This will open up the “Roaming” folder. From there, you can navigate to “Propellerhead Software/Reason/Template Songs.

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If both Oscillators are set to the exact same settings, detune them by a few centos in opposing directions (Oscillator 1 = -4 Cents / Oscillator 2 = +4 Cents). You’ll have to venture outside a simple Subtractor for other fattness tricks, but two of my favorites are A) creating a Unison device under the Subtractor (between the Subtractor and the Mix Channel). This automatically fattens your sound. B) After you have the Subtractor patch set up exactly as you want, duplicate the Subtractor and send both subtractors to separate Mix Channels. Then on the Mixer, pan Subtractor 1 fully left and Subtractor 2 fully right.


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There are many other things you can do with VocalSync: ADR lip–sync to picture, synchronising machine drums to live drums, or vice versa, and tightening up instrumental tracks. The documentation suggests you can use it to change the gender of the voice, but I can’t for the life of me work out how it would do that, and think perhaps it’s a copy/paste error from the Melodyne documentation. But anyway, provided the guide and overdub share the same sort of timing, then VocalSync can produce flawless results, and even outside those parameters, there’s lots of scope for re–grooving, effecting and destroying.


So we can start making some interesting musical choices based on this idea. Namely, if we want something very harmonic, we can build ourselves a patch with Oscillators that contain exact multiples of the fundamental frequencies. If we want something outside this harmonic realm, we can mix things up and create odd relationships between Carriers and Modulators, and even between Oscillators.

Alter momentarily pushes some notes out of the current scale, allowing for really extemporised play. And, of course, these various controls can be mapped to MIDI controllers so that as one hand plays single-note chords, the other can constantly adjust other options.


Point is this: if you have a sample contained inside a Reason device, be it Kong, Combinator or NN-XT, etc

Select LFO 1 as a source, and Set Filter 1 to Low Pass (Japan, SVF, or Fatty). Set the Frequency to 6 Hz (full left). Then turn the Frequency Mod Rotary to 100% (full right). Now select LFO 2 as a Source and use it to modulate the same Filter 1 Frequency in the same way (Mod Rotary to 100% – full right). Adjust the depth of both LFOs by adjusting their Gain values.

It's essentially the old Reason/Record duo in one rack

The interesting thing about this patch is the use of the Global Envelope to affect a few different parameters of Thor’s global section. First, I’ve programmed it so that button 4 is a toggle that turns the Envelope On/Off (incidentally, it also turns the step sequencer Gate on, which is needed to control the gating of the Global Envelope in Thor). Then Rotary 4 affects the Envelope amount.


If you turn Button 3 on, you have a slower pitch shift

The First Flight patch is a cross between a Synth and a Bass. It uses some noise to create what I thought sounded like an engine in flight. And finally, Revy Bass is a really nice sounding Bass that was put together with a lot of love and care.

Rotary 3: Unison – This Rotary affects the impact of the Unison affecting the Thor Oscillators. Fully left, and there is no Unison (fully dry), while turning the knob fully right provides you with a full Unison detuned sound (fully wet).


Multiple AudioSources: in v1.0, only one player can exist per scene ( 1 player = 1 AudioSource ). This is simply a design choice: the code is ready to accept multiple players, but the only reason to do so would be your exact use case - adding some of Unity's built in filters to the master mix of one player, and other filters to another. Not just a virtual studio in concept, it offers a literal representation of a traditional MIDI studio, revolving around a simulated rack to which a huge range of devices can be added. With the inclusion of the scales & chords feature, it makes playing piano incredibly easy for someone like myself who isn't a trained pianist. The filters are very responsive. Only you can decide whether, on balance, this is the interface for you. Diversity & Inclusion; Contact us; Site Map; system status; Product Help; Legal; Favourite Things. Zendesk for Enterprise; Zendesk for Startups; Zendesk Benchmark; Zendesk for Small Business; Gartner CRM Magic Quadrant; Customer Experience Trends; Enter the Fold. Version - Complete package - Works on: PC - Version 3.0 - 5 users, Unlimited documents, 2. Propellerhead reason 6 full iso and keygen Rating: 8, 4/10 607 reviews Reason 7 Crack Keygen Free Download. It can lead to a visually complex interface incorporating a large number of User Interface objects which can increase the need for navigation and disrupt the mixing. Why do you think your problem involves a Virus & Malware issue? Tech support scams are an industry-wide issue where scammers trick you into paying for unnecessary technical support services. It is a good software for recording all the music and videos audio they. Propellerhead Reason 8 Crack Torrent is program used to produce music and song tracks This amazingly perfect program will provide you all the features to do editing in your tracks.

The second button sends the Envelope to the Resonance. In order for this to be effective, the Resonance must be set to a value other than zero (on Rotary 3).


The patch is very simple in design, using only a single Thor inside the Combinator

Let me know if you find this patch useful and if you have any other suggestions for ways it can be made better? Or if you have some suggestions for other ways to get some glitchy fun out of Reason.

Let me know what you think of this tutorial and please add your comments if you come up with something far more interesting than these designs. I’d love to hear your own sound designs and creations. Until next time, good luck in all your endeavors.


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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.

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Sonar Platinum still includes all the old Sonitus plug–ins and Cakewalk instruments, just in case you want to load up a project from the last millennium. Although legacy support can be useful, it has the effect of making most of the plug–in content, with the exception of the Pro Channel modules, look and feel a little dated. The stalwarts of Dimension Pro and Rapture feel like old friends who could really do with a haircut and a change of clothes. So, surely, a sparkly new version should bring with it some nice new plug–ins? Well, not really, no. There is a bank of new virtual guitar amps, accessible only via the FX Chain system, which are excellent, so along with the existing TH2 plug–in, the guitarist should feel well catered for.


Because of the Balance's not-insignificant price tag, there's been some Internet forum talk about Propellerhead (our website) going after the market share of premium small interfaces like Apogee's Duet and RME's Babyface. I personally don't see that, as those interfaces are in a higher price bracket again. Nor do the Balance's published specs point to such an intention; they're plenty good enough for the roles it'll typically fulfil during its working life, but not state-of-the-art. Propellerhead (https://restvostok.ru/free/?key=8607)'s marketing blurb says the preamps and converters are 'Hi-end' and that's all.

Rack Extensions could prove to be a very attractive augmentation to Reason’s already popular platform

When you want to experiment with different mixes of the same project, you’d normally use the Save As. function to create duplicate copies of the project. This can often leave you with a confusing trail of project names, and means having to reload an entire project to load an alternative mix. Sonar’s new Mix Recall feature allows you to save and recall multiple mixes within the one project. It’s like taking a snapshot of the entire mix, complete with plug–in and automation data, so you can return to it at a later date if the road you’re going down doesn’t work out. Mix Recall is accessed from a module in the toolbar. There’s a button with a camera on it that saves the current ‘scene’, a button with a page on it to save as a new scene, and a back arrow button to switch between the last two scenes. That’s a really good feature for instantly A/B–ing small changes. Underneath it is a drop–down list of all your mixes.


When you are moving a fader with one finger, you can’t open the Pro Channel or toggle the mute/solo buttons on the same channel; you appear to select them but they don’t activate unless you take your finger off the fader first. You can, however, activate the same features on any other channel. The throw of the faders is also a little bit short, and more accurate control would be possible if they were twice as tall.

