7Reason DEEP D Iv E

Keyboard Magazine and Propellerhead Software Present

Build the Sounds Everyone is Hearing and Talking reason About, including:

– Subsonic Bass! – The “808” Kick Drum! – Electro Leads! deep dive – “Dirty Dutch” Sirens! – Minimal Techno! 7 ... and More!

By Francis Prève These are the sounds of today. The sounds you can’t listen to a pop or EDM track without hearing. Some are cutting-edge, some are retro, and all are part of the reason essential vocabulary of any electronic music producer, DJ, or tech-savvy keyboardist.

Don’t have a rack of expensive analog synths and vintage drum machines? Don’t worry! Reason 7 gives you all the synth and sound-sculpting power you need to nail deep dive these sounds with absolute authenticity and with Reason’s signature vibe of virtual 7 hardware—all on a laptop you can then take to the gig. Go to keyboardmag.com/reason7deepdive to download Reason project files, device settings, and Combinator patches that let you get inside all the sounds below.

» beginner SOUNDS 1. The Festival Lead 2. Subsonic Bass 3. Analog String Machine 4. Retro Synth Bass 5. Dirty Dutch Sirens

» intermediate SOUNDS 6. Progressive Rock Leads 7. Jazzy ’70s Electric Piano 8. Talking Electro Lead 9. Minimal Techno Lead 10. Classic Warm Pad

» advanced SOUNDS 11. Vocoded Talking Drums 12. ’80s FM Bells 13. Electro Fifth Lead 14. Alligated Pads 15. “Yang” Chords 16. Acid 303 Lead 17. Morphing Trance Arpeggiations The Festival Lead Let’s start with a sound that will be familiar to the fans of the current EDM craze that’s packing festivals with thousands of crazed dance music enthusiasts—and introducing a new generation to the sound of electronic music.

Many of the biggest tracks include a massive lead that’s deceptively simple to make, but commands attention in tracks that rely on its raw, detuned characteristics. Fortunately, Reason’s Thor Polysonic Synthesizer makes this particular sound a breeze to whip up yourself, thanks to its unique MultiOsc oscillator option and fat ladder filter. Festival Lead » beginner

Here’s how it’s done:

Step 1 Once you’ve added your Thor synth to a new channel, reset the device to its default settings, so you have a blank slate to start your new sound.

Step 2 Thor’s default filter settings include values for velocity and envelope control of the cutoff frequency. The simplicity of this Festival Lead doesn’t require too much dynamic control, so set the Env and Vel knobs to zero (fully counterclockwise).

Step 3 Because the sound is so straightforward, the Amp Envelope settings are equally streamlined, with attack and decay set to zero, sustain at maximum, and just a tiny bit of release time (to prevent clicking on the note offs). Seasoned programmers often call this a “gate envelope.”

Step 4 Once your filter and amp envelope are configured, it’s time to explore Thor’s Multi Osc. This unique oscillator generates the sound of multiple stacked and detuned oscillators, with specialized control over the waveform choice, as well as detuning mode and depth.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Festival Lead » beginner

Step 5 The key settings for the Festival Lead are a sawtooth wave and “Octave” detune mode, so make sure these are selected.

Step 6 Now it’s time to start transforming the sound into that classic lead. The default amount for the detuning is almost right, but let’s raise it a bit more to get a fuller, denser effect. (If you want to really see how far the Multi Osc can go, experiment with turning the knob all the way up. This effect can be very useful when automated within a track.)

Step 7 Our Festival Lead is nearing the finish line. At this point, it’s time to experiment with different filter cutoff amounts. Since the ladder filter is based on a lowpass model, raising the cutoff increases the high frequencies. Turn this knob fully clockwise for maximum brightness.

Step 8 Finally, you may wish to widen and thicken the sound further. While this can easily be done with many of Reason’s studio effects, Thor includes an integrated chorus that also does this trick nicely. Try maxing out the Wet/Dry knob to hear the effect fully.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Subsonic Bass Whether it’s hip-hop or house, the deepest bass sounds can be quickly whipped up using the most basic of all waveforms: the sine wave. Since version 1, Reason’s Subtractor has been a go-to synth for this type of subsonic bombast. By using a single oscillator and applying a few straightforward tweaks, you can create a subsonic hum that will rattle your neighbors’ windows for blocks.

