyboard to trigger those patterns? I know I’ve never given it much serious thought, since I usually sequence all the parts into the main sequencer. But this time I’m going to explore the possibility of triggering patterns from our Keyboard. This has a lot of “live play” applications.

By now, most of us know how to use Pattern sequencers to play parts in their tracks. I’m sure most of us have used the Matrix or Thor Step Sequencer to some extent or degree. But how often have we thought about using our keyboard to trigger those patterns? I know I’ve never given it much serious thought, and it’s probably due to the fact that I don’t play “live.” I usually sequence all the parts into the main sequencer. So this time, we’re going to explore the possibility of triggering patterns from our Keyboard.

The project files can be downloaded here: key-trig-pattern-methods. This file contains some combinators and an .rns file with all the combinators inside. These Combinators outline some of the methods presented in the tutorial below. Try them out and see what you can do with these ideas.

Furthermore, we’ll see just how far we can take this idea. The whole thing will be contained inside a Combinator (or a Kong device, if you wish), and the notes on the keyboard will trigger different patterns playing different instruments. It’s like having full control of the band at your fingertips on your piano or controller keyboard.

Sound interesting to you? Yeah, it was interesting to me too.

Before I jump into the various methods of Key Triggering, I want to give a huge shout out to Peff for providing help on figuring out the “Latching” method below. Without his help, I would have spent several more hours tearing out my hair. So thanks Kurt! I really appreciate all the help you provide, not just to me, but to the whole community.

Triggering Matrix Patterns

Let me start off by saying this is a huge PITA where the Matrix is concerned. The main problem lies in the delay of Pattern triggering from the moment when you press the trigger key to the moment the pattern starts (variable, depending on when the key was hit during playback). Yes I know, you can plop your patterns down on the Matrix pattern lanes, but that’s defeating the whole purpose of this tutorial, which is all about triggering patterns via different keys on your keyboard. But for the sake of argument (and to be complete), I’ll show you first how to set it up this way using a Matrix, but I’m not going to spend a lot of time on this one. Maybe this is beneficial on some planet where delay is a “cool” and “hip” concept. Here’s a video where I outline 2 methods to key trigger a Matrix Pattern. The first method is not described in detail here because it introduces the dreaded delay. But the second method (outlined in detail below) can be useful in a somewhat chaotic and free-running way.

Note: Ed Bauman highlights a method you can use to Trigger Matrix Patterns “almost” instantaneously here: “When Reason’s Time Signature is set to 4/4, patterns will switch on every measure, a full 16 x 16th notes, but if you set the Time Signature to 1/16, patterns will switch on every 16th note, so it’s basically immediate. Of course, if you’re playing back a sequence, doing this completely screws up the measures in a song and makes the whole song gigantic as far as measure count goes, but it definitely works for the Matrix and ReDrum. It used to apply to Dr. Rex as well but with Dr. Octo Rex we now have the Trig Next Loop region which essentially does the same thing if you’re switching around rex files within one Dr. Octo Rex.”

  1. First, Create a Combinator. Then create a 14:2 Mixer, and a sound source (in this case a Subtractor). Load up a Subtractor patch or else create your own synth sound in the Subtractor. Then create a Matrix underneath. It should automatically connect the Note / Gate CV for you. Enter a pattern into the Matrix (or press Ctrl+R to quickly enter a random pattern).
  2. In between the Subtractor and the Matrix, we’re going to create a Thor and completely initialize the patch (this means removing any Oscillators and Filters, and dropping all the values down to zero.
  3. The Thor is simply used as the gate trigger. So flip around to the back of the rack and connect the Note / Gate CV from the Matrix into the Thor CV1 & 2 inputs. Also connect the CV 1 & 2 outputs from Thor back into the Note / Gate CV inputs on the Subtractor.
The back of the rack showing the CV passing from the Matrix through the Thor and into the Subtractor.
The back of the rack showing the CV passing from the Matrix through the Thor and into the Subtractor.
  1. Flip around to the front again, and in the Thor Modulation Bus Routing Section (MBRS), enter the following:
      CV In1 : 100 > CV Out1 : 100 > Midi Gate (under Midi Key > Gate)
    CV In2 : 100 > CV Out2 : 100 > Midi Gate (under Midi Key > Gate)
  • Open up the Programmer Modulation Routing on the Combinator and for the Subtractor device uncheck the “Receive Notes” checkbox. Then select the Thor device and enter the following for the Key Range: Lo: C-2 / Hi: C-2. This way, when you press C-2 on your keyboard controller, it will open the gate and play the pattern on the Matrix.
  • Now press Run so the Matrix pattern is running. You won’t hear anything yet. In order to hear the pattern (turning it on or off) you need to press the C-2 key. This allows you to hear the pattern. The crappy part is that there’s no telling when the pattern will be picked up when you press the key. Put another way, the pattern is continually running, but only sounds when you press and hold the key down. Not the most elegant solution.
  • To add multiple instruments or parts, select the Subtractor, Thor, and the Matrix (holding down your “Shift” key to multiple-select the devices), right-click and select “duplicate devices and tracks.” Enter your new pattern in the Matrix. Then flip to the back of the rack and route the audio out of the Subtractor to a new channel. Finally, go into the Combinator programmer, and adjust the Thor device so that only one key on your keyboard controller is used to trigger the Thor (C#-2, for example).
  • Repeat the above process for as many sounds as you need (up to the total amount of keys that your keyboard will allow: 88 for a full size piano or synth controller keyboard, or 128 for the full midi range which a Reason or Record Combinator allows — from C-2 to G8). This is more than enough of a range to create a complete set of instruments and sounds for most any standard songs or performances.

    • Using Thor’s Step Sequencer for Precise Pattern Key Triggering

    Now that you have an understanding of how the Matrix is key triggered, I’ll move on to a more robust way of accessing patterns via the keyboard. This method replaces the Matrix in favor of the Thor Step Sequencer. Since the Thor Step Sequencer can be programmed to start and stop precisely where you want it, using it is the best option when you want precise control over your sounds. It’s just too bad that it’s more of a pain to enter and edit notes into it. The Matrix, to my eyes, provide a simple visual way to add patterns. The Thor Step Sequencer is more tedious by changing rotary knobs all the time.

    The Momentary Key Method

    The first method is the easiest and allows you to create a “momentary” trigger via your midi keys. This means that when you press a key, the Step Sequencer plays the pattern. When you release the key, the pattern stops.

    1. To set this up, first create a Combinator, and then in order a 6:2 Mixer, a sound device (here, a Subtractor), and holding the “Shift” key, a Thor device. While you’re at the front of the rack, add a sound into the Subtractor that you’d like to hear. Any sound will do.
    2. Completely Initialize the Thor device. This means removing the Oscillators, Filters, bringing all values to zero as well.
    3. In the Thor MBRS, enter the following:
        Button 1 : 100 > S.Trig (found under Step Sequencer > Trig)
    4. Directly to the rght of Button 1 on the Thor, use the upward spin control arrow to set this to C-2. This means that the Thor Step Sequencer is triggered when the C-2 key is pressed. In the Step Sequencer, set the Run Mode to “Repeat” and enter a pattern into the Step Sequencer (note that to gain access to the full note range, you’ll need to switch the Octave setting to “Full”).

    Note that an alternate way to trigger the Step Sequencer is outlined in the Video. Though this is a more labor intensive way to trigger things. If you want to use this method, switch the “Button 1” source in the MBRS to “MIDI Gate (found under MIDI Key > Gate)” and then open the Combinator Programmer and adjust the Key Range of the Thor device to Lo: C-2 / Hi: C-2 (so one key is selected). This achieves the same outcome.

    1. Flip the rack around and in the “Step Sequencer CV Output,” send the Note and Gate/Velocity CV outputs into the Gate / CV inputs on the Subtractor.
    The back of the rack showing the Thor routing from the Step Sequencer into the Subtractor.
    The back of the rack showing the Thor routing from the Step Sequencer into the Subtractor.
    1. Lastly, go into the Combinator Programmer, and deselect the “Receive Notes” checkbox for the Subtractor (so that the Subtractor only receives notes from the Thor Step Sequencer).

    Now, when you play the C-2 key, the Thor Step Sequencer will start and play for as long as the key is held down. Cool right? If you want to create more instruments along other keys, create the new sound device (or even another Combinator), duplicate the Thor, connect the new Thor CV outputs to the new device, and move the button spin control to the new key setting. Done.

    The Latched Key Method

    No, this is not the latched key kid hanging outside his parents’ house with the key around his neck. This is the second method to trigger patterns via MIDI keys. It is is a little more complex because you need two Thors to produce it. This method is a “latch” or “hold” style of triggering. Another way to look at it is a toggled pattern on / pattern off method. In this procedure, you press a key and the pattern starts. The pattern then plays through even when you release the key. You then press the same key again, and the pattern stops. In this way, the pattern is “latched” by the key.