This has almost the same effect as the original Tape Stop patch, but without the need to use Thor

Another Pad, I think this one has a nice upbeat sound, yet still floats in the background. It’s more Rhythmic in nature, but you can dampen that if you like by turning down the “Flicker” rotary (Rotary 3) and turning switching to the alternate Wave type (Turn button 1 On).


I’ve also included a few other variations on this style of patch in the project files (found at the top of this article). I’m not going to go over all the settings in those patches, as you can open them up and see for yourself. Play around with the settings and you will see that it offers a wide variety of sounds.

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First, what must be understood is the idea that samples in Reason and Record are not automatically part of the song files. Note that wav files loaded into a track in Record is a different story. Any wav files loaded on their own channels are saved along with the song. When it comes to samples, the only thing saved with the song file is a link to the sample location. This means that each time a sample is loaded into a song, the location and name of the sample is noted and stored. When the song is saved, the sample’s file name and location are saved along with the song. When the song is reopened, the program performs a check to see that all the saved sample links are still valid. If not, you get a warning telling you that the sample is missing. UH OH. Now you’re in trouble.


Also, appearing in the transport section (of Reason Essentials, at least) are new waveform zoom controls, allowing you to scale up waveform displays without necessarily having to use the vertical track zoom as well. Certainly a handy feature, especially for the potentially very small waveforms on stereo tracks.

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The front panel of Thor, showing the MBRS line. Each key triggering Thor needs to have this same line.


Sadly it's not quite the same for instruments using Mix devices. The difference arises because while instruments get their own sequencer tracks by default, their Mix devices don't. You can create them manually, but a super‑quick shortcut is to just Alt‑click the mixer channel parameter — the fader, knob or button — you want to automate. You can also right‑click a control and choose 'Edit Automation'. In both cases, the outcome is the same; a new sequencer track is created for the Mix device, and then you can just hit the main record button and start recording automation.

It’s a great tool for the medium or advanced level Reason user

Flip the rack around (Tab) and create the following routings: Remove the Malstrom Main A/B Outputs and reroute them to the Main Left/Right splits in the Audio Splitter. Then send one pair of splits to Channel 1 on the Line Mixer. Send another Split into Thor’s Audio Input 1 & 2. Then Send the Left/Right Audio outputs from Thor into Channel 2 on the Mixer.


Setting the Polarity of LFO1 to Unipolar by turning the LED off. This ensures the LFO travels both negatively and positively to affect the destination parameter.

It’s also tied closely with another subject: how does Reason handle files

Then inside the Combinator, create in order a 6:2 Line Mixer, RV7000, Spider Audio Merger/Splitter, and Malstrom. Then holding the shift key down (to prevent auto-routing), create a Thor synth device.


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This patch came out of my desire to rework a patch that I put together for inclusion (why not try here) with Polar. If you look in the patches that ship with Polar, there’s a Tape Stop patch under the “Tweaky” folder. This patch uses a Thor to gate the Polar device, which helps drive the Tape Stop effect. The reason why I wanted to rework it is so that I could recreate the same type of effect using only Reason (https://restvostok.ru/free/?key=4655) Essentials devices. In this instance, a Scream is used to convert the incoming audio to a CV signal, which then triggers the gate on Polar. This has almost the same effect as the original Tape Stop patch, but without the need to use Thor. This means that even Reason Essentials users can take advantage of a fully functional Tape Stop Combinator effect.


This Combinator splits out the audio signal into the High and Low Frequencies. The fun comes in the fact that you can apply a different Bandpass filter to these two different Frequency splits independently. Use Rotary 1 to determine the crossover frequency, and then use Rotary 2 and 3 to set the Frequency for the High and Low Bandpass filters. There’s also a few other modulations and a HP filter that you can apply to both the High and Low Frequency streams, as well as some FM application if you like (on Rotary 4).

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This one is a double-sweep using two slow LFOs. Try to use this on a sound with a long ADSR time, like a Pad. That way you really get a chance to hear the sweep.


You can download a few free patches here: Shelob Patches. These patches outline a few ways you can use Shelob to crossfade, parallel process, stripe a range of effects splits played via keys on your MIDI keyboard, group splits, create a fade in / fade out combinator, etc. Use them as templates and lessons in how to route things up in Shelob. See the videos below for a little more about how Shelob works.

Press the Run button on the Dr. Octo Rex or press play on the Transport. This starts the Dr. Octo Rex guitar loop. You won’t hear anything though, because there’s no audio bypass. However, when you now press Button 1 on the Combinator, Thor’s Sequencer is set in motion. This, in turn, triggers the Kong Pads to play the first 8 pads randomly (and this, I should add, is wonderful for many different applications). However, you may want to play the Pads manually, or from your Pad Controller, without using the Thor sequencer. You can do this by creating a track for Kong and then going nuts on the first 8 pads. Since the audio is always going through all 8 Audiomatic devices, the switch from Pad to Pad is instantaneous. However, when no pad is pressed, you won’t hear anything. So let’s set up our Combinator so that if the Pads are not pressed, the original audio still passes through.


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Other Notes: Feel free to change any of the Malstrom Mod Curves to curves that you like. Of course, for the Mod A curve on the Malstrom controlling the damage type of the scream, you don’t need to change this curve manually. You can change this using Rotary 4 (Wave). Or, if you want, you can also map any of the Curves to the “Wave” Rotary and have them move in unison together (or flip the min/max settings to change things up a bit). Alternately, you can program Rotary 1 to affect both the Damage and Body Types on the Scream, which could free up a Rotary for you. However, it would also mean that the Body type and Damage type would be using the same curve to control both those parameters.

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.

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Rotary 4: Wave: This controls the Malstrom Wave type (Modulation A Curve) which affects the Damage Type selection on the Scream. You can scroll through all 32 different wave forms in real time.


You will need to download the Polar Rack Extension in order to use any of these patches

Also adjust their Gain settings to both be set to around 66%. This will remove the harshness of the LFO curve. It’s like a depth or volume setting for the modulation source.

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Filtering is also important for drums. Generally, Bass, Snare, and Tom drums use Low Pass filtering. While Hi Hats, Crashes, Cymbals, and the like use Hi Pass filtering. The Noise generator can be very helpful here as well. For low Bass Drums, be sure to turn the Color knob closer or all the way left. This brings the register of the noise downward. For more of a biting drum, like a Snare, turn the Color knob closer or all the way to the right.


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).

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When you press Run on the Dr. Octo Rex, you’ll hear the original loop. If you now press Button 1 on the Combinator, the original loop is muted, and only the Audiomatic preset affecting the loop will be heard. Note that with this setup, you cannot play the pads individually via your Pad Controller. If you do, you will still hear the parallel processed configuration with both the Original and processed loop at the same time. However, this gives you two methods to control the Audiomatic switching effect.

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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 patch uses a Matrix to create an arpeggiated synth. The cool idea in this one has to do with using a Matrix Curve to play the Pitch shifting on Polar. To access this sound, you must first press the “Run Pattern Devices” button on the front of the Combinator. Then use Button 1 to turn on the Matrix sequencing, and Rotary 1 to adjust the Matrix pattern’s Rate. The main rate of the sequence can be controlled via Rotary 4. Rotary 2 detunes the Pitch shifters on Polar, creating a wider sound. And Rotary 3 controls the Phase offset in the Subtractor instrument.

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.