Important Note: This type of bass sound can easily blow your speakers if the volume is set too high—no joke. Be sure to do your sound design on bass patches at moderate volumes so you don’t damage your monitors or your ears. Subsonic Bass » beginner

Here’s how it’s done:

Step 1 Add a Subtractor synth to your desired channel, then reset the device’s parameters to its initialized state.

Step 2 Subtractor’s default settings includes a bit of velocity modulation for the filter envelope. Since this patch doesn’t require that, turn this modulation off by setting the knob to the center position (12 o’clock).

Step 3 As with the Festival Lead in the previous tutorial, this type of bass sound relies on a gate envelope, so set attack and decay to zero, sustain at maximum and a tiny bit of release.

Step 4 Step 5 The primary characteristic of a sine wave Subtractor’s default waveform for oscilla- is that it contains no harmonics, only a tor 1 is a sawtooth. Switch that to our sine single frequency. Because of this, filtering wave. interferes with its behavior, so max out the cutoff frequency of Subtractors Filter 1 so it doesn’t get in the way.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Subsonic Bass » beginner

Step 6 Now lower the octave parameter from 4 to 3 to move the pitch into the lower bass regions. That’s it! If you’ve set everything up correctly, you should be hearing rafter-shaking bass coming from your monitors.

Extra Credit: The Roland TR-808 Kick

It’s worth mentioning that sine wave bass sounds include many of the core features of the legendary Roland TR-808 kick drum sound, so here are a few modifications that will allow you to create your own TR-808 kick, which you can then customize further as you experiment with Subtractor.

Step 1 Starting with your newly created sine wave bass, change the envelope settings from a gate envelope to something more percussive with no sustain and a longer decay and release.

Step 2 To recreate the 808 attack transient—a small “tic” at the beginning of the attack—you can use Subtractor’s Mod Envelope to add an ultra-short pitch sweep at the beginning of each note. Here, we set all of the envelope parameters to zero and the envelope amount to about 75%, then nudge the decay up a tiny bit until you hear a clicking sound at the beginning of each note. If everything is set up according to the screenshots, you should be on your way to having your very own 808 kick.

Power Tip: Since the release of the 808 kick (and all bass for that matter) can cause unpleasant low-end intermodulation when played polyphonically, you can eliminate this by setting Subtractor’s polyphony to 1, making it monophonic.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Analog String Machine

Vintage synth fans often lust after the sound of real analog strings. While many synth presets do a fine job of recreating this sound, true gear heads know that analog string machines relied on very simple home-organ technology to generate their quirky yet ethereal timbres.

For this sound, we’ll go back to the essentials and recreate analog strings using the same techniques that the original instrument designers did. Analog String Machine » beginner

Here’s how it’s done:

Step 1 Create a channel using Thor, then reset the device’s parameters to their default state. Step 2 Start by adjusting the amp envelope parameters to reflect the character of strings, with a softened attack, no decay, full sustain and a slight release.

Step 3 Many string presets rely on detuned sawtooth waves to simulate the richness of the original, but that’s not how it was done back in the day. True analog string machines relied on pulse waves, so use the Analog Osc, select the pulse/square wave and thin it out by turning it up to about 80 to 90%, which will generate a very narrow pulse width—just like the real thing.

Step 5 Instead of a traditional lowpass filter, we’ll use Thor’s State Variable Filter to apply high pass filtering to the string sound to achieve its trademark “thinness.”

Step 4 Step 6 Staying true to the original sound, Setting up the State Variable Filter raise the oscillator by an octave to is simple. First, remove velocity and recreate high strings. envelope modulation by turning their knobs to zero. After all, classic string machines didn’t include velocity sensitive keyboards. Then switch the filter mode to HP (highpass).

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Analog String Machine » beginner

Step 7 Finally, raise the cutoff frequency slightly (about 25 to 30%) to remove the low frequencies a bit.