    1. Building on the first method, we need to change a few things. First, reset the Combinator by removing the key assignment (using the spin control to the right of the button — which should be set to “-“). We also need to remove the “Button 1” line in the MBRS (not necessary, but for cleanliness’ sake). Label this Thor “Pattern.”
    2. Create a new Thor and completely initialize it as we did previously. Label it “Trigger.” In the Step Sequencer, set the Run Mode to “Step,” change the Edit knob to “Curve 1” and create a 2-step pattern, with Step 1 set to zero (0) and Step 2 set to 100. Then enter the following line in the MBRS:
        MIDI Gate : 100 > S. Trig
    3. Flip the rack around and send the “Curve 1” CV output from the “Trigger” Thor into the “Gate In (Trig)” CV input on the “Pattern” Thor.
    The back of the Reason rack with the CV routings for the latched setup. One Thor triggers the other Thor's Step Sequencer to start
    The back of the Reason rack with the CV routings for the latched setup. One Thor triggers the other Thor's Step Sequencer to start
    1. Flip the rack back to the front and in the Combinator Programmer, ensure both the Subtractor and “Pattern” Thor is not receiving notes (uncheck the “Receive Notes” checkbox), and ensure the “Trigger” Thor is receiving notes (the “Receive Notes” checkbox has a check in it). Also set the Key Range value for the “Trigger” Thor to Lo: C-2 / Hi: C-2.
    The Combinator Programmer Modulation Routing
    The Combinator Programmer Modulation Routing

    Now press the C-2 key on your keyboard. The Step Sequencer starts and plays through even when you release the key. Press the key again, and the Step Sequencer stops. If you wish to add more devices to different keys that are “latch” triggered, create the new sound device (or even another Combinator), duplicate the 2 Thors, connect the new Thor CV outputs from the “Pattern” Thor to the new device, and adjust the Key Range to a new key for the “Trigger” Thor within the Combinator Programmer. Then you can set up your pattern in the “Pattern” Thor Step Sequencer, and you’re all set. Simple right?

    Where do you go from here?

    Here’s a few suggestions, which we will explore in the next part in our “Key Triggering Patterns” tutorial series:

    • Now that we have the hang of the way in which we can trigger the Thor Step Sequencer via your keyboard controller, you can duplicate the same sound source as many times as you like to create new patterns for the same sound source. Yes, you can merge the CV to control the same sound source (instead of duplicating the sound source), but it’s often quicker just to copy the whole thing and change your pattern.
    • You can create many different sound source instruments (any synths, samplers, Rex or Drum modules) that are controlled by different Thor Step Sequencers and map them to your keyboard to create complex multi-instrument Combinators. Using this method, you could even create an entire song within a single Combinator, and play the parts of the song by playing notes on your keyboard. In this way, you can bring the sounds in and out based on how you play the keyboard, or program the notes directly into the main Reason sequencer.
    • Instead of setting this all up in a Combinator, try setting it up on a Kong device, and using the Pads to trigger the patterns instead of the Combinator.
    • Feeling ambitious? Try combining the two methods: “Momentary” and “Latched,” then designating a key on your keyboard, a button on the Combinator, or a Pad on Kong to switch between the two methods.

    These ideas are great for setting up “Live Play” templates in Reason Combinators. It takes a lot of preparation to set up a complete song in this manner, but once it’s set up, it will make you look like a magician as you play complete part sequences with the press of a key.

    What do you think of these ideas? Have any others that you’d like to share here? Post a comment and let me know what you’re thinking. As always, thanks for watching, listening, and reading.

    52 – Dr.VocoRex: Going Loopy

    It’s time for something new and fresh to come out of Reason 5. So I give to you the Dr. VocoRex Loop Manipulator. It’s a bit of a glitch, and it’s a bit of a fun creative way to merge some Rex Loops and a Vocoder together, and provide a few parameters that you can play with and manipulate. So let me know what you think. I’ll show you how to build it below, and then I’ll provide a few Combinator variations. You’re the loop doctor. So let’s start dissecting our patient.

    It’s time for something new and fresh to come out of Reason 5. So I give to you the Dr. VocoRex Loop Manipulator. It’s a bit of a glitch, and it’s a bit of a fun creative way to merge some Rex Loops and a Vocoder together, and provide a few parameters that you can play with and manipulate. So let me know what you think. I’ll show you how to build it below, and then I’ll provide a few Combinator variations. You’re the loop doctor. So let’s start dissecting our patient.

    The project files can be found here: Dr-VocoRex-Loop-Manipulators. This is a zip file that contains 3 Combinators that we’ll be building below. I used Reason 5 to build them, and since they use features from the new Dr.OctoRex, you’ll need Reason 5 to work with them. However, try to work on something similar in Reason 4. You won’t have access to multiple loops in a single device, nor some of the CV inputs, but you can still go a long way to recreating something similar. I also included an .rns file so that you could quickly open them both and try them out. For the .rns file, I believe you will need Reason 5.

    To start off, you can do a lot of neat things with the Dr. OctoRex via CV, and that’s really at the heart of this tutorial. When you start creating 2 Dr. OctoRex devices with different loops and using a Vocoder to bring them together, things can quickly get very wild and interesting, especially where the CV routing is concerned. So it’s time to put on our CV hats and dive in.

    The Basic Setup

    Here’s the video to showcase the kinds of setups we will be working to build:

    1. First, create a Combinator and 6:2 mixer underneath. Now create a Dr. OctoRex, Vocoder, and Spider Audio Merger/Splitter. Then holding the Shift key down, create another Dr. OctoRex loop player.
    2. Flip the rack around and send the Left and Right audio output from the second Dr. OctoRex player into 2 left (mono) channels on the Merger side of the Spider. Then send the left output to the Modulation input on the Vocoder.
    3. Flip the rack around to the front once again. Expand the Rex loop players and Add two different loops into the first slots of each device. For the moment, let’s ensure they are both the same speed.  So now you have a loop in slot 1 for both devices. The top Dr. OctoRex is what will be played (the Carrier). The bottom Dr. OctoRex is what will be used to modulate the top Rex loop (the Modulator).

      4. For this exercise, I chose the Drb18_Optical_165_eLAB.rx2 for the first Dr. OctoRex and the Drb09_Shadow_165_eLAB.rx2 for the second Dr. OctoRex loop player (both files can be found under the Dr Rex Drum Loops > Drum N Bass folder).

    4. On the Vocoder, set the number of bands to 32. I prefer this band level because it gives a better definition of the sound.
    5. Now let’s get into the CV and play with a few bands in our Vocoder. Flip the rack around and create the following CV connections:

      6. Vocoder (Band 12 CV Out) > Dr. OctoRex (Carrier) Osc Pitch CV In (trim knob set to 127).

      Dr. OctoRex (Carrier) Voice 1 Filter Env. > Vocoder (Band 7 CV In).

      Dr. OctoRex (Modulator) Voice 1 Filter Env. > Vocoder (Band 11 CV In).

      Immediately playing this will yield some interesting results. Now try adjusting the Filter Envelope on both Dr. OctoRex devices. You’ll notice you can get a variety of freaky sounds out of this setup.

      The back of the rack showing the two Dr. OctoRex devices used as a Vocoder Carrier and Modulator
      The back of the rack showing the two Dr. OctoRex devices used as a Vocoder Carrier and Modulator
    6. All that’s left is to open up the Combinator’s programmer and setup the Rotaries and buttons to gain access to a few crucial elements of these devices. Here’s how I set things up:

    Rotary 1 > Vocoder Dry / Wet : 0 / 127

    Rotary 2 > Vocoder Shift : -64 / +63

    Rotary 3 > Dr. OctoRex (Carrier) Osc. Env. Amount : -64 / +63

    Rotary 4 > Dr. OctoRex (Modulator) Osc. Env. Amount : -64 / +63

    Button 1 > Vocoder Hold: 0 / 1

    Button 2 > Unassigned.

    Button 3 > Unassigned.

    Button 4 > Unassigned.

    Going a Few Steps Beyond the Ordinary

    So the next logical step is to add more loops and then set up 2 Combinator Rotaries to adjust the loop slot position of each. This opens you up to 8 different Loops in each Dr. OctoRex device which can be mixed and matched to your liking (it’s like having 8 carriers and 8 modulators; all of which are adjustable.

    If you add more loops and then adjust the loops so that they can be tied to a Rotary knob and switched at will between them, ensure the “Trig Next Loop” on the Dr. OctoRex devices are set to 1/16. This way, the jump from one loop to the next will happen fairly instantaneously and without a long delay.

    And Now for Something Completely Different. . .

    Alternately, you could send all the output bands of the Vocoder into a series of Thors (4 CV bands for each Thor), then use these Thors to convert the CV to Audio and send all the audio outputs to a Mixer (you’ll need 2 14:2 Mixers to carry all 16 audio inputs). Then set up another bank of Thors to control the Level CV of each Channel on the Mixers. Once this is done, send the main audio output through a Spider Audio Merger/Splitter to make the signal Mono, and convert the audio back to CV in yet another “master” Thor. From there, it’s a matter of sending the CV into the Osc. Pitch of the Dr. OctoRex Carrier device. Now you can open the Combinator Programmer Modulation and set up a Rotary to control the “Step Count” (from 1 to 16) of all the Thor Audio devices (set in the “Reverse” direction). This allows the Rotary to cycle through the Vocoder’s “CV out bands.”

    Of course, if you use this method, you’re going to need to give up a Rotary. So I would do this as an alternative to adding multiple loops. Instead, use only one loop for the Carrier and another loop for the Modulator. Then you free up 2 Rotaries (Rotary 3 and 4, which were previously used to control the loop slot position of both Dr. OctoRex devices). Apply the Step Count parameter to Rotary 3, and you’ll still have another Rotary (4) to spare, for controlling any other parameter(s) you like.