The layout and styling is the same, the toolbars appear identical, the background scan of plug–ins is unchanged and the little Quick Start window pops up as friendly and inviting as it always does. This offers some handy resources, in the form of links to online tutorials and to a bunch of useful videos showcasing many of the new features. The latter are invaluable to all levels of experience, and I would recommend that even the most hardened user should give them a browse. You’ll also find the majority of the documentation online, and there’s lots of it to help you get to grips with Sonar. The depth is excellent, but the index seems to be missing some vital things. You won’t find Mix Recall under ‘M’, but under ‘C’ for Content Location; the Pattern Tool is under ‘Patches’; and VocalSync can only be found under ‘Vocal Track’.

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If you’re working on a single, touch–enabled screen, then interacting with the rest of the Skylight interface becomes important, and Cakewalk have done a great job here. Normally one of the most annoying and difficult things to do with a finger is to move window separators. It invariably takes multiple attempts to touch just in the right place. In Sonar, somehow, this is a breeze, and I can’t seem to fail to move all the separators and resize the docked windows first time every time. That removes one large chunk of frustration that I often encounter when using other DAWs with a touchscreen. The modular toolbar is also very touch friendly, and the new ‘custom’ module where you can set up shortcuts to whatever control you wish really comes into its own here, allowing you to perform common actions without having to return to the mouse.


Reason 6 is essentially the old Reason/Record combo, in an updated and expanded form. It has the full complement of devices, audio tracks, and the SSL-modelled main mixer.

You can download the patches here: Etch Red Patch Pack. There are 20 patches included: 8 Combinators (4 Instruments and 4 Effect devices), along with 12 Etch Red device patches. In order to use them, you will need Reason 6/5+ and the Etch Red Rack Extension.

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The Combinator Key Mapping and Modulation Routing section showing each key mapped to a Thor device. The Mod 1 Scale Amount scales the velocity so that Button 1 can act as a Global Velocity Sensitivity on/off switch.


Once the basic setup is in place, you can go crazy editing all the slice parameters, but pay special attention to the “Out” or “Output” parameter. This is what will send the various slices to the various FX devices. So that’s going to have the most impact on how the slice is played.

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So now you have a system which utilizes the first 84 keys. But there’s a few more ideas I built into this whole thing. For instance, you have the global beat repeater which affects all the sounds and can be manipulated by turning it on/off on button 4. You have a simple random player which you can turn on/off via button 2. And don’t forget that when the random player is on, you can use the mod wheel to switch between 32 different patterns. If you don’t like the patterns, you can go in and change them using the first Matrix at the top of the set of Combinator devices (labelled “Random”). You also have two knobs to mangle the FX parameters, and a simple volume control on rotary 3. I honestly can’t think of too much more to pack into this little science experiment.

Button 1: Twist 1 – This turns on the Thor Shaper. It provides a slightly overloaded or overdriven sound on top of all three sawtooth waves in Thor. It’s not overly heavy though, so it’s pretty safe to use. However, depending on how your Frequency and Resonance are set, this will affect how much you will hear the Shaper affect the sound.


Unless you use any of the default Templates regularly, create a “Default” folder in your “Template Songs” folder and move them all into this folder. Note: Any folders created under the “Template Songs” folder won’t show up in the “File > New from Template” subfolder in Reason. Then enter any Reason song files you want to use as Templates into the main “Template Songs” folder. These songs will show up in the File > New from Template submenu, and it’s dynamic, meaning that you don’t have to first shut down and then restart Reason in order to see them in the submenu. They are just magically there once you place them.

You can download the patch pack here: Basic-Subtractor. It contains 25 Subtractor patches that are used as examples to show how various basic sounds are generated with the device. Use these as they are, or use them as springboards for your own designs.


Here’s an example of a Pad – a String Pad actually, which use two Sawtooth Oscillators (great for achieving nice string pad sounds). The idea behind creating a nice Pad sound, in my opinion, lies in two areas: A) The Amp Envelope settings, which are fairly slow. This means that the Attack, Decay, Sustain, and Release are generally pushed up quite high (over a value of 60 in most cases). And B) The modulations you create, which are usually slow as well. This can be anything from the LFO affecting the Mix or Amp, while the Mod Envelope affects the Phase of the Oscillators. The Rates for the LFOs should be set fairly slow (Rate knob more to the left) and the amount values should be subtle (more to the left) as well. This creates very soothing and meandering sounds which work well for Pads.

That'll often be all you need to know to get stuck into recording. Hit the record button and you're away. However, there are some other cool options to explore.


The heart of Etch Red is all the wonderful red knobs scattered throughout the upper (Filters) and lower (Sources) section of the device. These knobs allow you to modulate their associated parameters with one or more of the 10 Sources (selected in the Middle section of the device). Indeed you can modulate one parameter with all 10 sources if you like. Where I can see a lot of people getting tripped up is when you start trying to figure out how to modulate one destination with these Multiple Sources.

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Shows how using FM can give a whole new perspective to your sound, and can often generate interesting textures. FM, as well as Ring Mod can make the sound very unnatural, distorted, or even metallic. See the next “Glockenspiel” patch.


Button 1 changes the LFO2 on the Subtractor from adjusting the Phase (Button off) to adjusting the Amp (Button on). Button 3 adds a heavy dose of Portamento, and Button 4 allows you to switch between playing the patch as a Mono lead (Button off) or adding Polyphony (Button on).

Cakewalk quietly snuck multi–touch support into Sonar with the X2a update back in December 2021, and they’ve remained pretty much the only major DAW makers to do so. Multi–touch is the ability for more than a single action to be carried out at one time through a multi–point touchscreen. With a mouse, by contrast, you can move one parameter or item at a time; and in non–multi–touch applications, you can usually use a finger to do the same, assuming you have a touchscreen. Multi–touch support enables you to move two, three or more controls simultaneously, depending how many fingers you have and how many touches your screen supports. The take–up of desktop multi–touch has been slow, although the market penetration of hybrid laptops and all–in–one desktops with touchscreens is starting to make an impact, and with Windows 10 around the corner, maybe Cakewalk’s investment and innovation will start to pay off. We didn’t have a touchscreen to hand when we reviewed Sonar X3 last year and so although little has changed with Platinum we thought it would be worthwhile getting our fingers dirty this time around.


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Balance: Is a USB 2 audio interface designed by Propellerheads with some very interesting features. Despite being a 2 in/ 2 out interface, Balance has a whole range of inputs so you may not need that separate mixer after all.

I hope this gives you a good idea of what’s included in the ReFill and what can be done with these sounds. And might I suggest also having a look at his “Reasonable Help 2021” ReFill, in which you get 50 patches that help teach you how to design sounds and develop better patches. It’s a great tool for the medium or advanced level Reason user. I wrote a review of that ReFill back in January 2021.


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Where Etch Red meets a Hoover style sound. There’s even a Thor Step Sequencer thrown in for an Arpeggiated rhythm. Probably one of my favorite sounds of the bunch. You can control the Filter Frequencies using the first two Rotaries, and the level of the Sub Oscillator on Rotary 3. You can also use Rotary 4 to detune the main two Oscillators. Add in some Delay, FM, and Shaper, and you have yourself a really nice rich Bass.


