Here’s an interesting patch that I submitted to the productspecialist@propellerheads.se email in response to their first video in the “Reason Sound Design” series, a new series put out by the Propellerheads to help us all learn a little more about the Combinators inside the Factory Sound Bank, and allow the user community to submit their patches. I love it when they launch a new series!
Here’s an interesting patch that I submitted to the productspecialist@propellerheads.se email in response to their first video in the “Reason Sound Design” series, a new series put out by the Propellerheads to help us all learn a little more about the Combinators inside the Factory Sound Bank, and allow the user community to submit their patches. I love it when they launch a new series!
Here’s the original video in case you’ve been living under a rock and don’t know about this new series:
So without further ado, I give you my humble take on this type of technique. . .
The 4-Way X-Fade Echodile Deluxe
Download the .reason file (example) and Combinator patch here in zip file format: echodile-deluxe.
4-Way X-Fade Echodile Deluxe
First, here’s a video to showcase what the Echodile Deluxe sounds like:
An explanation of the Controls:
Pitch Bend: This is connected to the Echo Envelope.
Mod Wheel: Connected to the Delay R Offset
Rotary 1: This rotary crossfades between 4 different Alligator Patterns, and is really the heart of the whole thing. It allows you to blend any two of the four Alligators together using a single Rotary. Ed Bauman came up with the idea of using the Thor’s Shaper set to a Sine wave to fade between four different Mixer Channels. If you want to know more about this little trick, I wrote about it here. So in the interest of full disclosure, I wanted you to know this was not my own idea. A good artist mimics, a great artist steals. According to Picasso anyway.
Note: In order to have all four Alligators Crossfade properly, you will need to either press the “Run All Pattern Devices” button on the Combinator, or press “Play” on the Transport first. Otherwise, the CV-based Thors’ step sequencers won’t start running, and that’s necessary to let the signal pass through them.
You’re also not tied to using these 4 Patterns. You can, of course, change them around to your liking, or else load completely new Alligator Patches into each of the 4 Alligators. In this way, you can really make this device “your own.”
Rotary 2: Echo Feedback. Simple enough. Mix / Max values are 0 / 72
Rotary 3: Shift. Allows you to use the Shift knob of all four Alligators at the same time.
Rotary 4: Delay Time. I ran out of Programmer assignments for the Echo unit, so I had to route this through the P-Pongy Thor’s Rotary 1 and send that into the Delay Time CV on the Echo. So you won’t see the delay move visually on the Echo.
Button 1: Freq. Shifter. The LFO from each Alligator is split out to all three filter frequency bands on the respective Alligators. This way you get some further Filter modulation if you want it. Turns it on or off.
Button 2: Smear. I love this little button. It cranks up the LFO in the Echo to give it a really nice gritty electro quality. Sweetness to my ears.
Button 3: Pingy-Pongy. Turns the Ping Pong of the echo on, but also wobbles both the Ping Pong Panning as well as the Feedback Offset R knob, based on the settings in the Pulveriser.
Let’s continue with the Alligator and find a few other tricks that it can perform. In the first part, I looked at how the Alligator works, and provided a few ideas for how to work with it. In this part, I’m going to get a little more practical and show a few new ideas you can incorporate into your tunes. Hopefully this will provide you with some new creative inspiration.
Let’s continue with the Alligator and find a few other tricks that it can perform. In the first part, I looked at how the Alligator works, and provided a few ideas for how to work with it. In this part, I’m going to get a little more practical and show a few new ideas you can incorporate into your tunes. Hopefully this will provide you with some new creative inspiration.
You can download the project files here: alligator-techniques-part2. There are some Combinators and a .reason file showcasing the examples found below. In the .reason file, I’ve used mutes to silence all the tracks. To listen to a track, unmute it. I hope you find some of these tricks useful.
Also don’t forget that my latest Refill, Pureffects, is available with 1,250 effect patches designed specifically with Reason 6 in mind. There’s 200 Alligator patches alone, and several Alligator-based Combinators with all kinds of interesting routing ideas. Read More about the ReFill.
So let’s continue where we left off last. . .