    Then you can set up a series of Thors to control where the CV gets sent back “into” the Vocoder. To do this, you need to again convert the CV into Audio using a Thor, and then send this audio into a bank of new Thor devices, which are set up to determine where the CV source is sent (into 1 of 16 Input bands on the Vocoder). Then do the same thing we did previously on the Combinator’s third Rotary, except this time you’re using the Combinator’s fourth Rotary to control the “Step Count” of these new Thor devices. And there you have it. Rotary 3 controls the Vocoder’s “CV Out” bands, and Rotary 4 controls the Vocoder’s “CV In” bands. Pretty nifty. And it has all sorts of other applications, not just controlling parameters on a Dr. OctoRex. See: This tutorial provides you with more than just another loopy way to play with your loops. 😉

    Ok this is a little crazy, but you can control the CV ins and outs on the Vocoder via 2 Rotaries on the Combinator. Here's the back of the rack.
    Ok this is a little crazy, but you can control the CV ins and outs on the Vocoder via 2 Rotaries on the Combinator. Here's the back of the rack.

    If all of this is making your head spin, just check out the Project files. The third Combinator in the set (Dr. VocoRex 004) is the one that houses this little configuration. So look it over and you’ll see how it’s all set up.

    Where do You go from Here?

    Well, there’s many different directions you can go. If you’ve set up all the Vocoder CV bands as I did in the last part, it’s a cinch to plug the CV destination (from the Out bands) or CV source (from the In bands) to any CV in/out you wish on the Dr.OctoRex (or any other device you wish to introduce. So try playing around with these CV source/destinations.

    You could also introduce another set of Dr. OctoRex / Vocoder devices and have two going simultaneously. Just a thought. And with the new editability of slices in the Dr. OctoRex, you can adjust each of the slices individually.

    Or try perhaps to have a single Loop both be the Carrier and Modulator. With the separate outputs, you could have one set of slices modulating another set of slices; all within the same loop. Lots of possibilities.

    So these are just a few ideas you can use with 2 Dr. OctoRex loopers and a Vocoder. There’s probably a million ways to combine them together for some awesome results. Why not share a few with me here. I’d love to hear all your ideas. Until next time, happy Reasoning and happy Recording. Go out and make some masterpieces!

    51 – Matrix Track Building (Part 4)

    Just when you thought it was over. . . You were wrong! I’ve decided to extend this series of tutorials to explore a few things that I didn’t get to within the track I built. I could probably go on for 10 more parts to go over all the possible things you could do with the Matrix. But I wanted to focus on a few areas and explore them in a little more depth. So here’s a few things beyond the track, which you can do with the Matrix Step Sequencer.

    Just when you thought it was over. . . You were wrong! I’ve decided to extend this series of tutorials to explore a few things that I didn’t get to within the track I built. I could probably go on for 10 more parts to go over all the possible things you could do with the Matrix. But I wanted to focus on a few areas and explore them in a little more depth. So here’s a few things beyond the track, which you can do with the Matrix Step Sequencer.

    Download the new project files here: Matrix-Track-Building2(NoCheat). This zip file contains a new version of the main song .rns file, as well as the two new Combinators for the Bass and Pad tracks. They both contain new Matrix devices that can be used in place of the Mod Wheel Automation clips found in the song. Read on to see what was done to update them. Note: please respect that these project files, like everything else on this site, is under the Creative Commons 3.0 licensing, meaning you can mix, remix, share, and play around with the song to your heart’s content, but you will need to provide the source info and a link back to my site here in any productions you do with this file. Share and share alike ok? And you can’t make any money off the file. It’s not going to win any awards anyway. But if you remix or play with the file, send them back to me privately and I’d be happy to showcase them here in a new posting (send to my email in the top menu), I’d love to see what you come up with. Don’t be shy! 😉

    Chaining Patterns together to create a Pendulum Direction

    As I mentioned in Part 1 of this series, you can chain two patterns together to create a Pendulum direction for any pattern. To do this, simply have one pattern going one direction, and another pattern going the opposite direction. Then you can place the patterns back to back endlessly in the main sequencer on the pattern track. The pattern clips would alternate and sound exactly as if you used the Pendulum direction setting on the Thor Step Sequencer. Here’s a short video to show how that’s done.

    Automating the Resolution Knob

    Spend more than a few minutes with the Matrix, and you’ll realize that you can’t automate the Resolution knob in a Matrix. So how do you keep the pattern the same, but change the resolution of the pattern? I came across this problem when I was first starting out with Reason. And it’s no problem. The solution is to create copies of the pattern (A1, A2, A3, A4, etc.) and then change the resolution for each pattern. If you want a pattern that can travel across all resolutions in the Matrix, you’ll have to create 9 copies of the same pattern, and then change each pattern’s resolution setting from 1/2 to 1/128.

    Note: You can even put the Matrix inside a Combinator and assign a Combinator Rotary to switch between the different patterns (A1 to B1). In this way, the Combinator Rotary acts as a Resolution knob, and it IS automatable. Only downside is that your pattern must complete the full pattern cycle before it switches to the next pattern/resolution in this scenario (because the Matrix is “locked” to the main tempo).

    Finishing up the song. . . No Cheating this time!

    Now let’s delve back into the Track I completed and update those last two automations that were put on the Mod Wheel automation lanes, and change them to be controlled by the Matrix. Once this is done I can clear my conscience and bring this series to a close.

    Note: For a full explanation of how this is accomplished, refer back to “Part 2” of this series, where I go into great lengths on the subject of using the Matrix to create a long complex pattern (or rather, a compound pattern). If you’ve been reading this tutorial through chronologically, the hope is that you’ve given this a try yourself and come up with something similar to the solution I came up with here.

    If you look at the image below, you’ll see how I changed the automation in the main sequencer for the Bass and Pad track. For both those tracks I turned the automation lanes off (to keep them here to show you the relationship — they are just above the new Matrix Pattern Lanes), and added a new Matrix to control the Mod Wheel of each of those Combinators (labeled “M.Wh.Seq.”). This essentially does the same thing as the automation. If you open the Project files at the top of this posting, you’ll be able to open up the .RNS, solo each track and then play the song at the automation points to listen to how the Matrix is working. You can also open up the rack and see the Matrix cycle through the patterns. If you want to switch back to compare, just turn the Matrix pattern lane off, and turn on the automation lane again.

    The main sequencer showing how the Matrix patterns can be used in place of the Mod Wheel Automation clips
    The main sequencer showing how the Matrix patterns can be used in place of the Mod Wheel Automation clips

    And that about does it for the Matrix. I’m sure there are many other ways to use the device, but my hope is that this shows how you can get the Matrix to play most anything the Reason devices can dish out. I hope this also shows you some new creative ways that you might not have known about before. If you have any other uses for the Matrix, please feel free to share them here. It’s been an interesting creative journey for me, and I hope for you as well.

    As always, thanks to those who watch, read, and listen in.

    50 – Matrix Track Building (Part 3)

    In this tutorial, I’m going to finish up our Matrix song, and then explore the differences between the Matrix and the Thor Step Sequencer in a little more detail. It’s important to note the differences between the two and how one is not necessarily better than the other. Although I would argue that Thor’s step sequencer is much more advanced from a programming standpoint. I think the Matrix still has a lot to offer and still provides a lot of possible uses. So don’t shelve it just yet.

    In this tutorial, I’m going to finish up our Matrix song, and then explore the differences between the Matrix and the Thor Step Sequencer in a little more detail. It’s important to note the differences between the two and how one is not necessarily better than the other. Although I would argue that Thor’s step sequencer is much more advanced from a programming standpoint. I think the Matrix still has a lot to offer and still provides a lot of possible uses. So don’t shelve it just yet.

    Creating a Bell Fill

    This time we’ll use the Matrix in a new way, as an Arpeggiator. I know if you have Reason 4 and up, you have the great RPG-8 (which I’ve explored in a different series of tutorials). This time, however, we’ll use the Matrix to arpeggiate your sounds. In this specific case, the Bell Fill track is used to add some arpeggiated notes into the song. Creating an Arpeggio with a Matrix is really easy. Think of it this way: You need one Matrix to play the notes/gate and another Matrix to apply the Arpeggiator. In the second Matrix, the Note CV is sent to the Osc. Pitch CV input (Osc. Pitch is a CV input on all Reason Synths and Samplers).

    In this case, a Thor is used to create a Bell sound using 2 FM Pair Oscillators, and then one Matrix is sent to the Note/Gate CV input on the Thor (this plays the Thor in a normal way), and another Matrix Note CV output is sent into the CV1 input. On the Modulation Bus Routing Section (MBRS), the CV1 input is sent to the 2 Oscillator Pitches. Any notes you input on this second Matrix device will adjust the Pitch as the Thor is played; i.e.: it arpeggiates the Notes being played. This gives you a great degree of control over your Bell sound.

    Song Cleanup

    Finally, we’ll do a little bit of cleanup to the song overall. First, we’ll add a Reverb as a send to all the tracks and “glue” the whole song together. Second, we’ll add a Mastering Suite underneath the Hardware Interface to master the entire track. Note that this is just a starting point. You can tweak all the mastering device parameters to fit the song as you see fit. But it’s a good starting point to try out some of the Mastering Suites that are included with Reason and Record. For that matter, you can bring everything into Record and use the SSL to master your track. So many options.

    Probably more important is the fact that if you have Reason 5 (not sure about Reason 4), you can select all the Matrix Sequencer tracks (using Ctrl+Right-clicking on the tracks at the left section of the sequencer) and select “Convert Pattern Automation to Notes.” This is a very handy way to convert all the pattern automation you’ve spent so much time getting “just right” into note clips on note lanes. Once this is done, you’ll have to move all the note clips to their respective Combinator tracks. The Pattern lanes are automatically muted for you though, because the expectation is that you won’t want to have them playing or “doubling” up, after you move the note clips to the Combinator lanes.