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One of the great things about touch, particularly if you’re using the digital pen on the Microsoft Surface Pro, is being able to draw automation data and envelopes, but sadly, this is not available in Sonar. This lack of touch support also extends to the piano–roll view. In a nutshell, Sonar allows you to enter into a touch environment when mixing, but as soon as you want to edit something, you have to drop back to a mouse and keyboard. Of course you should use whatever input device is appropriate to the task, and there’s nothing wrong in leaving the detailed editing to the more precise devices, but it can be a bit of a jolt moving from one type of control to another.


Another thing to keep in mind when adjusting velocity parameters: When the knobs are dead center, velocity has no effect on the parameters. Turn the knob to the left and velocity has a negative impact on the parameter in question. Turn the knob to the right and the velocity has a positive impact on the parameter in question. In simple terms, if you adjust the Amp velocity in a positive way, the sound becomes louder the harder you play your keyboard (normally what you would expect). However, you can reverse this relationship by adjusting the amp velocity knob in a negative way, so that the sound becomes quieter the harder you play your keyboard.

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Aside from the basic Oscillators, there are several other wave samples that are hard-coded into the device (represented by waves 5 through 32 in the Oscillator slots). Then there are the usual things that are familiar to most analog synths: 2 filters, 3 envelopes (Amp, Filter, and Mod), 2 LFOs, Noise generator, FM and Ring Modulation, Pitch Bend & Mod Wheels, and a very extensive Velocity parameter section. All of this should be familiar to the synthesist and sound designer, and I’m not going into all the ins and outs here. The Reason User Guide is an excellent resource which goes over most everything you will need to know in order to get familiar with the Subtractor.

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So now that we have a grasp on how Etch Red works, I thought I would delve a little deeper into things by using the Envelope source. In order to get the envelope working, you need to send a Gate input signal into the back of the device. And what better way to trigger the envelope than with a Rex loop’s Gate output.


What I will present to you on December 1st, 2021 is the book I always envisioned for the program, and I want to invite you to stand over my shoulder and see why I find this software such a compelling and creative tool for anyone with a love of music and audio. I wrote the “Reason101 Visual Guide to the Reason Rack” so that I could convey all the amazing things this program can do in a logical, easy-to-follow way. I wanted to shorten your learning curve, and at the same time share my 10-year Reason journey with you. I hope you enjoy learning about Reason as much as I do.

So once you have your template set up the way you want, you’ll need to first save your song into the above folder. Then you can open it from File > New from Template > [Your Template File].


I was coming from Reason/Record, so the combination wasn't new to me. However, the new effects and the Rack Extensions are pretty darn cool. The echo and the "Alligator" add so many flavors, it's hard wrap your head around the new possibilities. The day Propellerhead adds a simple video viewer and starts getting some UA Rack Extensions, they'll force me to move Logic to the trash.

Using Button 4 shifts the pitch so that a major chord is played

The Pitch Bend and Mod Wheels are automatically mapped to the ID8. I really do wish you could assign different Pitches and Mods (you can have some limited assignments if you use the Combinator’s Mod Routing section, but yeah, it’s limited). The Pitch Bend will pitch the Synth sound up or down 2 semitones, which is standard for the ID8. The Mod wheel applies Vibrato to the synth.


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Hold down Shift and create a Directre Audio Router. Turn on all 8 Channels using the Enable buttons. We’ll use this to split the incoming audio out to 8 different Channels on Directre (note that you can also use another Mixer 14:2 for this task, instead of Directre).

Here, I’m going to delve into creation of a massive chaotic Reason 5 FX processor using a Combinator

The following shows the Subtractor device, with the “Init Patch” loaded. The Init Patch is used as a starting point for building sounds. Note that the Init Patch does not start at ground zero, and instead is an actual patch that generates an actual sound. I find that in some circumstances you may want to start at ground zero. In this case, you can set all the sliders and knobs to their zero or center position and save the patch. This way, you can always load your new “Init Patch” anytime you like. I’m sure only the die hard sound creation gurus will go to this trouble, but if you are new to any synth, it’s always better to learn from the bottom up, than to have half a sound already generated for you.


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The flipside to Audio to MIDI is Bounce In Place, a feature that's most welcome in Reason 9, seeing as it's been a home comfort in other DAWs for years. Yes, Reason is so CPU-efficient that it's not as necessary, and yes, you can take the long way around by exporting and reimporting a loop, but convenience is king.


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Much of the focus of recent Sonar versions has been on the audio production side, so it’s nice to see improvements in the realms of MIDI sequencing. MIDI Time Stretching allows you to compress or expand a MIDI clip by holding Ctrl and dragging on the right edge. All the notes within the clip expand and contract relative to one another to allow you to align your MIDI clips to whatever timing or grid/no–grid you desire. You can go up to 400 percent in either direction, making this a very versatile function that you could only really mimic previously with tempo adjustments.

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.


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.

If you want to always open Reason with a Template song, you can do so by selecting the “Template” option

Key Tracking your Filters: To use the Etch Red “Key Track” feature, create a Sequencer Track for Etch Red. Then copy MIDI data from another Track (some monophonic data works best). Then reduce the Filter Frequency. When you play back the Sequencer, the Filter will follow the MIDI track, and will in essence be following the musical track from which you stole the MIDI data. Or you can just play along on your keyboard to track the Filters.


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The biggest issue with building this thing was mostly time. Time to figure out the effects, and time to piece everything together. But the main concepts behind it are actually very easy to understand, so I’ll try to guide you on the building blocks and let you take things from there.


The Kramer is cool but as far tape emus go it's not among the best. I liked VTM a lot at first but seem to have fallen back to uad studer and Ampex again. They just feel like home for so me reason.

Although I’m hard pressed to see any changes in the multi–touch implementation since its arrival in X2a, Cakewalk say that this is an area they are constantly improving and developing, and I’m very hopeful that there will be more great things to come. There are currently no other players amongst the major DAW companies, so Cakewalk have a big head–start in an increasingly touchy world.


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Reason 9/5 supports any VST 2/4-compliant instrument or effect plugin, which means just about every VST out there will work in Reason. In addition to the 375+ Rack Extension instruments and effects from over 90 different manufacturers already available, the Propellerhead (go to these guys) Shop now features a custom curated list of VSTs from leading VST plugin brands including Waves, Output, KV331 and iZotope.

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A mixer perfectly lends itself to multi–touch. It’s the one place where moving more than one thing at a time is the most natural thing to want to do. Most touchscreens are able to lie flat or at a slight angle, mimicking the form factor of a hardware mixer and minimising the strain on your limbs. You can then simply grab a bunch of faders with your fingertips and move them all about to your heart’s content. The entire channel strip is wired for multi–touch, so while you’re adjusting a fader you can also be adjusting the pan, sends, gain and EQ. The feel of interacting with the mixer in this way is different to both using a mouse and using a hardware controller. With those external peripherals you tend to be sat back, watching from a distance. With a multi–touch screen you tend to find yourself pulled into the software, engaged directly with it. It has an immersive feel that I’ve not encountered in 20 years of using computer–based music production software.


As it says in the name, this Combinator offers up some dual panning. It uses the two Etch Red LFOs in order to Pan the audio signal. In this way, you can create complex panning effects. The Rotaries control the depth (gain) and Rate of both Pans. You can also change between two different wave types (square and sine) for both Pans using Button 1 and 2. And if you like, you can turn off the second pan altogether using Button 3. Lastly, you can sync or un-sync Pan 1.

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.