Technique #5: Using the Alligator Effects without the Gates or Filters
After I wrote the first tutorial, it occurred to me that you can use each part of the Alligator independantly. For example, you can use the Gates only, without the Filter and Effects section. Or you can use the Filter section only, while keeping the Gates continually open. And lastly, you can use the Effects or Mixer sections only, if that’s all you want to use (Drive, Phaser, Delay, Pan, Volume). The way to achieve it is as follows:
Start with “Technique #2: Keeping your Gates Open.” To recap, you set the pattern to #60, and ensure the Amp Envelope Decay knob is set to 127 (fully right). Then flip to the back of the Alligator, and send Gate CV Output 1 to Gate CV Input 3, Gate CV Output 2 to Gate CV Input 1, and Gate CV Output 3 to Gate CV Input 2. This way all your gates are Fully open.
Fully turn down the volume of the High and Band pass filters. Note: Alternately, you can move the main left/right output cables to the Low Pass Channel left/right outputs on the back of the Alligator. This way, the audio input into the Alligator is only passing through the Low Pass section of the Alligator. Note also that this doesn’t have to be the Low Pass Channel. This idea works with any of the Channels in the Alligator, since the effects and mixer sections are the same for all 3 Channels. The idea is to pick one Channel, and mute the other two.
Turn off the filter section (green light) on the low pass filter.
You might also want to reduce the volume of the low pass filter (I found a volume setting of 64 for the low pass volume combined with a volume setting of 100 for the master volume is equivalent to bypassing the Alligator — at least to my ears).
Now your signal is passing through the low pass Channel only, and with the Gate always open and the Filter section turned off, you can use the effects & mixer sections independently to affect your sound.
The Alligator Front Panel, showing the areas of importance when trying to use a single channel for effects and Mixer only; in this case, using the Low Pass Channel
Technique #6: Using External Effects
As with all Reason devices, you can very easily set things up to use external Reason devices. In other words, you are not limited to using the Drive, Phaser, and Delay that’s already built into the Alligator device. If you wish to use an external effects device, such as an Echo, Scream, or even any of the Kong FX modules, you can easily set this up. Here’s how you go about it.
Select the sound source device or Audio Channel and then add an Alligator so that it’s auto-routed.
Determine if you want the external effect to be applied to all three Channels or just one of the Channels.
If you want the effect applied to all three Channels, it’s super easy. Just select the Alligator and add your effect device (a Scream, for instance). The Scream is auto-routed after the Alligator and will be applied to the Gated signal from all three Channels.
If, however, you want to have the effect applied to specific Channels, select the Alligator and add your effect device (a Scream, for instance). Then flip to the back of the device (Tab), and move the main left/right Alligator audio output cables to one of the three desired Channel output pair (High, Band, or Low Pass Channel).
If you desire, you can do the same thing for the other two Channels by adding other effects and routing them in a similar way. This way, you could have a Chorus effect inserted into the High Pass Channel, a Scream inserted into the Band Pass Channel, and a Pulveriser inserted into the Low Pass Channel. Or you could have three different screams inserted into the three different Channels, and set the parameters/settings for all three Screams differently to get more variation.
The more you experiment with external devices, the more I’m sure you’ll find how versatile the Alligator is in processing your sounds. You might even wonder how you ever lived without this device.
The back of the rack, showing how to process the audio through single Alligator channels and external effects.
Here’s the video showing you the above two techniques:
Technique #7: Gating Three different Audio signals across Three Different Gate Channels.
Here’s an interesting way to go about using the Alligator Effect device. How about taking three different sound sources and passing them through the three different Alligator Gate Channels, and then outputting them to three different Mixer Channels? Confused yet?
No, you can’t really do this with a single Alligator because the Alligator only has one pair of Inputs. However, you can create three Alligators, and then send your three audio sources into the three different Alligators (one audio source for each Alligator). Once this is done, you can send the separate channel outputs on to their own Mix Channel Inputs. The setup would look like this:
The nice thing about this setup is that you can choose to keep all three Alligators’ “Pattern” section the same, in which case the “Pattern” sounds sync nicely together between all three Alligators, or you can spice it up by setting up different parameters in each of the Alligator “Pattern” sections. For example, you could set Alligator “A” to have a resolution of 1/8, Alligator “B” to have a resolution of 1/16, and Alligator “C” to have a resolution of 1/32. And/or you can set all three Alligators to different patterns entirely. This way, you can attain some very intriguing and unique gate patterns going on, and all your friends will wonder how the hell you did it. Well, maybe not, but it’s something worth a try!