Step 8 By now, you should be hearing a tweezy, thin sound that sounds nothing like a real string machine. That’s because the essence of the string sound comes from its use of chorus/ensemble effects from the ’70s and ’80s. Turning on Thor’s chorus effect is the first step toward that sound. It’s safe to leave them set at their defaults, since that’s the perfect starting point for these effects.

Step 9 Taking the chorus effect to the next level will help nail this classic sound. Reason’s Unison effect is a fantastic tool for this, so right-click on Thor and add the UN-16 Unison studio effect.

Step 10 Apply the finishing touches to this sound by increasing the Unison detuning amount to about 40-50% and back off on the wet/dry mix to around 60-70%. Step 11 Since this patch includes both Thor and the Unison effect, right click on both and select “Combine.” This turns your sound into a Combinator preset, which can be saved and recalled for future tracks.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Retro Bass Whether it’s ’80s synth-pop or ’90s house music, there’s a specific analog bass sound that is a hallmark of some of those era’s biggest hits. What’s more, the current resurgence in both of those styles makes this sound as useful today as it was a generation ago.

Thor’s sonic flexibility makes it a real workhorse for this type of analog patch, which again makes use of its outstanding models of analog oscillators and ladder filters—along with a touch of delay for producers who want to make their bass lines breathe in a more spacious manner. Retro Bass » beginner

Here’s how it’s done:

Step 1 After adding Thor to a channel on your mixer, reset the device to the factory defaults. Step 2 One of the key components in this sound is a percussive envelope on both the filter and amplifier sections. Start by setting up the amp envelope with an instant attack, short decay, no sustain, and just a touch of release.

Step 3 On the ladder filter module, turn its cutoff frequency to zero, its envelope amount to maximum and—if you want to keep the bass dynamic—leave the velocity modulation of cutoff at its default setting.

Step 4 Step 6 Now it’s time to adjust the filter So that the second oscillator is envelope to give this sound its processed by the same filter as distinctive analog feel. In a similar the first, click the #2 routing but- manner to the amp envelope we ton to the left of the ladder filter. again use an immediate attack, This routes its sound into the filter. short decay, no sustain, and this time, a bit of release (in case you decide to tinker with the amp envelope release in your creative endeavors).

Step 5 By now, your bass sound should begin to take shape. To give the sound more low end, we’ll add a second analog oscillator to the mix.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Retro Bass » beginner

Step 7 Now, drop the pitch of the second oscillator by an octave to increase the bass. If you’ve followed the steps correctly, you should be hearing that classic analog bass sound, in all its retro glory.

Step 8 If you’re making a bass line that has an uncluttered feel with few, well-placed notes, try adding a bit of 16th-note delay. Thor’s integrated delay unit is perfect for this function.

Step 9 To make the delay “sit back” in your track, lower the feedback amount and adjust the Wet/Dry mix so that the echoes are lower in volume. In conjunction with a sparse bass riff, this will reduce unnecessary mix clutter.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Dirty Dutch Sirens

One of the most distinctive and popular sounds in modern EDM is the “Dirty Dutch” siren effect popularized by Afrojack at the start of his incredible career.

The sound itself is extremely easy to create, as it’s basically a single sawtooth oscillator being modulated with a slow LFO, then gated—either with a second gate effect or via automation. Fortunately, the LFO in Subtractor is “free- running.” That is, it constantly cycles, regardless of whether a key is pressed. This makes Subtractor the perfect choice for creating this sound. Here’s why. Dirty Dutch Sirens » beginner

Here’s how it’s done:

Step 1 After adding Subtractor to your desired channel, reset the device to its initialized state.

Step 2 Since this sound isn’t particularly dynamic in the context of a mix, remove the velocity modulation of the filter envelope amount.

Step 3 Again, we use a gate envelope, set Step 4 up the same way as the Subsonic Since this siren relies on a bright sawtooth wave with no filtering, Bass and Festival Lead tutorials: raise the cutoff frequency to its maximum. Note that this is a great No attack or decay, full sustain, and parameter to automate in tracks that rely on this sound. Perfect for quick release. buildups and breakdowns.