    This little trick provides you with the ability to then go in and adjust individual notes or entire note clips using the “Sequencer Tools” (F8). You can quantize, Transpose, adjust velocity, randomize notes, Scale Tempo, etc.

    So there in a nutshell is how you can use the Matrix to build a track in Reason. Now I think I’ll try building one with nothing but Subtractors. That should be an interesting task. As always, let me know what you think, or if you have any suggestions on ways in which you can use the Matrix within Reason and Record.

    If you want to download the final song file, along with all the separate Combinators, you can find them here: Matrix-Track-Building. The file includes a final .rns file as well as the separate Combinators. The reason the Combinators are provided is because I’m running reason version 5. But for this project, I stuck only to devices you would find in both version 4.0 and 5.0. So if you can’t open the .rns file, then you have the Combinators and can reconstruct things yourself if you like. It’s more fun that way anyhow. Note: please respect that these project files, like everything else on this site, is under the Creative Commons 3.0 licensing, meaning you can mix, remix, share, and play around with the song to your heart’s content, but you will need to provide the source info and a link back to my site here in any productions you do with this file. Share and share alike ok? And you can’t make any money off the file. It’s not going to win any awards anyway. But if you remix or play with the file, send them back to me privately and I’d be happy to showcase them here in a new posting (send to my email in the top menu), I’d love to see what you come up with. Don’t be shy! 😉

    Where do you go from here?

    Well you have the file, so feel free to remix and play with it and send it back my way. I’d love to take a listen. As I put together this posting, I also thought a little more about the comparison between the Matrix step sequencer and the Thor step sequencer, so I’ll leave off with a look at both in a side-by-side comparison. Just to give everyone a little more food for thought about both, and when one would be better suited over the other. In asking some people on “The Sound of Reason” website which was more advantageous than the other, I got some mixed responses. Most found the Matrix to be easier to use live, but they also found the Thor sequencer to be advanced on a number of fronts. I’ll let you decide. For now, the jury seems to say that both are still very much necessary, and they are more like sisters than a parent-child relationship.

    So let’s take a rundown of the Pros and Cons of each by providing a side-to-side comparison:

    Matrix Thor Notes
    Pattern Enable Yes Yes You can use the “Step Seq.” button on the Thor Controller (top panel) to enable or disable the Step Sequencer.
    Pattern Reset No Yes (non-automatable button).
    Number of Patterns 8 Patterns x 4 banks = 32 1 Obviously, the Matrix can produce more pattern variations than Thor. You will need to create a new instance of Thor for each pattern you want to input.
    Pattern Randomization 2 Options (via right-click context menu):
    Randomize
    Alter Pattern    		 1 Option (via right-click context menu):
    Randomize    		 Dear Props: Please add Alter Pattern to Thor. Pretty please with a cherry on top.
    Convert Patterns to Notes Yes (via right-click context menu). No This is the biggest beef users have with Thor. You can’t send the Thor sequencer data to the Main Reason/Record sequencer, either as patterns or as notes.  Nuff said.
    Number of Steps 1 – 32 (selectable via digital input and up/down arrows). Non-automatable. 1- 16 (selectable via lighted square step buttons) or Step Count knob.

    Note that the Step Count knob is automatable, while the step buttons are not.

    		 Thor’ step count knob is automatable, which means you can automate the number of steps, but since you can’t automate the step buttons, you can’t automate turning steps on or off.
    Pattern Input Type Note/ Bar visual display (non-automatable) 16 Rotary inputs (non-automatable)
    Resolution Input Type Rotary (labeled dial) Rotary (digital dial)
    Step Directions 1 direction:
    Forward    		 5 directions:
    Forward
    Reverse
    Pendulum 1
    Pendulum 2
    Random
    Run Button Yes (non-automatable) Yes (non-automatable) It’s a little unfair to say that the Thor Run button is not automatable. As with most things in Reason/Record, there are workarounds. And you can get it to run using the Modulation Bus Routing Section (MBRS) or CV to trigger the sequencer.

    As far as I can tell though, there’s no way to automate the Matrix Run button.
    Run Modes No 4 modes:
    Off
    Step
    One-Shot
    Repeat
    Mute Light Yes Yes
    Sync Capability Yes Yes
    Synced Rate / Resolution 9 Positions (non-automatable):
    1/2
    1/4
    1/8
    1/8T (Triplet)
    1/16
    1/16T (Triplet)
    1/32
    1/64
    1/128    		 21 Positions:
    16/4
    12/4
    8/4
    7/4
    6/4
    5/4
    4/4
    3/4
    2/4
    3/8
    1/2T (Triplet)
    1/4
    3/16
    1/4T (Triplet)
    1/8
    1/16D (Dotted)
    1/8T (Triplet)
    1/16
    1/16T (Triplet)
    1/32
    1/64    		 Synced Rates/Resolutions which are shared between the two are in Bold.

    While the Matrix has less positions, it has two positions Thor does not: 1/128 and 1/2. Though I would venture that using 8/4 and 2/4 is the same as using 1/2.
    Non-Sync Capability No (always synced) Yes
    Non-Synced Range N/A .10 Hz – 250 Hz.
    Editability
    Notes Yes (5-Octave Range from C1 to C6) Yes (Full Range from C-2 to G8) Note that for Thor, there are 3 global Note modes: “2,” “4,” and “Full” octave ranges.

    Note also that for Thor, the Octave switch is not automatable
    Velocity Yes (Range is 0 – 127) Yes (Range is 0 – 127) Note: in Thor you can see a digital readout of the Velocity value. In the Matrix you do not see the precise value. It’s a bit of a guess to get the Velocity exact. Though workarounds exist to see the numerical CV value (see Part 1 of this series of Matrix tutorials).
    Gate Length 3 states:
    Off (0)
    Half (50%)
    Tied (100%)    		 100 States (Full Range of 0% – 100%)
    Step Duration Static Varied (17 Positions):
    1/4
    1/3
    3/8
    1/2
    5/8
    2/3
    3/4
    7/8
    1
    5/4
    4/3
    6/4
    7/4
    8/4
    9/4
    3
    4    		 This parameter is different than the gate length. Whereas Gate Length determines how long the gate stays open, Step Duration signifies how long the note plays.

    Put another way, this allows you to create a self-contained tempo inside Thor’s Step Sequencer. Something you can’t do with the Matrix because all steps are a static value. There is no ability to change step duration for each note played.

    If you use Step Duration in Thor, generally, you’re going to want your entire pattern to equal the same value as the overall tempo. This means if you change One step duration downward, you want to change another one upward to compensate.

    If you don’t compensate, you’ll end up with a pattern that’s out of sync (which of course may be what you want, but probably not).

    Try it out to get a feel for how it operates. If you go too far, there’s always the “Reset” button.
    Curve 1 Yes. 2 “modes”:
    Unipolar (Range: 0 – 127)
    Bipolar (Range: -64 to +64)    		 Yes. 1 “mode”:
    Unipolar (Range: 0 – 127)
    Curve 2 No Yes. 1 “mode”:
    Unipolar (Range: 0 – 127)
    Shuffle Yes (valid for Resolution values 1/8T and above).

    This is non-automatable, but is set on a per-pattern basis.

    		 No Though Thor does not have a Shuffle feature, you are usually better off using the ReGroove functionality for Both Thor and the Matrix.

    In Thor, you can use the Step Duration to shuffle as well.
    Editing Input / Edit Knob Note / Step / Gate / Velocity are drawn in by hand. Rotaries are available for each step, and are turned for one value at a time (determined by the Edit knob).

    Note that the edit knob as well as the steps and Rotaries are all non-automatable.

    		 This makes for easier “Live” editing input for the Matrix. Thor can be a little difficult and unwieldy to enter. It takes more time and precision to lay down a pattern.
    CV Capability (all of which are non-automatable)
    CV Outputs 3 Outputs:
    Curve CV
    Note CV
    Gate CV    		 6 Outputs:
    Note
    Gate / Velocity
    Curve 1
    Curve 2
    Start of Seq. Out
    End of Seq. Out    		 This is where Thor really shines, because there is an extra Curve CV, and extra CV outputs that can get sent to other locations when the Sequencer starts and/or stops.
    CV Inputs None 5 Inputs:
    Gate In (Trig)
    Rate In
    Pitch In
    Gate Length In
    Velocity In    		 Again, Thor has some nice input capability where CV can be used to send values into the Sequencer to Trigger all kinds of Parameters.

    For example, you can have the sequencer run (and play a short sequenced thor melody, for example) based on a Kick by sending the CV from the Kick drum into the Gate In (Trig) CV input.

    *Note: Unless otherwise specified, all above parameters are automatable in the sequencer.

    In leaving, I’ll say this: They both have their respective places. And what you want to do in your tracks is going to determine which step sequencer you use. One question that I can’t seem to shake is why on earth the Props didn’t provide the ability for the Thor step sequencer to create 64 patterns in a single device, and provide the same kind of editing interface that the Matrix has? If these two things were implemented, the Thor step sequencer would go light years beyond the Matrix and would probably negate the need to keep using the Matrix altogether. These two feature implementations would solve the two biggest issues: multiple patterns per device, and an editing environment that is easy to manipulate in a “live” environment. So if the props are listening, take note: This would help the users out immensely!

    Your thoughts?