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Several of the Combinators are built to take your “live sets” to a whole new level. Use your keyboard or pad controller to play the effects “live” and create your own effect chain sequences with the press of a few keys or pads. Everything is pre-built to take full advantage of all the effect devices that Reason provides, with a heavy focus on the Pulveriser, The Echo, and the Alligator.

Thor Button 2: Vibrato Key Sync – Turns on the Key Sync for Thor’s LFO 2. When turned on, the LFO 2 is re-triggered each time a key is pressed. When turned off, the LFO 2 wave is not re-triggered.

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Basically, any channel you see in the mixer has a counterpart in the rack, in the form of either an Audio Track device or a Mix device. These communicate with the mixer via an invisible, virtual 'P‑LAN' connection.


This is one other advantage Shelob has over Reason’s Spider Splitter

Anyplace you like is the short answer. But try out different filters and different Malstrom Oscillators. You could also insert a Scream device with some mild settings to completely alter the sound. Or try your hand modulating the filters in different unexpected ways using different LFO waves and rates.

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Finally, this type of system means I have one folder to backup. Not a bunch of folders and files all over the place on my hard drive.


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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.

Rotary 2: Gain Level – Controls the Gain position of the Audio. In other words, it’s a volume level, but it’s most useful if you use it while the Tremolo is on. This way you can adjust the amount of gain (Tremolo) and the range at which the Mod Wheel affects the Tremolo.


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Button 4: Damage Off / On: This turns the Damage on or off. When the button is left off, the Scream is bypassed, and when the button is on, the Scream unit is left on. It’s worthwhile to note that if you turn off the Damage, The Mod Wheel, and all the Rotaries will do nothing to your sound. The nice thing about Button 2, 3, and 4 is that you can minimize or maximize the amount of Glitch that is applied to the sound. For example, if you want to hear only a single or multiple delay, just turn leave button 4 off. If you want only the damage with no multi-tap, just turn off button 3. And finally, if you want the damage without the body section, just turn off Button 2. In this way, you can control what effects you want applied to your sound.

And in the image below, you’ll see how the CV1 output from each Thor is sent to the level CV input of each FX chain channel on the 14:2 mixer. Note that the trim knob for each “level cv input” on the mixer is set to full (127).


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Usage: You can use this any way you like. But mainly it can provide a very bass-heavy sound (my take on a Reese Synth Bass sound).


This patch is a simple Polar device that’s doctored up inside a Combinator. It creates a really cool Doppler-style effect (as dopplers inside Polar can go, that is). The Loop Length can be adjusted via Rotary 1. The shorter the loop (towards the left), the shorter the Doppler sound is. The longer the loop, the longer the amount of original sound gets through (and the more strange the sound becomes). You can also play with the Pitch Width on Rotary 2 and the Amp Width on Rotary 4. The LFO Rate on Rotary 3 controls the speed of the Doppler effect (slower speeds to the left; faster speeds to the right).

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Set up a matrix or Thor Step sequencer to play a single note repeatedly at a relatively slow speed, and create a velocity ramp up and down over the duration of the sequence (ramp the full range of the velocity). This sets up the sound to be played at the same pitch, with only the velocity changing as the notes are played. It also helps you to hear what’s going on with velocity. With that done, start experimenting with the 9 velocity knobs to hear how they interact and affect your sound.


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The Pattern tool brushes on the selected notes in the improved piano–roll view. It’s accessible from the toolbar and uses a paint roller as an icon. As you click and drag on the track, the selected notes appear, but not all at once as they would if you pasted them; instead, they get rolled on as you drag. If you keep going, it will loop as far as you like. You can also use the roller to paint MIDI data from a clip in the media bay — simply select the clip and roll it where you want it to be — so if you have a library of MIDI clips, loops or phrases, you can very quickly build up a track. Alternatively, you can start creating a library of clips by selecting parts of a MIDI file, rolling out the part you’re interested in and then dragging it to the Media Bay. That’s a way of doing things I’ve not seen before, and it really is very good.


I imagine it to be easy enough to build something like this out of PVC. Would post a rough sketch but I am at my cabin in the woods currently, not at home!

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.


You need to build all your effects chains. The easiest way to do that involves starting with one Spider Audio/Merger and sending the “To Devices” cable of the Combinator into the splitter side of the Spider. Then you can create as many more Spiders as you need, and endlessly split the signal to create as many FX chains as you like. When you have finished building your first Effects chain, send the outgoing audio signal back into a channel on a 14:2 mixer.

Mod Wheel: The mod wheel is assigned to the Malstrom only. Index is increased, Shift is reduced, and the Filter is increased.


Auto-Panner: Set LFO 1 to Bipolar. Then use LFO 1 as a source adjusting the Pan Mod Rotary for Filter 1. Adjust the LFO 1 settings to taste.

The Noise generator is also similarly connected to the second Oscillator output, which means turning the Mix knob fully left while the Noise generator is on will reveal nothing from the Noise generator. To hear the Noise generator fully, turn the Mix knob fully right. Therefore, to get a mix between the Noise generator and an Oscillator, turn off Oscillator 2. Instead, set up Oscillator 1, turn on the Noise generator, and keep the Mix knob centered. If you instead want a pure noise sound, keep Oscillator 2 turned off, and turn the Mix knob fully right. This removes Oscillator 1 from the Mix and fully introduces the Noise generator.


Guitars are difficult — probably the most difficult — to reproduce. But if you can reproduce a piano sound with a synth, you can take an extra leap to try a Guitar sound as well. The two actually share some similar concepts I think. And while the Subtactor isn’t perfect for guitars, they are still do-able. I found that using Wave 15 in Oscillator 1 paired with a sawtooth provided the raw tones. Then a Bandpass filter 1 going to the Low Pass filter 2 seemed to work out well. I then set the Filter and Amp envelopes to similar values, with medium Decay and Release on both. Keep the Attack at zero to give that initial hard attack. The sustain is tricky, and you can leave it out if you want, or add just a little bit to keep the sound going.

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B) Try adjusting the Rates of the LFOs. You can sync them to each other by keeping their rate values identical. You can separate their sync by using two different rates.


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Launching alongside Reason 6 is a cheaper, cut-down version of the application called Reason Essentials. It's still a fully-fledged DAW, but lacks audio transposition and Blocks mode, and has a simpler mixer. There's no NN19, Kong, Thor, Malström and RPG8 arpeggiator, and it's also missing the three new effect devices and a bunch of old ones, including most of the half-rack effects, Neptune and Vocoder BV512. Also, importantly, the Factory sound bank is smaller, the Orkester bank is not included, and for obvious reasons it can't provide full compatibility with all ReFills.

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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.


So that’s what you’ll find included in the free Pulsar Essentials Pack. If you have any ideas for additional patches, let me know and I’ll be happy to try to come up with new ones and include them here. Also let me know if you have any questions, or what you think of the patches in general. All my best for now, and happy Reasoning (essentially, that is).

Create a Subtractor, Thor, NNXT, or any other sound-generating device in Reason, or else create a new Audio Track and place some audio on this track. My recommendation is to go for a nice Pad sound to start yourself off. Load up a Pad patch from the Factory Sound Bank if you are stumped for creativity.


Something a little more “out there” using a Comb filter. Try it out for some weird glitchiness.

Here's a Thor synth with its Mix device counterpart. Notice how an RV7000 reverb has been inserted into the Mix device, almost as if it was a Combinator.