Step 5 The Subtractor default sawtooth and tuning are ideal for this sound, so leave them untouched.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Dirty Dutch Sirens » beginner

Step 6 Now, to create the siren pitch swoops, assign LFO 1 to oscillators 1 and 2, then raise the amount to about 50 to 60% and change the waveform to an upward sawtooth (sometimes called “ramp”). You can experiment with other waveforms too, but this type of sawtooth will yield the sound’s distinctive rising character.

Step 7 Unsynced, you should set the LFO rate to its slowest possible setting for the “classic” version of this sound. Syncing the LFO to tempo is another great way to keep everything rhythmically aligned in your produc- tions. In this case, turn on sync and set the rate to 16/4 (four measures).

Step 8 Many “Dirty Dutch” tracks added a touch of reverb to this sound. Right-clicking on Subtractor and adding Reason’s RV-7 is a great way to get that sound very quickly.

Step 8 To tame the reverb’s default settings, shorten the decay a bit and reduce the reverb with the wet/dry mix parameter.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Progressive Rock Leads

Keith Emerson’s solo in Emerson, Lake and Palmer’s seminal hit “Lucky Man” is one of the most famous synthesizer leads in history. Based on layered square wave oscillators (with flourishes of portamento to make the notes slide around), this lead inspired legions of ’70s keyboardists to include synths in their rigs—and brush up on their soloing chops.

While Keith originally did this solo on his massive Moog modular system, Reason’s Thor does a convincing emulation thanks to two kinds of analog oscillator models and its warm and beefy ladder filter. Progressive Rock Leads » Intermediate

Here’s how it’s done:

Step 1 After creating a new Thor channel, reset the device.

Step 2 This patch doesn’t require heavy filter modulation, so reduce the envelope and velocity amounts to zero.

Step 3 As with many leads, the sustain is set to maximum with just a touch of release and a slightly softened attack.

Step 4 For the richness and depth of the square wave oscillator sound, we’ll be using a pair of Thor’s Multi Oscillators, so select Multi Osc for oscillator 1.

Step 5 Step 6 Step 7 On oscillator 1, switch the waveform Make sure oscillator 2 is Add another Multi Osc to oscillator 2 to square and leave the detuning routed to the ladder filter, so and set it to square also. For a slight settings as is, since they work well we can hear its output. variation in character, switch the as a starting point for this sound. Detune Mode to “Fifth Up” and increase the detune amount slightly.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Progressive Rock Leads » Intermediate

Step 8 Step 9 To make this lead To increase the warmth of super thick, we’ll the sound, oscillator 3 will be using all three use Thor’s Analog oscillator of Thor’s oscillators, mode. Select that from the so route the third menu when you activate oscillator to the the oscillator. ladder filter, as well. Step 10 Now, select the Analog oscillator’s pulse waveform and adjust the knob so that the pulse width is 50% (or very close). This will create another square wave. Due to the Analog oscillator’s characteristics, this square has a different “feel” than the Multi Osc square wave. These differences in character make Thor extremely flexible when it comes to analog emulations.

Step 11 One of the trademark effects in Keith Emerson’s lead is the se- lective use of portamento (also called “glide”) to make certain Step 12 passages slide from note to note Now, it’s time to dig into Thor’s extensive modulation matrix options. Note smoothly. To begin, set Thor’s the labels at the top of each column on the left. For the first three columns, portamento to on and the rate Source selects the modulation tool, Amount determines the depth of to zero (no portamento). modulation, and Dest selects the modulation target (destination). To keep things straightforward, we’ll focus on these.

Step 15 Finally, set the Mod Wheel amount to a value between 70 and 75, so that when the modulation wheel is at maximum, the square wave lead glides from note to note, but when the mod wheel is at zero, there’s no portamento.

Step 13 For the source, we’ll use the modulation wheel, which will allow Step 14 you to control the amount of porta- Next, select Portamento as the mento based on how far you push modulation target from the pull- the wheel on your MIDI controller. down in the Destination column.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Jazzy ’70s Electric Piano

One of the most famous and distinctive electric piano sounds can be found on Steely Dan’s legendary progressive jazz albums from the ’70s. Their magnum opus, “Aja,” contained numerous tracks that make use of a Fender Rhodes Mark 1, processed by a phaser effect.