    And after writing this, Sterioevo was kind enough to provide this cool little patch which shows how you can chain several Thor sequencers together to create a giant 256-Step-Transposable-Sequencer. No this is not a tutorial on Thor necessarily, but it shows that with some creative CV routing, you can get an amazing thing going on. Very cool stuff!

    49 – Matrix Track Building (Part 2)

    Now we get to some fun stuff: How to use the Matrix in a few different and interesting practical ways. To that end, I decided to build an entire track using nothing but sound devices that are controlled by Matrixes (Matrices?). This way, we can explore some of the practical uses of the Matrix along the way.

    Now we get to some fun stuff: How to use the Matrix in a few different and interesting practical ways. To that end, I decided to build an entire track using nothing but sound devices that are controlled by Matrixes (Matrices?). This way, we can explore some of the common and uncommon uses of the Matrix along the way.

    Creatively, it can also be a test of limitations to try creating tracks entirely with certain devices in Reason. It helps to set some boundaries and you might want to try creating an entire track using nothing but Thors, or nothing but one set of 10 samples or something along those lines. It forces your mind to think in new and innovative ways. And that, after all, is the point of this Blog.

    Kick Drum and Roll Creation

    In this video, I’ll show you how to create a kick drum and roll using a Subtractor. The Matrix is used to gate the drums and 2 patterns are created: One for the main drum part, and the other for the Roll. Once this is done, you can program the patterns in the sequencer and put the roll anywhere you want.

    Snare and Hi Hat Creation

    In this video, I’m going to do the same thing with the Matrix. Once again, we use some Subtractors for the sound sources, and the Matrixes are used to gate the drums.

    Entering a Bass Line and Variations

    Next, we’ll use a Malstrom and Matrix to create a simple Bass line. We’ll also use the “Copy/Paste Pattern,” and “Alter Pattern” functions on the Matrix to create some variations of the main bassline. Note that the “Alter Pattern” feature of the Matrix (accessed from the right-click context menu when you hover your mouse over the Matrix device) is unique to the Matrix. Even Thor doesn’t have this feature. The difference between Alter Pattern and Randomize are as follows:

    Randomize: Randomizes the Note values anywhere from C1 to C6 in the Matrix. Also Randomizes the Gate & Velocity events (on / half / tied is also randomized), and the Curve. In other words, all three Matrix outputs are randomized.

    Alter Pattern: Randomizes the notes, Gate / Velocity, and Curve events along the left and right axis. No new notes are introduced, no new velocity and gate values, and no new Curve values. Put simply, it reorders what already exists on-screen. And is one of the best features of the Matrix in my honest opinion.

    Ok, I’ll admit, I cheated a little on this one. I automated the Mod Wheel directly in the sequencer. I could have just as easily created a curve ramped upward in a new Matrix and sent the Curve CV output from the Matrix into the Malstrom’s Mod Wheel CV input. Then drawn the pattern into the sequencer at the position where the Combinator Mod Wheel automation is located. Oops. But this gives you a great opportunity to practice some of the concepts I’ve presented here. Why not try reproducing this automation lane with a new Matrix yourself? Yeah, let’s go with that. 😉

    Creating the Lead

    In this video, I’ll show how you can create a Lead with Thor. Then we’ll use the Matrix to create a few patterns as we did for the Bassline. One of the things I hope you take away from this video is the idea that you can use the Matrix to adjust parameters that don’t have CV input jacks on the back of them. I know this sounds counter-intuitive, but it’s not a hard setup at all.

    For example, here we have the BW parameter on Thor that can’t be adjusted via CV input, and since it can’t be adjusted on the Thor Modulation Bus Routing System (MBRS), you can’t send the curve CV of the matrix into Thor to adjust it that way. The solution is to send the Curve CV from the Matrix into a Combinator Rotary (or CV input in Version 5.0), and then set this parameter in the Combinator’s Modulation Programmer, so that Rotary 1 on the Combinator adjusts the BW in Thor. This way, the Combinator Rotary acts as a CV pass-through between the Matrix CV source and the Target parameter. This means that you can automate almost any parameter in Reason using the Matrix as a source. Such a simple idea with profound and powerful consequences.

    In this second Lead-creation video (below), I’m going to introduce the idea of creating Chords using the Matrix. Since the matrix is a monophonic device, you cannot play more than one voice (or note) at a time. So Chords are out. However, once the lead is created, you can duplicate both the sound source and Matrix a few times to gain access to multiple voices. For example, create three instances of the Sound Source/Matrix duo, and then on step 1 for the first Matrix, place a “C” note. On step one of Matrix 2, place an “E” note. Finally, on step 1 of Matrix number 3 place a “G” note. If you have a pattern that is one step long, you will hear a C-major chord when all three are played simultaneously (when all three Matrixes are “run” at the same time).

    So this video shows you how to create polyphony, and automate a polyphonic lead line in the sequencer.

    Adding Pads

    Now comes the part where we add our pad sound. This is a basic Thor device using some Wavetable Ocsillators and a Multi-Oscillator. Two Matrixes are used; one to control the note/gate of the pad, and the other used to adjust the Filter 1 Frequency.

    Once again, I cheated on the Matrix in favor of a Mod Wheel automation lane. The poor girl is never going to forgive me.

    Looks like another opportunity to try switching automation lanes into pattern lanes using a Matrix. For this one, it will be a little trickier. Since the Matrix pattern can only go 32 steps long, at the highest resolution(1/128) a single pattern can last 1/4 bar, while at the lowest resolution (1/2) a single pattern can last 16 bars. Put another way, if you want the smoothest possible curve, you will need to use 1/128 resolution. If you want the choppiest curve, you can use the lowest resolution (1/2).

    Why does resolution matter? Because it’s important to understand that the Matrix is a “Step” sequencer, and not a a smooth curve (like a vector curve, for example). Put another way, think of the steps in the step sequencer as a square wave and a vector curve as a sine wave. As the amount of steps increases and the amount of time to play those steps decreases, the Resolution becomes finer (the Square Wave moves closer to morphing into a Sine wave). As the amount of steps decreases and the time it takes to play those steps increases, the Resolution becomes coarser (the Sine wave moves closer to morphing into a Square Wave). The finer your resolution, the less you will hear the change from one step event to another. The coarser your resolution, the more you will be apt to hear the switch from one step to another. This is a key concept to keep in mind when working with the Matrix. If the resolution is too course, you’re going to hear the switches between steps — which may be what you’re after. For this specific case, we want to create a very smooth curve. That’s going to mean a lot of Patterns and some work to create smooth, even curves. Truth be told, in the Matrix, there’s no such thing as a pure vector wave or sine wave. It’s just that there is a point at which the resolution becomes so fine that the ear does not hear the switch from one step to another (similar to how resolution works with sight. look at a newspaper photograph up close or through a magnifying glass and you see all the dots — course resolution. Look at the newspaper from farther away and your mind can no longer discern the dot pattern — fine resolution).

    So how do you recreate the 20-bar ramp upward that I used for the Pad’s Mod Wheel automation?

    The solution is to determine the resolution you want, then chain your patterns together using multiple curves. Let’s go somewhere in the middle. Using 1/16th resolution, we will need 10 patterns to create a 20 bar curve (all patterns using 32 steps). So you will need to utilize patterns A1 to B2 to create a continuous ramp upward. Still with me? Good. Now the most difficult part comes. Since the Matrix does not provide a proper way to set each step (you have to do this visually), you’ll have to figure out approximately where the curve starts and stops between patterns. For this, you can use the Visualizing CV trick I showed in the video in Part 1 of this series. Or you can eyeball it using the hash marks along the left edge of the curve input area. You know that the curve ending A5 and starting on A6 will need to be at the 50% mark of the Unipolar Curve height. So work backwards from there ramping downward all the way to zero at the start of pattern A1 (use the Shift key to create an even line of step events in each pattern). Then work upward from the start of A6 to the end of B2 (again holding down shift to create an even line of step events). Once that’s done, create a series of 10 patterns on the sequencer, each 2 bars long, and chain them together from A1 at the start to B2 at the end.

    Now repeat this process using another 10 patterns and create a downward ramp 20 bars long (from B3-C4). To create the middle clip that is at level 127 is easy. Create a pattern (on C5, for example) which is one step long. On this first step of C5, raise the curve value up to the top in the Matrix editor. Then place that pattern on the sequencer for the duration of the middle clip (4 bars long in this song).

    Phew! Now you see why I cheated. This is no small task. It’s fiddly, and it takes some effort. So why would you do it this way? Well, it shows you the concept of chaining patterns together, which can come in very handy to create curves or note sequences over long passages in your song. Also, it’s a great way to learn how the Matrix operates, which is, after all, the reason for this tutorial series. But more on this whole pattern chaining issue later on.

    Thus ends the second part of our track creation using Matrixes. In the next part of this series, I’m going to show you how to use the Matrix as an arpeggiator, finish and clean up the track, convert all the patterns to notes, and more. Until next time, hope you have some fun in Reason and Record, and post a comment to let me know how you’re making out with the software and how I’m doing teaching it to you. Thanks for reading!

    48 – Matrix Track Building (Part 1)

    In this tutorial, I’m going to work with the Matrix and build a track by step sequencing. Egads! I hear the purists gasp, as they turn away in disgust. But rest assured, I’m merely presenting this as a creative idea to force you to think about alternative ways to build your songs. Take from that what you will. In the end, I hope this shows you how the Matrix, and step sequencing in general, can be a powerful ally when you compose your tracks.