But as I mentioned elsewhere, nothing else out there has the Balance's Reason-specific features

Cakewalk have put their own spin on this, by insisting that users are buying ‘membership’ rather than a subscription, and by offering additional custom content to members each month. And after 12 payments, the software is yours to keep using; alternatively, you can continue to subscribe to keep the support, updates and content flowing. They also stress that they still offer the traditional boxed product, which includes 12 months of free updates and content. Any future updates would require the renewal of membership at some kind of upgrade price. So in many ways it’s the same deal as before, but you are buying on credit so you don’t have to fork out a large sum up–front. Whether this model works for you or not, it does seem to be the future.

Finally, one last note about the Phase Velocity parameter. Adjusting this will adjust both Oscillator Phase knobs in tandem by the same proportion. This means if you have one Phase knob set to 40 and another Phase knob set to 80, with the Phase Velocity knob set to 10 (positive), when you play the keyboard at full velocity, the Phase knobs will sound as if they are set to 50 and 90, respectively. You can, of course, set up one of the Oscillators to a mode of “o” as outlined earlier, so that the Phase of that Oscillator has no effect on the sound. Of course, this can change the sound. This tandem shifting of Phase is also true of the Phase knob that can be used as a destination for the Mod Wheel. So bear this in mind when adjusting these two parameters.


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”).

Keeping all the samples in one folder means that you’ll never lose the samples or the link to the sample from a song. You could also subgroup samples underneath in sub-folders based on sample type: drums, nature sounds, urban sounds, etc. As long as they stay in this folder, you can subgroup them any way you like and you can even change the samples from one location to another under this folder — if the song ends up losing the connection with the sample, just point to the “Samples” folder, and let Reason/Record find the samples for you. Since they will always be in this folder. Only thing you can’t do is rename a sample.


Here’s another idea if you really want to keep all the patch and sample files with your songs. Try using the “favorites” feature in the Reason song browser to create a “favorite list” for each song you create. This way you have all the files and patches for each song stored in a favorites list. And you can duplicate patch listings in multiple favorite lists without duplicating the patches themselves.

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Red is a ReFill based around the Etch Red Rack Extension from FXpansion. In order to use it you will need Reason 6/5+ and Etch Red. If you want to learn more about Etch Red, I’ve created this introductory Etch Red Tutorial that might help you along. You can also purchase Etch Red if you don’t already have it.

Button 1: Synch Off / On: This turns on the Synch on the Malstrom’s Mod A Curve (which controls the Scream Damage Type switching). When pushed in, Synch is on. When the button is off, the Synch is off.


I wanted to shorten your learning curve, and at the same time share my 10-year Reason journey with you

All switches on the device can be automated or programmed in the Combinator to be on / off. In addition, the fade knob can also be automated or programmed to a Combinator control.

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.


Cakewalk’s Command Center downloads, installs and updates your software. It lists the Cakewalk products you own and their serial numbers, and will perform a complete, automatic download and installation for you. If you have a non–urban Internet connection like mine, this might take a very long time! Before you do anything, though, click on the Settings button and make sure the destination folders for the downloads and plug–ins are correct; otherwise, you may find your system drive suddenly gets very full. There are, unfortunately, no options to specify destinations for library content, so you may need to do some shifting about once you get into Sonar. In my studio, the Command Center was able to chug on through a couple of broken Internet connections and one unrelated system crash, and by the next day I was ready to rock — or so I thought. It then decided I hadn’t installed everything after all, and gave it another go.

Tremolo affects the level of the audio signal (volume wobble), and Vibrato affects the Filter variance (Filter wobble). Using the Combinator Rotaries and buttons, you can control both in a variety of ways. You can adjust their Level, Rate, and what wave shape is used for the wobbling.


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Using the LFO 2 to affect the Amp is the way in which you set up Tremolo. It’s a shame that you can’t apply this Tremolo to the Mod Wheel inside a Subtractor patch (a fairly common Mod Wheel assignment), however, you can do this if you put the Subtractor inside a Combinator, and assign the Subtractor’s LFO 2 Amount to the Combinator’s Mod Wheel.

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The reason is that it’s easier to write notes into the sequencer

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.

The Pulsating Echo Multi-FX patch uses two RV7000 devices set to the “Echo” algorithm. They are then processed through a Hi and Low Stereo split. Note that the delay times of each Echo algorithm is different.


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Maybe it’s the weird weather that’s driven developers into full gear, but this winter has certainly been the season for major updates. Both Propellerhead and Steinberg got in their version 8s before the end of the year, while Cakewalk chose to unleash the latest iteration of their Sonar DAW in the build up to NAMM 2021. Sonar Platinum, as it’s now called, is the first major DAW to step away from traditional ideas about purchasing and support, pre–empting Avid’s similar move with Pro Tools 12 by a couple of weeks. What’s loosely been termed the Adobe model (as Adobe were the first big company to switch to it) replaces the traditional boxed, fixed–fee purchase with a subscription of monthly payments. While you continue to subscribe, you receive support and free access to any updates that occur during your subscription.

There are three Players: Scales & Chords, Dual Arpeggio and Note Echo. Note Echo is a kind of delay, generating MIDI notes rather than audio repeats. Defining tuning and velocity of repeats allows delays to play tunes or even build up into definable chords over successive repeats.


Finally, a word about the Direct Monitoring option. When engaged, the input level fed to the headphone output appears to be fixed, and curiously, the resulting monitoring level is lower than that which comes back via software (I used Reason 6 during testing). So, when using Direct Monitoring you'll often have to lower your DAW's master fader to get a good balance between the input and the DAW guide track. An additional input/playback balance control would have been welcome here.

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All other synths and effects can only be used within the full Reason program

Pitch Bend: Not intentionally mapped to any device, but may still provide some variations. I haven’t really gone through the whole thing to see where it’s mapped. Just kind of left this one hanging.

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Rotary 3: Master Volume – This is the master volume for all the effects. Sometimes things can get a little loud due to all the effects running, and while I tried to make sure all the effects are somewhat leveled out so they are all somewhere around the same volume, you can control the overall global volume using this knob. Careful not to set it too high, unless you are going for something specific, because it can go all the way up to 127 midi volume.

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With the Pro Channel, VocalSync and Mix Recall, Cakewalk have created a seamlessly integrated audio production workflow that keeps you in the action and keeps you in that creative space. They appear to have worked hard on removing previous gripes about restrictions in the Console view, and continue to innovate in areas where you had assumed it’s all been thought of already. The multi–touch implementation is useful and unique, but feels unfinished and needs pushing into more areas. It remains to be seen how well the membership concept pans out, whether Cakewalk can maintain the flow of new content and updates and how the support evolves — but ultimately Sonar Platinum maintains its position in the Premier League of digital audio workstations.


And finally there is the UFO effect which showcases how you can create some interesting Alien-type sci-fi sounds. As with all the patches here — but moreso in this particular patch, try using the Mod Wheel to show some variation in the sound.

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So far we’ve set up the routing for the bypass. As it stands now, if you press Run on the Dr. Octo Rex, you’ll hear the original loop. If you then press Button 1 on the Combinator, you’ll hear BOTH the original Loop and the Audiomatic Preset playing at once (in a Parallel manner).

The following 3 Pads were in part created while I was watching the service for Nicole Bernard streamed over the internet. As you can imagine, it was a very moving experience. So the sounds are deep and very rich. I hope that came across in these patches.