While Propellerhead’s Radical Keys Rack Extension is the way to go for the ultimate in realism, there’s an excellent Mark 1 piano in the NN-XT collection of instruments, so we’ll use that. Jazzy ’70s Electric Piano » Intermediate

Here’s how it’s done:

Step 2 In the Reason Factory Sound Bank’s NN-XT folder, look for the preset folder labeled “Piano.” Step 1 After adding the NN-XT to your selected channel, hit the file folder icon to call up the preset selection window. Step 3 In the piano folder is a preset titled “RhodesMK1.sxt.” Double- click on that to load it. Play some chords via your controller to get the feel for the sound.

Step 4 The Rhodes preset doesn’t require any modifications or editing, so we’ll jump right into adding the Phaser as an effect to get that Steely Dan sound. Right click on the NN-XT and select the PH-90 Phaser from the Studio FX menu.

Step 5 The phaser’s default rate and levels are in a good range for this effect, but the feedback is a tad high, so reduce the amount slightly.

Step 7 Once you’ve got the phaser and reverb tweaked to your liking, you can convert this arrangement of Reason tools to a Combinator by right-clicking on the NN-XT and selecting “Combine.” Save the patch and you’re done! Step 6 Now, right-click on the phaser and from the Studio FX menu, select the RV-7 reverb. Then adjust its settings so the Small Room mode is selected, the Size and Decay are reduced and the wet/dry mix is mostly the original signal with just a touch of room reverb for ambience.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Talking Electro Lead

One of the most popular sounds in dubstep and electro is the talking, bit-crushed lead. Often played in the lower registers, this sound evokes a metallic human voice and has been used in countless tracks by such artists as Skrillex and Deadmau5. Using Reason’s Subtractor and Scream tools, this sound is actually quite easy to make, once you understand what’s going on under the hood. Talking Electro Lead » Intermediate

Here’s how it’s done:

Step 4 We’ll be controlling the filter cutoff with the mod wheel, so Step 1 reduce the velocity control of Add Subtractor to your the filter envelope to zero or selected channel, then reset else things could get confusing. the device.

Step 5 This is where we get creative with the sound using Subtractor’s 24dB-per-octave lowpass filter mode. First, select “LP 24” from the filter mode options, and then set the resonance slider to about 75% and the filter cutoff to a Step 2 value of 56. Since we’re going to manipulate the character of our sound via the modulation wheel, we can use another gated amp envelope to keep the lead punchy and at full volume.

Step 6 Adding Reason’s Scream distortion is the secret sauce for the vocal effect. Right click on Step 3 Subtractor and select “Scream” Again, we’ll keep things from the Creative FX menu. straightforward with a sawtooth wave. Since the initialized parameters start with a sawtooth on oscillator 1, there’s no need to make adjustments here.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Talking Electro Lead » Intermediate

Step 7 Step 8 Next, lower Scream’s Damage To get classic bit-crushing effects, select Scream’s amount to about 20 to 30%. “Digital” distortion mode.

Step 9 Now, to dial in the right distortion for the talking effect, set the Tone P1 knob to maximum and the Frequency P2 knob to a value of 65.

Step 10 We’re almost there! Switch back to editing Subtractor and set the Mod Wheel’s filter cutoff amount to around 18. Now, play a riff in the lower octaves of your MIDI controller and move the mod wheel. If you’ve set everything up correctly, you’ll hear the classic dubstep “talking” lead/bass sound.

Step 11 To save the whole patch to memory, right click on Subtractor and select “Combine.” Then save the patch as a Combinator preset.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Minimal Techno Lead

Since 2010, the charts for the Minimal style on electronic dance music website Beatport.com have been dominated by a percussive lead sound that’s based on sampled vintage analog drums.

Fortunately, NN-XT’s ease-of-use and Reason’s massive collection of drum sounds make this sound easy to recreate if you’re prepared to do a little digging through its myriad of sample options. Minimal Techno Lead » Intermediate

Here’s how it’s done:

Step 1 Step 2 Using the right-click and reset Hit the arrow just below the technique from previous sounds, pitch and mod wheels to open initialize NN-XT to its default NN-XT’s editor window. settings. NN-XT will make no sound until we load a sample.