Showing different audio sources processed by different alligator channels to achieve an interesting result.
Technique #8: Oh Hell, let’s just dive off the cliff already!
You want something completely off the wall right? Well here goes. Since the Alligator contains separate outputs, you could theoretically “Nest” the Alligators one after the other. This creates a Double-Gate-Filter-FX Channel for any audio source passed through it. Here’s how this little trick works at it’s most simplest (note that you can create Triple- Quadruple- and so on, nested Channels up to the point where it probably just won’t sound good anymore and your CPU will have a heart attack and lie dead on the operation table). This technique goes down one nested level, and only highlights the “High Pass” Channel. Of course, there’s nothing stopping you from mixing/matching nested channels either. For example, a High Pass Channel goes into a Low Pass Channel, or a Low Pass Channel goes into a Band Pass Channel. Just be warned that you may need to write this out as a diagram on paper first before you lose yourself in Cables.
Audio Source > Alligator “A” main left/right input > High Pass Channel left/right output. . .
. . . Alligator “A” High Pass Channel left/right output > Alligator “B” main left/right input > High Pass Channel left/right output > Mix Channel left/right input
So now that you’ve set it up in this way, if all your Alligators are set to the exact same parameters, adding on these additional “nested” Alligators won’t produce a different sound. Where things get interesting is when you start changing the parameters so each of the Alligators are set with unique parameters. See the Project Files at the top of this tutorial for a Combinator that shows this type of setup.
Of course, if you want to use all three channels, you’ll need to create more Alligators, and each nested level will require a new Alligator. You’ll also need a Spider Audio Merger/Splitter to both split the Audio Source into the three channels, and then use the Merged side to merge them back again before going on to the Mix Channel input. As I said, this could get very tricky very quickly, and will probably be quite CPU-intensive. My advice would be to start off with one Channel and two levels (as the example shows above), then start setting up the parameters on both Alligators. See how that works out for you. Then build it up by moving to the next Channel (if you like), and so on.
Processing your audio source through multiple Alligator Channels. This shows the High Pass Channel in series. But you can do the same with other Alligator channels.
Technique #9: Let’s Dial it Back a Bit. Adding Filter Movement
This technique is a little less freaky, and I’m going to end off with it so that you give your mind a chance to wrap around that last little technique. In this one, we’ll do something easy. We’ll take some Malstrom Curves and send them into the Alligator’s Frequency CV inputs to create some movement. Then, since there is only 2 Curve’s available with the Malstrom, we’ll steal the LFO CV output and send it into the third Filter Frequency CV input (all within the same Alligator). Sounds more complicated than it actually is. But here’s an image that shows the setup:
Showing the Malstrom's 2 Mod A/B waves and the Alligator's LFO to provide movement to the Alligator's 3 filters.
Those are all the ideas I have for the Alligator at the moment. I’m sure there’s many other interesting ways it can be used. If you have any other ideas, I’d love to hear them, so please don’t be shy and comment to let me know what you’ve come up with. I’m all ears. Until next time, go make some killer music. 🙂
In this tutorial I’m going to talk about the new Alligator device in Reason 6. I think no other device has mystified so many since the RPG-8, and a lot of people have reluctance to really dive into it, thinking it’s mainly built for electronic musicians. Truth is that it’s a very easy device to work with, and it has applications for all kinds of instruments and all kinds of genres. So don’t be intimidated by all the knobs and levers. It’s a veritable evil laboratory, but getting it under control is easier than you think, and that’s the focus here.
In this tutorial I’m going to talk about the new Alligator device in Reason 6. I think no other device has mystified so many since the RPG-8, and a lot of people have reluctance to really dive into it, thinking it’s mainly built for electronic musicians. Truth is that it’s a very easy device to work with, and it has applications for all kinds of instruments and all kinds of genres. So don’t be intimidated by all the knobs and levers. It’s a veritable evil laboratory, but getting it under control is easier than you think, and that’s the focus here.