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First off, those new effect devices. Pulveriser joins Scream 4 as a distortion and general 'dirtying' effect. Simple two‑knob compression and distortion sections are complemented by a multi‑mode filter with on-board envelope follower and an LFO, which is whimsically labelled 'Tremor'. It looks easy to use, so it'll be fascinating to find out how it sounds. The inclusion of a dry/wet mix control certainly suggests Pulveriser might be designed with parallel compression of drum mixes in mind.


However, we have to highlight the fact that, at this point, Cakewalk’s promises of monthly additions are just that: promises. The success of their new model will very much depend on its ability to keep those promises over the long haul.

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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.

Ability to fade the signals in or out. This opens the door to creating crossfades between signals on Shelob, and fade in / fade outs of any audio signal. The Fade is “global” so it affects all signals sent in or out of Shelob. The fade can be anywhere between 1 millisecond to 20 seconds.


Button 1: Velocity On – Turns on / off the Velocity sensitivity on a global level. So if you enable this button, you will essentially make the volume of each effect you play via your midi keys sensitive to the velocity at which you strike the keys.

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Rotary 3: Damage: This controls the amount of Scream Distortion Damage applied to the sound source. Turned fully right, and you’re applying about 50% of damage to the signal (64). Turned fully left, and you’re applying very little damage (10).

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Instruments — Use Pulsar’s LFOs as Oscillators to generate the instrument sounds or else use the Subtractor and/or other Essentials instruments to generate the sound. In this second scenario, at least a few Pulsars are used to modulate various parameters of the instruments.


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Rotary 3: Frequency Level – Controls the Frequency of the incoming audio. Fully right cuts off the frequency entirely. Fully left opens the frequency completely. Use this in tandem with the Frequency Modulation enabled (see Button 3) for some interesting effects.


A Mix Scene contains all the Console and Pro Channel information, all track automation and settings, all plug–in information, MIDI CC parameters and arpeggiator controls. However, you don’t have to recall an entire mix: you can opt to recall just selected tracks, through the use of a switch in the advanced settings. No regions or clips are moved or recalled, nor Region FX like VocalSync and Melodyne.

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.


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.

When I was building my FM 4-Operator System way back when, I went over most of the basics of FM synthesis. So I won’t rehash that again here. Instead, I’m going to outline one idea that I’ve noticed with FM which I’m hoping will help you build better patches. The idea is simple but very powerful, and if you haven’t played around with FM yet, you’ll soon realize it. The idea is this: when you have a modulator that is a multiple of the Carrier (or vice versa), you end up with very harmonic sounds. If you use a Carrier / Mod combination that are not multiples of each other, you end up with inharmonic sounds. This makes perfect sense when you read the technical description of what inharmonicity means.


In Reason 6, however, you can't create a track for the mixer

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.

Wurly Trip MK II is slightly different than the Wurly Triplet Progression patch. It includes Drums, and only uses one pattern for the sequence. Instead, Rotary 1 allows you to transpose both the Piano and the Drums upward by 1 octave (in semitone increments). This way, the patch shows how you can program the Matrix to play the harmony sequence in any scale. It’s a slightly different take on the previous patch. Also, both the Piano and Drums have a lot of processing going on. In this respect, the Combinator is more of a “Song Starter” than single instrument patch.


The other side of the Console is the Pro Channel, and this also benefits from multi–touch, particularly the QuadCurve Equalizer. One of the drawbacks with touch is that not all GUIs lend themselves to manipulation by fat human fingers. With the QuadCurve EQ, Cakewalk brilliantly demonstrate how to provide the perfect touch interface, thanks to its fly–out panel. Double–tap on the small EQ display in the Pro Channel, and out slides a huge panel where you have complete fat–finger multi–touch control over all four EQ bands. This is the sort of implementation you need on all plug–in interfaces: the ability to make the controls bigger and more touch friendly.

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Select LFO2 by clicking on the square icon in the middle section of the device or using the drop-down at the far right of the 10 Mod Sources. When you switch over to a new Modulation Source, you’ll notice that both filter frequencies’ Modulation Rotaries snap back to their original values (dead center). You’ll also notice that the small LED circle just above these rotaries turn red. This LEDs indicate that there is another source modulating this parameter. Finally, the previous source’s square selector changes from yellow to red (LFO1 in this case). Switch back to LFO1, and these LEDs turn yellow. Switch back to LFO2, the parameters go back to their default and the LEDs turn Red. Yellow = whatever is currently selected in Etch Red. Red = another value is being used to modulate this parameter.


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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.


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It comes with 100 impulse responses designed by MoReVoX, as well as letting you add your own WAV or AIFF impulse files. Within each preset, you have information on the type of reverb and the response time, and you have control over the time, decay and stereo spread along with some EQ. It’s a decent reverb with simple and yet satisfying controls, but this single–layer version loses the unique selling point of the multi–layered Rematrix. Without the full version’s ability to mix and match impulses, not to mention its drive and compression effects, you’re left with a fairly bog–standard convolution reverb, albeit a very welcome one.

As the name suggests, this is a Dubstep Bass experiment. You can adjust Filter Frequency, Drive, FM, and Wobble Glide using the rotaries, as well as some other adjustments using the buttons. Hint: If you don’t like the wobble pattern, open up the Combinator, and change the Thor step sequencer Velocity and Step Count. The velocity controls the Rate of the LFO in Etch Red, and therefore the type of Wobble you hear.


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.

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These patches are probably the type of sound that is most commonly associated with the Subtractor: Bass. Octave separation between the two oscillators is key here, along with the right kind of filtering and amp envelope.


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In my fervent attempt to learn every single Rack Extension in the known universe, I stumbled upon Etch Red. And then I started creating, and just kept going and going and going. You see, this is part of the fun of the Rack Extensions. I’m starting to learn it’s not always about pitting the default Reason software against a particular Rack Extension. It’s just as important that a Rack Extension motivates you to create more. To that end, Etch Red was a seriously fun creative tool that allowed me to experiment on a large scale. So I thought I would share some of these experimentations with you.

Route Oscillator A to the Shaper and Oscillator B to the Filter B (Note: Do not turn on the Shaper). Set Filter A’s Frequency to somwhere around 116 or so. Set Filter B’s Frequency to somewhere around 106. This is so that we remove a bit of harshness in the final sound we’ll be building up. Set Oscillator A’s Cent value to “+7” and Oscillator B’s Cent value to “-7” which detunes the Oscillators from each other.


The concept of Templates is nothing new. You find them in Microsoft Word, Excel, and Adobe products, such as InDesign as well. If you think about what happens when you first use any of your programs, you usually start off with a New, empty document. Then you perform a few common tasks. For example, you open up a new Word document to a blank page, then you may change your styles to reflect what you want to write, show hidden text to show you paragraph markers, maybe add a specific layout, create a two-column setup, write a basic introduction, and add a Table of Contents. After a while, you realize that you keep performing these same tasks at the start of every new document. Well, what if instead when you open that new document, all of these tasks were already performed, allowing you to “skip over them” and get straight to writing the content of the document. This would save you a lot of time right?

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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.


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An audio track in the sequencer: the buttons next to the level meter let you choose a hardware input and engage the built‑in tuner. The button above, currently lit green, enables track monitoring.