    In this tutorial, I’m going to work with the Matrix and show how you can build a track by sequencing, rather than by plugging notes into the standard Reason sequencer. Egads! I’m not saying this is the best and only approach. Indeed, a lot of people (purists mostly) would probably turn away in disgust at a tutorial like this. I’m merely presenting it as one way you can use to build your songs. Take from that what you will. In the end, I hope this shows you how the Matrix can be a powerful ally when you compose your track, whether or not you go to the extreme of building an entire track using step sequencing or not.

    In this first part of the series, I’m going to familiarize you with the Matrix device, and show you how it works. I’m also going to show you a few ways you can use it, as there are an infinite array of ways in which it can be applied. So let’s start out with the Basics, and then we can move on to Part 2, where we get a little more complex.

    Matrix Basics

    First, a bit about the Matrix. The Matrix is a monophonic step sequencer that is used to generate CV signals to control other devices. It makes no sound on its own. Rather, it must be used in conjunction with other devices for you to achieve anything with it.

    Here’s a short video that goes over the various parameters of the Matrix:

    The Matrix controls other devices via the 3 CV outputs on the back. Here’s a rundown of the purpose of each of the CV outputs:

    1. To send a gate on/off signal to tell other devices when to start and stop (or to turn a parameter on another device on or off).
    2. To send a note output in a 5-octave range a from C1 to C6 (take note that this is not the full range of all octaves on the keyboard, but rather a subset — for this reason, certain notes and triggers are outside the reach of the Matrix – for example triggering a rex loop to start and stop).
    3. And finally, there is a curve CV which is a straight CV value that can be used for a variety of purposes (much like the Curve 1 or 2 value in a Thor Step Sequencer). The Curve CV is great for drawing in your own curves to be applied anywhere you like.

    There is a special switch on the back of the Matrix device called “Bipolar / Unipolar.” Put simply, there are 2 possible CV algorithms that can be used: One is “Bipolar” which sets the CV from -64 to +64 and the second is “Unipolar” which sets the CV from 0 to 127.  To understand how this works, think of the difference between volume and Panning in the midi world. Volume is Unipolar: It can go from zero (0) volume to full volume (127). This is the way the fader operates on the 14:2 and 6:2 Mixers in Reason. Panning, on the other hand, is bipolar because it can go from fully left (-64) to fully right (+64). In this instance, zero would be the middle of the stereo field. This switch allows you to set how you want your source curve to act on the destination of the CV signal. And you can visually see how it is displayed on-screen in the “Curve / Keys Display area.

    The Unipolar setting on the back of the Matrix produces a Unipolar Curve on the front panel display (CV value 0 - 127)
    The Unipolar setting on the back of the Matrix produces a Unipolar Curve on the front panel display (CV value 0 – 127)
    The Bipolar setting on the back of the Matrix produces a Bipolar Curve on the front panel display (CV value -64 to +64)
    The same curve but shown in Bipolar mode (CV value -64 to +64). The line across the middle of the display is where the value is zero. Anything below this line is negative, and anything above this line is positive.

    The Front Panel

    From the front of the panel, you fill in your pattern information. Here’s a rundown of the front panel of the Matrix:

    The Front of the Matrix Device with all parameters outlined.

    Pattern Bank: Here you can select from 8 different patterns and 4 different banks (for a total of 32 patterns within a single Matrix). To work on entering a pattern, select an appropriate pattern in a specific bank (usually starting with A1), and then enter curve, note, and velocity (gate) information for the steps in that pattern (or any combination).

    Curve / Keys Switch: This switches the display mode from Key display to Curve display. By default, the matrix is set to show Keys in the display (in a 5-octave range). When you switch to Curve display, the Curve can be visually drawn into the display.

    Note: holding down the shift key and drawing across the Note or Curve steps creates an even line of note or curve events from the first click to when you let the mouse go. Also, the gate does not play a factor when working with Curves. Gates are a separate CV source from Curves. The curve simply provides a value from 0 – 127 that is represented visually by the bars in the Curve Display.

    Curve / Keys Display: This area provides a visual display of the note events in the C1 – C6 range. When the Matrix is run using the Run button, the step sequencer starts and travels from left to right for the number of steps entered, then starts over from the left again and runs through the pattern again. It is forward-moving from left to right and repeating. This is the only direction of movement for the Matrix. In contrast, you can move the Thor Step Sequencer in a few different directions (Forward, Reverse, Random, Pendulum).

    Enter note events using your mouse to click on the note value you want. The screen displays 13 notes (1 octave+1) at any given time. Use the “Octave Switch” to the left of the note area to move down or up to the next or previous octave.

    Gate Velocity Display: This area runs along the bottom of the Matrix and provides Gate Velocity information. Use your mouse to determine the velocity level of the notes being played by lowering or raising this small bar. You can turn off a note (making it silent) by pulling the Velocity bar all the way down so it is no longer visible. In this case, no matter what note is entered in the Note Display for this event, the note acts as a “rest” for the duration of this gate event.

    By default, the note duration is only half the length of the gate. You can enable the “Tie” button, and this allows you to enter full gate duration, so the notes seamlessly sound from one note to the next (or from one gate event to the next).

    Note: You can also use Shift when entering Gate/Velocity events. By default, holding Shift down as you draw the events allows you to enter “Tied” gate events. If you have the “Tie” button on, holding Shift down enters non-tied gate events.

    Think of it this way: There are 3 settings for a gate event in the Matrix

    1. None: In this case, there is no sound for the note on this step. In other words, the step is a full length of silence (when the Velocity bar is pulled all the way down). The event still occurs for a whole step of silence. This would be like looking at the “Gate” setting in Thor’s Step Sequencer, and having the Step Knob set to 0% (no gate).
    2. Half Step: the Velocity bar is visible and set to a value of some sort. This is the default setting where the velocity bar occupies half the length of the note (from left to right). This would be like looking at the “Gate” setting in Thor’s Step Sequencer, and having the Step Knob set to 50% (half).
    3. Whole Step: The Velocity bar is visible and set to a value of some sort. However, the “Tie” button is enable when you set it (click on the gate event). In this case, the gate is set to be the full length of the note (and glides into the next note/gate event). This would be like looking at the “Gate” setting in Thor’s Step Sequencer, and having the Step Knob set to 100% (full).

    As you can start to see, there are some limitations to the Matrix. You cannot create step gate lengths other than these three states (though you can creatively workaround the situation — See Sterioevo’s comment below this post). You cannot change the play direction of the Matrix as you can in Thor (though a workaround is to create two patterns and chain them — for example, create one pattern with notes going forward, and another pattern with the notes going in reverse, and then put their clips on the sequencer back to back for a “Pendulum” direction. You also cannot see the CV’s numerical value for all three sources (Note / Gate / Curve). They appear visually on-screen as bars and note blips. Whereas, you can see the CV values clearly in Thor.

    As a sidenote, if you ever want to see CV values for any parameter in Reason, send the CV value to a Combinator Rotary, and include a Thor device in the Combinator. Then on the Combinator Programmer, assign the Combinator’s Rotary 1 to Thor’s Rotary 1 with a min/max value of 0 / 100. Then you can hover your mouse cursor over Thor’s Rotary and see the readout of the value in the Tooltip. And if you want something a little more advanced, you should check out Meowsqueek’s CV Monitor Tool at his Off-White Noise site. But for something very basic, here’s a video for how to set up the Thor Rotary as a Monitor tool:

    Steps: For each pattern, you can select the number of steps from 1 to 32. To create 4 1/4 note beats per bar, enter 4 in the number of steps, and dial in 1/4 for the Resolution (see “Resolution Knob” below).

    Resolution Knob: While the Matrix adheres to the Global tempo value that you set, the Resolution knob allows you to force the Matrix to play at different tempos or speeds. For example, in 4/4 time, if you create a pattern with 4 steps, and want 1/2 notes, dial in 1/2 for the resolution. You’ll end up with 2 1/2 notes in your sequencer. In other words, the lower the resolution value, the slower the step sequencer runs (or the less notes that are entered per bar). The higher the resolution value, the faster the step sequencer runs (or the more notes that are entered per bar). There are 9 possible Resolution values from 1/2 to 1/128 (two of which, 1/8t and 1/16t, are triplet values).

    Shuffle Button: Provides a swing feel to your notes. As the user manual puts it: “It delays all 1/16th notes that fall between the 1/8th notes.” This means, as far as I can see, the Matrix Shuffle setting only affects your output if you have the Resolution knob set to 1/8t or higher. Any setting below that will not change the “groove” of the Matrix pattern. In addition, the shuffle amount is set by the ReGroove “Global Shuffle” setting in the ReGroove Mixer. The “Shuffle can be set independently for each pattern.

    Note that this “shuffle” feature is like a poor man’s single-setting ReGroove. All I can say is that it’s great for a quick shuffle feel, but you’re usually better off using the ReGroove in most cases. But since this is all about the Matrix, we need to explore all of its settings.

    Matrix Quick-Start 1: Matrix as Sound Previewer

    Long before we had the computer keyboard controller (F4 in Reason 5), in the days of old, the best way to preview a song was to use a Matrix. This probably goes without saying but create a sound device in Reason (synth or sampler), and then create a Matrix directly underneath. The Note / Gate CV outputs from the Matrix are connected to the device automatically. Now, with the Matrix still selected, press Ctrl+R to enter a random pattern into the Matrix on pattern A1. Then click the “Run” button on the Matrix (or the “Run” button on the main transport). Bingo! Instant sound previewer. This is great for situations when you want to listen to how a synth sounds as you’re making parameter changes to the synth. And it’s the most basic use of the Matrix.