You can download the project files here: alligator-techniques. They contain a .reason file with all the techniques described below, as well as the separate combinators. You will of course need Reason 6 in order to load and use any of the files.
Introduction to the Alligator
The Alligator is billed as a “Triple Filtered Gate” and that’s exactly what it is. However, it’s quite a bit more. It contains 64 patterns that can be manipulated, it has a few built in effects (Drive, Phaser, and Delay), it has 9 LFO’s that can be used to affect the filters, and the Panning capabilities allow you to create some movement in the stereo field. That’s not even taking a look at what you can do with the CV connections on the back of the device.
To start, let’s take a look at the various sections of the Alligator. When I’m starting off creating a patch for this device, I usually first load up a sound I want affected. So if it’s a Bass or a Synth or a Drum sound, all of these sounds will require a different approach to the Alligator. In other words, the sound I feed into it coupled with what I want to do to that sound in my head, will decide how I proceed with the device.
Following is an explanation of the parameters you will find on the front panel of the Alligator device.
The Alligator front panel with legend and explanation of the device functions.
And following is an explanation of the inputs and outputs found on the back panel of the Alligator device.
The back of the Alligator device with an explanation of the CV and Audio inputs and outputs.
And here’s the quick introduction video to show you the main components of the Alligator:
Technique #1: Creating a Dry / Wet Knob for the Alligator
Since the Alligator does not have a Dry / Wet knob, we have to go about getting a little creative. This means wrapping the device inside a Combinator. Once there, you can use the Dry Level Knob and program its direction to be inverse to the individual Band level knobs. Set that up on a rotary in the Combinator and you have an instant Dry / Wet control for our Mister Alligator.
Technique #2: Keeping your Gates Open
You’ll notice that the Alligator by default uses a pattern to open/close the gates. You can turn them off or turn the pattern on, but what if you want to keep the gates open all the time. The easy solution is to do the following:
Set the Alligator pattern to #60
Flip to the back of the Alligator and send the Gate 1 CV output to Gate 3 CV input (both on the same Alligator device)
Send Gate 2 CV output to Gate 1 CV input (both on the same Alligator device)
Send Gate 3 CV output to Gate 2 CV input (both on the same Alligator device)
If you flip back to the front of the Alligator you will see all the gates are permanently on. This means that you can still use the LFO, Frequency, Resonance, all the Effects (Drive, Phaser, Delay), and Mixer controls to affect the sound, but you bypass the Gate section of the Alligator. It’s always on.
Just note one thing when you do this: You want to keep the Amp Envelope Decay set to full (fully right). If you lower the Amp Envelope Decay knob, the gate will fade out (even though it is completely open). If this happens, you’ll have to first move the decay knob all the way right, and then reset the CV on the back of the Alligator (unplug all 3 CV connections, and plug them back in again).
Alternately, you can send a one step tied curve pattern in a Matrix split 3 ways through a Spider and then sent to all 3 gate inputs, but this means creating additional devices when it can all be accomplished with a single Alligator.
This video will show you how to set up the above 2 Techniques:
Technique #3: Creating your own Patterns to Control the Gates
You’re not limited to the 64 patterns that are built into the Alligator (though you can definitely have a lot of fun with so many different patterns). You can easily use 3 Thors or 3 Matrix Curves/Gate CV to control all 3 gates in a single Alligator. To do this, first turn off the pattern section in the Alligator (the big “ON” button at the top of the Pattern section). Once you do this, you’ll need to create your Thors or Matrixes and flip to the back of the rack. Send the CV from the Step Sequencers into the 3 Gate CV inputs and then start all of the pattern devices up (this is easier to do if everything is Combined in a Combinator. That way when you press the “Run all Pattern Devices” or press “Play” on the Transport, the Step Sequencers start gating the Alligator. Dead simple my friends!
Best of all, this means you can create any kind of gate of any length you can imagine (See my “Matrix” series of tutorials #48-51 or Thor sequencing ideas #60-62 for ways in which you can extend the length of your patterns).