These four patches are examples of how to recreate organ and piano sounds using the Subtractor. I don’t know about you, but I find programming Pads, Pianos, Organs, and Basses are probably among the easiest types of instruments to reproduce with the Subtractor. I’m not going to go into all the details of how these patches are put together, because they all use different settings, Oscillators, Filters, etc. And you can take a look at them for yourself and then try your hand at creating similar kinds of sounds. I would say that a good starting point is a Sine wave and Low Pass filter though. Sometimes a Notch filter can work well.

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Matt Black (aka: Jiggery Pokery) has done it again. Instead of providing a new ReFill, he has dazzled us with a new Rack Extension: Shelob, a 4-input, 16 stereo /32 mono audio output Splitter. Think of it as 4 Spiders locked together in a nice compact unit, but with a few extras. And all for the low price of $9/00 USD. In this article, I’ll discuss a little about what you can do with this baby.

Clicking the tuning fork button switches the input level meter into a tuning display, ideal for guitarists. It works incredibly easily: you play the note you want to tune, and Reason figures out the target pitch and guides you up or down.


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If the input level meter doesn't give you enough feedback — I always wish there was some clearer calibration — you can choose Recording Meter from the Window menu. This pops up a big, floating, well‑calibrated meter window.

There is a Wah effect that I built for the Pulsar which is included in the stock patches, however, it uses a Thor to do some CV trickery. So I developed its little brother here, which essentially does the same thing, but can be used by Essentials users.


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The only thing I might be wary of doing is creating delays on any of the parallel signals, as this can cause some phase shifting. But that might be something you are trying to achieve.

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It cannot be any other file type. It is used as a starting point for document development (usually a song; however, it can also be used as a Mastering Template, Sound Design template, Loop Template, or any other purpose that you have for Reason files). It can contain anything that can be saved in a Reason file, which pretty much means anything and everything in the Reason universe.

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.


A huge thanks to Ed for putting this package together. You truly are an inspiration to all of us Reason users. Please keep doing what you’re doing my friend.

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These three show how you can create various special effects with the Subtractor. The Morse Code patch is a good example of how you can use the Random LFO 1 applied to the Filter Frequency in order to create a random Morse Code Sonar sound. Depending what Oscillator you are using and how it’s filtered, you can have it sound like a Telegraph, if you like.


I have it on pretty good authority that some artists use Templates to create their own “song structure” templates, complete with instruments, sends, inserts, mastering, MIDI, etc. Then they use these templates to switch out instruments. This becomes their entire process, creating several songs that have the same basic structure but sound different. While this is perfectly valid and I wouldn’t argue against doing this (I think it’s quite ingenious actually), I would add a word of caution.

As befits Reason 6's DAW status, its audio setup is a little more complex than in previous versions. Everything is configured in the Preferences window (accessed via the Reason menu in OS X, and the Edit menu in Windows). On the audio page you choose your audio hardware device, buffer size (smaller values minimise monitoring latency but work your CPU harder) and audio track monitoring mode. There are three modes on offer here.


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The Default Song parameters set up what you want to happen when you open Reason. If you want to always open Reason (this link) with a Template song, you can do so by selecting the “Template” option. However, this is very different from the Templates you can access once Reason (have a peek at this website) is open.

More Shapes: Create a Malstrom and from the back send Mod A into Etch Red’s CV 1 input. You can now use Malstrom’s 31 waves as a source to affect any Etch Red Modulation.


In the Programmer panel, turn off Oscillator 1, disable routing Oscillator 1 from the Mixer to Filter 1 by deselecting the “1” button, bypass Filter 1, and turn off the Global Envelope. Rename Thor 1 “Bass Filter” and Thor 2 “Snare Filter” (see image at right).

First, you already have a few default templates stored here, which are nice to look at and explore. You might also find a Template or two that fit your own working process. Second, you’ll see that there is a “Show Template Folder” option at the bottom of the list. This is handy to point you to where your Template Folder is on your machine (I’ll get to this in a minute, as it’s different for different operating systems), and also a handy way to open the Template folder and delete Templates quickly (again, more on this below). Third, and most importantly, after a while the inevitable question will pop into your head: “How do I add my own Templates”?


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?

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.


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Rotary 4: Beat Delay Time – Changes the Beat Repeater time from very short (turned more left) to very long (turned more right). Used in conjunction with Button 4. In other words, you need to first turn on the Beat repeater for this to do anything.


Rotary 2: Pan Location – Controls the location of the Audio in the stereo field. If the Pan modulation is turned on (see Button 2), then the panning still floats from left to right and back again like a pendulum, however, the Pan location is static and can be set anywhere along the stereo field. Try using this rotary in tandem with the Pan modulation turned on to get a feel for it.

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Download the 2 Combinator patches here in zip file format: thor-tremolo-pan-freq-fx. Note: You will need Reason 5 or above to use the Combinators, because they both use the CV inputs on the Combinator, which was a new feature of Reason 5. If you have a previous version of Reason, the Combinator will give you a “bad format” error message.

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.


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An additional annoyance is that the Command Center doesn’t allow you to copy and paste serial numbers, so you have to enter them by hand. Although I’m sure the automatic installation of Sonar is helpful to many, I’d really much prefer to download a bunch of files and run them myself, particularly given how big everything is. Suffice to say it’s important to schedule yourself at least a day if you want a stress–free installation. It should be noted, though, that if you keep hold of the Cakewalk/Downloads folder you won’t need to download everything again if you need to reinstall or equip a second machine.

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That’s the Shelob utility Rack Extension in a nutshell. Hopefully, this gives you some ideas and helps you understand how to use the device. Check out the attached Combinator patches and have some fun playing with it. For less than the price of an iTunes album, it’s well worth the expense to get a little more functionality out of audio splitting.


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Next, switch the Filter 1 Mode to a 4-Pole High Pass Filter (4H) and the Frequency to 6 Hz (fully left). For Filter 2, leave it set to the Low Pass Filter (default), and set the Frequency to around 350 Hz or so. Also set its Resonance (Rez Rotary) to roughly 25%. Note: The Black rotaries change the parameters. The Rotaries encased in Red circles are used to modulate these parameters. So Black changes the parameters outright, while red is used to modulate them negatively (left) or positively (right).


I've been using Reason since version 3. Also, I've been waiting since version 4/5 to upgrade. I can say that it was worth every penny to upgrade. Now that I've looked through the software, I'm left wondering what else they could add to this program.

But if you press “play” on the Transport, you’ll notice you don’t hear any sound. If you want to hear the original sound, just bypass the FX Combinator.


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.

There are three main areas of implementation: the Console view, the Skylight interface and the Matrix. Let’s start with the most immediately satisfying, the Console.


In this second approach, I wanted to give Reason 4 users another way to create some Glitch in their rack. This is an idea I got from delving into the Glitch Box Combinator that comes with the Factory Soundbank. It was an old patch that has been around since R3, and so it uses a few NN19s hooked up to a 14:2 Mixer, and the mixer levels are triggered by the Redrum CV Gate outs. In this one, I update the idea by using a few Thor devices. You can really have a lot of fun using a few different Wavetable oscillators, and changing around the LFO2 Wave types and rates between all the Thor devices (this is something I neglected to do in the video below, but I would think it would produce some interesting variations). Anyway, this method can be used in R4 and above and is for all those who haven’t yet purchased Reason 5. But seriously, what are you waiting for?

Do you know of anything similar for a US Supplier? I'm not trying to pay a stupid amount for shipping out of UK.