    Matrix Quick-Start 2: Matrix for Parameter Adjustment

    Next up is still a very basic concept, but it’s worth exploring. Keep the setup you just created in the “Matrix as a Sound Previewer” section. Now flip to the back of the rack and connect the Curve CV from the Matrix to the Pan CV input on the channel of the mixer where the sound device is located. Turn the trim knob way up. Now set the Bipolar/Unipolar switch to “Bipolar.” Flip back to the front of the rack and press Run again. Voila! Not only is the matrix playing the sound device, it’s also changing the Panning for the device based on the Curve in the Curve display.

    The Back of the Matrix with proper Note/Gate CV controlling Thor. And the curve controlling the Pan on the Mixer.
    The Back of the Matrix with proper Note/Gate CV controlling Thor. And the curve controlling the Pan on the Mixer.

    In Summary

    As you start to work with the Matrix, you begin to realize how it is a poor cousin to Thor’s Step Sequencer, and you’d be very right. The Matrix has been around since the birth of Reason back in Version 1, and Thor, who came around in version 4, has opened us all up to an entirely revamped “Matrix” in its Step Sequencer. In this respect, Thor is more than just a synth. It’s an enhanced Matrix as well (on steroids, no less). For example, in Thor you have multiple directions your Pattern can take, you have a full 0 – 100% range for the gate length (the Matrix has 3 static states). And you have 2 available curves (the Matrix has one). Still, the Matrix does have at least one advantage over Thor: It can produce 64 patterns in a single device; whereas Thor can only produce one. So it might not come down to a question of who is bigger and badder (though I would still argue Thor wins out every time), it might also be about which device is right for the job.

    So why on earth would you still use the Matrix? Because sometimes you don’t need all the power of Thor. Because you might want to create a lot of pattern variations with minimal fuss. Because sometimes it’s healthy to work within a device with set limitations. And most of all, because knowing one will help you learn about using the other. The Matrix is a great place to start. And it’s a wonderful stepping stone to understanding the Thor Sequencer. If Thor seems too intimidating, start with the Matrix and learn it inside out, You’ll be more than halfway to understanding what goes into Thor’s own Step Sequencer. It’s like learning the Subtractor synth before you jump into the Thor synth. And it can be a great creative way to learn how to use it in depth.

    Please feel free to provide any comments or insights you might have about the Matrix, Thor, or anything else Reason-related. Stay with me until the next part in this series where I take you further down the Matrix rabbit hole.

    47 – Beyond Kong Pad Banks

    In this tutorial, I’m going to dispel the myth that Kong can’t contain multiple pad banks — that is, multiple kits. Here I’ll show you two ways to extend Kong by either Layering multiple Kong devices, or switching between multiple kits (from one kit to another). Method 1 uses the Combinator buttons to trigger 4 different kits (which can be layered). And Method 2 uses a Kong pad to trigger 4 different Kong banks, making it self-contained in a single Kong device.

    It’s come up on more than one occasion that Kong does not have the ability to provide multiple pad banks; that is, multiple Kits inside the same Kong. This is a feature that most other MPC controllers have: usually providing 4 entire kits from which you can select. In this tutorial, I’m going to dispel the myth that Kong can’t do this, and in turn I’m going to show you two different ways you can trigger multiple “banks” or kits for Kong. Method 1 uses the Combinator buttons to trigger 4 different kits (which you can also Layer on top of each other, and also adjust the master volume for each kit independently using the Combinator Rotaries). On the other hand, Method 2 uses a Kong pad to trigger 4 different Kong banks, and is therefore, a self-contained method where everything can be switched within Kong.

    The project files can be downloaded here: beyond-kong-pad-banks. There are two Combinators included in a .rns file which is zipped up. These files outline the two different approaches discussed below.

    Method 1: Kong 4-bank Kit (Layered)

    This is not my favorite way to create banks, simply because you need to use the Combinator controls to determine which bank is being played, and it takes two clicks to a) turn off one bank and b) turn on the other. However, the advantage is that you can layer these banks on top of each other and adjust the volume for all 4 banks. Something you can’t do with the other method. Also, if you need to switch banks instantaneously, your best bet is to program the switch in the sequencer, otherwise you’ll have a slight lag which even the best two fingers pressing on both buttons at once won’t be able to do at precisely the same moment. Automation to the rescue.

    Ok, so here’s the low-down. You create a Combinator with a 6:2 Line mixer. Then create four Kong devices underneath the line mixer so they are automatically routed to the mixer’s first four channels. Then load up your favorite drum kits into all four Kong devices.

    Once the kits are in place, you open up the Combinator programmer, and for each Kong device, enter the following:

    Kong 1 – Button 1 > Receive Notes : 0 / 1

    Kong 2 – Button 2 > Receive Notes : 0 / 1

    Kong 3 – Button 3 > Receive Notes : 0 / 1

    Kong 4 – Button 4 > Receive Notes : 0 / 1

    That takes care of the Buttons. For the Rotaries, we’re going to use the Line Mixer to provide level adjustments for each bank, so select the 6:2 Line Mixer in the Combinator programmer and enter the following:

    Rotary 1 > Channel 1 Level : 0 / 100

    Rotary 2 > Channel 2 Level : 0 / 100

    Rotary 3 > Channel 3 Level : 0 / 100

    Rotary 4 > Channel 4 Level : 0 / 100

    That’s pretty much all there is to it. Now you use the buttons to switch between banks; turning them on or off. You use the rotaries to adjust the level of each bank. Notice that you can layer the banks on top of each other, depending which buttons on the Combinator are active.

    Method 2: Kong 4-bank Kit (Self-Contained)

    Now for a somewhat different, and possibly more robust, way to create 4 Kong banks. The upside to this method is that you can control everything from the Kong pads directly. You don’t need to use separate Combinator controls. The downside (if indeed this is a downside) is that you cannot layer the pad banks. Each bank is either on or off. And in my mind at least, this seems to work the way most Pad Controllers and MPC devices work. And another downside is that you have to give up one pad to act as the “Pad Bank Switcher.”

    Keep in mind that even though this method does not layer the pad banks, there’s nothing to prevent you from building up layers using the NN-Nano drum type inside the Kong kit itself. It’s for this reason that I call this method much more flexible, because you can both switch between pad banks with one pad press and at the same time use layered drums inside the kits you are building. It’s the best of both worlds.

    This method employs multiple Kong devices that are chained to each other via Gate CV connections. So first, create your Combinator, and then a 14:2 Line Mixer. Hold down your Shift key and create a Kong device underneath the Line Mixer. This Kong is going to be used as the Main “Player” but will not require any audio to be sent to the Mixer. Everything this Kong does is CV-based, to trigger the other Kong devices.

    The next step is to chain all the Kongs together. So starting with the first Kong, send the Gate Out CV from each pad to the Gate In from the corresponding pad in the second Kong. Do this for Pads 1-15, and when finished route Kong 2 to Kong 3 in the same manner, and finally Kong 3 to Kong 4.

    Now create a Thor device underneath the Main Kong (hold the “Shift” key down so nothing is routed). This Thor is merely used for CV purposes, so initialize everything, and turn on the “Step Seq” button in the “Global” area of Thor (top panel). Inside the step sequencer, change the Run Mode to “Step” and turn the Edit knob to “Curve 1.” Enter the following: 4 steps, with the first step CV value of 100, and the other three steps to CV value 0 (zero). Here’s what it looks like:

    Curve 1 setup in the first Thor's Step Sequencer
    Curve 1 setup in the first Thor's Step Sequencer

    Now change the Edit knob to “Curve 2” and enter the following: 4 steps, with the second step CV value of 100, and the first, third, and fourth steps to CV value 0 (zero). Here’s what it looks like:

    Curve 2 setup in the first Thor's Step Sequencer
    Curve 2 setup in the first Thor's Step Sequencer

    Enter the following in the Modulation Bus Routing Section (MBRS):

    S.Curve 1 : 100 > CV Out1

    S.Curve 2 : 100 > CV Out2

    Flip the rack around to the back and send CV Out 1 to the Mixer Channel 1 Level CV input, and turn the trim knob all the way up to 127. Then send CV Out 2 to the Mixer Channel 2 Level CV input, and turn its trim knob all the way up to 127.

    Flip the rack back to the front, select the Thor and duplicate the device. Inside this new Thor, you will have to make changes to the MBRS for the Curve 1 and Curve 2 values. Curve 1 will be set to 100 on the third step and Curve 2 will be set to 100 on the fourth step (with all other steps set to zero). This setup is shown below:

    Curve 1 setup in the second Thor's Step Sequencer
    Curve 1 setup in the second Thor's Step Sequencer
    Curve 2 setup in the second Thor's Step Sequencer
    Curve 2 setup in the second Thor's Step Sequencer

    Flip the rack around to the back and send CV Out 1 to the Mixer Channel 3 Level CV input, and turn the trim knob all the way up to 127. Then send CV Out 2 to the Mixer Channel 4 Level CV input, and turn its trim knob all the way up to 127.

    Under the Thor devices, hold the Shift key down and create a Spider CV Merger/Splitter. Then send the Main Kong’s CV Gate Out on Pad 16 into the Split A input on the Splitter. Send one split CV cable into the first Thor’s “Gate In (Trig)” CV input and another split into the second Thor’s “Gate In (Trig) CV input. Pad 16 on Kong will now switch between all the other Kong devices, and though they all play at the same time, only one will be heard, based on the Curve values you set up in the two Thor devices (which are used to control the level of the main mixer).