Technique #4: Stealing the Patterns to sequence other Reason Device Parameters
Forgetting about the Alligator’s intended purpose for a second, you can use its built-in patterns to affect any other parameter in any of Reason’s devices (just about). In this way I got pretty excited to see that you can use the Alligator as an “already pre-configured Matrix with double the amount of patterns” — yeah that’s pretty exciting for a nerdy nerd like me. It means I don’t have to tediously program two matrixes filled with patterns (though truth be told, if you’ve read article #3 in my 101 Creative Projects category, you already have a huge array of Matrixes from which you can copy/paste into any of your projects, right?).
In any event, to get the ball rolling, pick a pattern you like. Then flip to the back of the Alligator and disconnect the audio cables. You’re only using the pattern section here to trigger something else in Reason. And since you have 3 gates, this means you can modulate three other parameters from a single Alligator device (or how about using a spider to combine the three gates and sending the merged output to control a single parameter). I think you get the picture. This is a very quick and easy way to control things via CV.
One idea is to use the Gates in the Alligator to play the Kong drum designer. Send the three gates of an alligator into 3 drum pad CV inputs on the back of Kong, and then you can set up some pad groups in Kong so that you get even more variation. Finally, set up a Matrix curve to control the “Shift” knob via one of the CV inputs in a Combinator, and you have instant “Groove” for your drums, without ever using the ReGroove. It’s a nice alternate way to get some drums going quickly in your tracks. For the full feature on how this is done, see the video below.
Tip #1: Tuning your Filters
This concept was provided by Peff when he was doing his tutoring session in Las Vegas. And I really do hope that he doesn’t mind me providing the tip here. But in the attempt at full disclosure he needs full credit on this one.
Tuning filters is not a concept I was all that familiar with, but armed with this knowledge, it actually makes perfect sense, and has applications that reach out much farther than just the Alligator. But that could be a whole tutorial in and of itself. For our purposes, tuning the Alligator filters is a way to produce a more even sound coming out of the device. The idea is that you pick a frequency as your “Base” and then set the other filters up so that they are multiples of this “Base” frequency. So if you set up the LP Filter on the low end to be 200 Hz, then the BP Filter could be set up to 400 Hz and the HP Filter could be set to 800 Hz, which should produce a “cleaner” tone than if the filters were out of sync or out of tune.
Now while this is a handy technique, I should also say that going for a sound where the filters are more out of tune is perfectly valid. This is not a practice that should be set in stone. It’s more a technique that you should understand and get acquainted with and add into your arsenal of knowledge. But don’t be afraid to venture outside this technique.
You’ll also notice that it’s not always possible to get a precise multiple of a specific Filter Frequency. But generally, the closer you are to a multiple, the more “in tune” the filters should be with each other.
Tip #2: Taming the Dreaded Pops & Clicks
One thing that still bothers me to this day is how quirky the envelopes and LFO can be in the Alligator. Under certain settings, you can hear noticeable pops and clicks which are most definitely unwanted. Here are a few ways to deal with this if you find it happening to you.
First, it’s important to note what’s causing the pops and clicks in the first place. More often than not, it’s a result of a short Attack Time in the Amp Envelope coupled with a slow-running LFO with a sharp edge (think the Pulse or stepped Waveforms). The lack of a lag feature (which is available in the Pulveriser) means that you can’t smooth out the LFO. And when it’s running too slow, and the attack time is short, this is usually a recipe for disaster. Here are a few hints to get you out of this jam. Note that all of these methods will change the sound of the gated effect, but there’s really no way around this that I’ve found.
Use a smooth LFO, such as the Sine Wave or even the Triangle Wave. Stay away from the Stepped, Ramp, or Pulse waves.
Adjust the Amp Envelope’s Attack time to be slower (turn the knob more to the right). Times that are above 25 or 30 work well.
Don’t use the LFO at all. Ensure that all the LFO knobs for the bands you are using are all pointing due west! This means the LFO does not affect the bands whatsoever.
So there are a few tips and tricks for you to get acquainted with the Alligator. Give it a whirl on any kind of audio just to get a feel for it, and have some fun gating your audio. Until next time, happy Reasoning!