    The back of the rack showing the CV routing from the Main Kong and two Thor devices
    The back of the rack showing the CV routing from the Main Kong and two Thor devices

    So what do you think of these setups? Personally, I think it’s nice to have everything self-contained inside the Main Kong device so that you can trigger any pad bank you like without ever having to leave your pad controller. Note also that you are not limited to 4 banks. You can setup as many as you like using this technique. You just need to increase the step values in the Thors, and duplicate the Thor device to create more inputs. It’s an easy way to extend the Kong functionality. Good luck!

    46 – Kong Keyboard Piano Roll

    Once again we have a new use for Kong. This time, we’ll turn Kong into a Piano Roll. On my Maschine, I can turn the entire device into a Keyboard by going into a special “Pad Mode – Keyboard (Button 1).” So I got to thinking if this was a possible setup for Kong in Reason. Sure enough, there’s an interesting way to work this out. Since most of the time, you’ll probably want to work on a Sampler device for this kind of feature, we’ll set it up within an NN-XT (or at least a group of NN-XTs). This way, you can insert the sample kit of choice, or your own samples directly into the device.

    Once again we have a new use for Kong. This time, we’ll turn Kong into a Piano Roll. On my Maschine, I can turn the entire device into a Keyboard by going into a special “Pad Mode – Keyboard (Button 1).” So I got to thinking if this was a possible setup for Kong in Reason. Sure enough, there’s an interesting way to work this out. Since most of the time, you’ll probably want to work on a Sampler device for this kind of feature, we’ll set it up within an NN-XT (or at least a group of NN-XTs). This way, you can insert the sample kit of choice, or your own samples directly into the device.

    You can download my sample .RNS patch which includes the Combinator setup here: kong-keyboard-mode. This is a zip file which contains both the .RNS and Combinator file we’ll be discussing below.

    Note: A huge debt of gratitude goes out to Ed Bauman (EditEd4TV) for his help getting the CV on the Octave Up/Down pads working correctly. Without his help, you’d be cycling through all the octaves and looping around them using a single pad. Not the most intuitive design. Thanks a million for this Ed. I owe you big time! You can visit him at Bauman Productions or his Reason forum.

    Setting up the Kong Keyboard

    And now let’s get started creating a multi-purpose Kong Keyboard (aka: the Kong Piano Roll).

    To start, create a Combinator and inside the Combinator create a 14:2 Mixer and holding shift down, create a Kong device. This is going to be the main device from which everything else is triggered. Underneath that (and still holding shift down) create two empty Thor devices, and three CV Spider/Mergers. Then without holding Shift down, create an NN-XT, which will auto-route to the first channel on the Mixer.

    Inside the NN-XT, load your favorite patch or a group of samples that span the full range of the keyboard. For this example, I used a Wurlitzer Piano. You could even load up your favorite sound effects kit, and use the Kong pads to trigger each of the sounds associated to each of the keys. This is a very versatile little patch.

    With the sounds loaded, select them all in the “Sample Zone” window. Then be sure that the Pitch Semitone is set to zero (0). Also flip to the back of the NN-XT and  Route the Gate CV output from Kong’s Pad 1 to the Gate input on the NN-XT. Also set the Osc. Pitch CV input trim knob on the NN-XT to 127.

    Duplicate the NN-XT 12 more times, for a total of 13 NN-XT devices. Open each of these sampler devices fully so that you can see the sample editors. Select all the samples contained in the device so they are all highlighted, and then move the Pitch Semitone knob incrementally by 1. Do this for each NN-XT device, moving the semitone pitch upward incrementally by a value of 1. Note that the first NN-XT’s semitone should be set to zero (center). Then NN-XT 2 should be set to “Semitone = 1,” NN-XT 3 to “Semitone = 2” and so on down the line until NN-XT 13 is set to “Semitone = 12.” This gives you a full Octave range of 12 notes +1 (C to C).

    Next, flip the rack around and route the Audio Outputs 1 & 2 (Left & Right) for each NN-XT to separate channels in the main mixer. Also route the Gate outputs for each subsequent Kong Pad into the Gate inputs of each corresponding NN-XT.

    Now it’s time to set up the “Octave Up” and “Octave Down” pads in our Kong device. Octave Up is going to be placed on Pad 15. So we’ll start there. Rename the first Thor in the Combinator “Octave Up.” Send the Gate CV output from Kong’s pad 15 into this Thor’s  “Gate In (Trig)” CV input (located at the back of Thor’s Step Sequencer area). Also send the CV1 output from Thor to the Merge input 1 on the first Spider Merger/Splitter, and set the Trim knob to 84 (this is the “magic” CV number to get the octave switching correctly). Flip around to the front of Thor, and in the Step Sequencer set Run Mode to “Step” and Direction to “Forward.” Also set the number of steps to 1 only and with the Edit knob set to “note” adjust the Step 1 knob to C2 (which is set fully left).  enter the following in the Master Bus Routing Section (MBRS):

    Seq.Note : 100 > S. Transp

    Seq.Note : 100 > CV Out1

    This is used to transpose the value of Thor, and thereby all the NN-XT devices upward by one octave. The only thing left to do is to ensure the CV Out1 gets sent to all the NN-XT devices (into the “Osc Pitch” CV input on each device). This is what the spider mergers/splitters are for. So flip around to the back of the rack, and send the Merged output from Spider 1 into the Split input of spider 1 (A), then daisy chain this input to the B side of the same Spider, and then over to the A side input on the second Spider, and so on and so forth to each A/B splits on all 3 spiders. This gives you 13 free splits to send to the “Osc Pitch” CV inputs on each of the NN-XT devices. Thus ends the setup for the Octave Up pad.

    And now for the Octave Down pad. Same idea but in reverse. Here’s what you do: Octave Down is going to be placed on Pad 16. Rename the second Thor in the Combinator “Octave Down.” Send the Gate CV output from Kong’s pad 16 into this Thor’s  “Gate In (Trig)” CV input (located at the back of Thor’s Step Sequencer area). Also send the CV1 output from Thor to the CV Merge input 2 on the first Spider Merger/Splitter, and set the Trim knob to 84 (again, the “magic” CV number to get the octave switching correctly). Flip around to the front of Thor, and in the Step Sequencer set Run Mode to “Step” and Direction to “Forward.” Also set the number of steps to 1 only and with the Edit knob set to “note,” adjust the Step 1 knob to C4 (which is set fully right).  enter the following in the Master Bus Routing Section (MBRS):

    Seq.Note : 100 > S. Transp

    Seq.Note : 100 > CV Out1

    Again, this is used to transpose the value of Thor, and thereby all the NN-XT devices down by one octave. Since you already set up the Spider CV Splitter/Mergers to take the incoming CV values from both Thor devices and merge them to send output to the Osc Pitch parameter of the NN-XT devices, you’re all done connecting your CV cables.

    The back of the Rack showing an open NN-XT and the Kong. A little complicated, but honestly, it's not that difficult to set up
    The back of the Rack showing an open NN-XT and the Kong. A little complicated, but honestly, it's not that difficult to set up

    One last thing to do. . .

    Open up the Combinator Programmer, and select the first NN-XT. Uncheck the “Receive Notes” checkbox at the bottom left corner of the programmer window. Do this for all the NN-XT and Thor devices inside the Combinator. The Kong is the only device that should be receiving notes. If you don’t do this, and end up playing on the Combinator device’s sequencer track, you’ll end up triggering all the NN-XT devices at once. Instead, I would suggest you create a separate track for the Kong device in your sequencer and then add all your midi clips/notes on this Kong track. That way, things are laid out a little more logically.

    Note: there’s nothing to prevent you from using the Combinator itself and playing notes on the Combinator’s note lane. Just remember that if you do, you’ll need to play Kong via the proper “Kong note range” with your keyboard (which kind of defeats the purpose here — the whole idea is to use your pad controller to play the Kong device and use it as a keyboard).

    Try playing a few notes by using Kong’s pads, and then switch the Octaves up or down accordingly. You’ve now created a fully-functioning keyboard in Kong, which can be used via any 16-pad controller to enter notes or chords for any sound device you can come up with in Reason. The only thing to keep in mind is that the sound coming out of all 13 devices need to be exactly the same (aside from being pitched upward by 1 semitone for each subsequent device).

    Now add some labels to the front of your Kong device. Here you can see how I labeled things very simply so that you can see the notes you’re playing via each pad. You can also play combinations (ie: chords) by playing multiple pads at once. Very simple idea, but a profound new way to play your instruments via your pad controller.

    The labels on the front of Kong. Kong turned into a Piano Roll
    The labels on the front of Kong. Kong turned into a Keyboard

    Where do You go from Here?

    Since all the devices inside Reason (except Kong and the Redrum) have a way to adjust pitch via CV (they all have an “Oscillator Pitch” CV input on the back), you can use this technique for any Reason-created sound. Furthermore, if you are creative enough, you could even apply this technique to a stack of Combinators. Yup. That’s right. You’ll just need to program the pitch changes via a Rotary in the Combinator Programmer, and then send the CV cable into the Rotary CV input. So this is perfectly “doable.”

    As always, I’d love to hear what you think of this setup. Does this help you use Reason more creatively? Does it fill a need to perform all your music from your favorite pad controller? Tell me what uses you’ve found for this type of patch. I am always eager to hear what you come up with. Happy music-making!