Step 3 In the Editor window, click the sample’s folder icon to open Reason’s library.

Step 4 Now it’s time to find the right sample. First, we’ll choose “Reason Factory Sound Bank” from the left column to get to our drum sounds.

Step 5 Step 6 Step 7 The drum sound we’re looking Inside the ReDrum folder, at Now, open the “01_ for is in Reason’s “ReDrum Drum the bottom, is another folder BassDrums” folder. Kits” folder, so scroll down to labeled “Xclusive Drums- that and open it. Sorted.” Click on that.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Minimal Techno Lead » Intermediate

Step 8 The sample we’ll use is called Step 9 “Bd2_Boom.” It’s actually a bass Once the sample is loaded, we’ll pitch it up by changing its Root Key drum, but we’re going to pitch it to C1. This will make the sample play at its original pitch when we play up a lot. Double-click on that to C1 and all keys above that will transpose the sample upward. Play some load it into NN-XT. keys above middle C and you’ll hear the effect.

Step 11 If you’ve done everything correctly, the NN-XT editor should look like this.

Step 10 Now, to shorten the sample, we’ll tinker with the Amp Envelope so that there’s an immediate attack, a bit more decay, no sustain and a normal release time.

Step 12 Now to add the finishing touch: Reverb. Right-click on NN-XT and select the RV7000 Reverb from the Studio FX menu. The default “Warm Plate” preset is Step 13 close to what we need for this sound. Now, customize the reverb parameters by reducing the reverb decay amount and adjusting the Dry-Wet knob so Step 14 that the signal is mostly dry Play a riff in the upper octaves with a touch of reverb. of your keyboard and you’ll hear that Minimal sound that’s been blowing up the charts at Beatport.com. Once you’ve made any final creative adjustments, combine the units to a Combinator and save the patch.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Classic Warm Pad

Soft, warm pads have been an essential part of electronic music for decades. From ’80s synth-pop to trance to deep house, a filtered pad sound is the perfect compliment to a great chord progression.

Classic Warm Pad

For this sound, we’ll use Reason’s Malström synth as the core tone generator with a few added effects to give the sound space and depth. Classic Warm Pad » Intermediate

Here’s how it’s done:

Step 1 Add a Malström instrument to your selected channel. Step 6 Now, set Osc B to the “Female Choir” graintable and lower it by an octave.

Step 7 Classic Warm Pad Now, set Osc B to the “Female Choir” graintable and lower it by an octave.

Step 4 In Malström, each oscillator has its own independent amp envelope, so set Osc A’s envelope to a classic pad shape with a softened attack, full sustain, and a bit of extra release.

Step 8 Step 2 By now, you should be hearing Right-click to reset the device. a bright choir pad. To get that smooth warm sound, we’ll add some lowpass filtering, so route both oscillators to Filter B. Step 5 Oscillator B will provide a bit of soft vocal chorus to give the pad a bit more Step 3 “air”. First you need to Set Oscillator A to the activate it by clicking “Sawtooth 16” option. This on the little square at lets us start with a rich, bright the top of its label. detuned sawtooth sound.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Classic Warm Pad » Intermediate

Step 9 The default filter settings for Filter B are perfect for this patch, but if we want to add filter swells as we play (perfect for breakdowns and buildups), we can easily do that by routing the Mod Wheel to control the filter cutoff. For subtle effects, a setting of 16 is great. Adjust this parameter to match your performance style.

Step 10 Now, let’s give the pad some ambience by adding an RV7000 reverb to the Malström.

Step 11 Classic Warm Pad Again, the default plate is a great starting point, so adjust the decay and wet/dry amounts to taste.

Step 13 Next, adjust the Low Width parameter. A setting of 34 is an excellent starting point.

Step 14 Now, to make the “air” in Step 12 this pad really wide, adjust For a really wide stereo field, Reason’s the High Width to its MClass Stereo Imager is an excellent maximum value. and clean tool. Right-click and add one to your chain.

Step 15 Play some chords in various ranges of your keyboard and tweak the parameters to taste. When you’re done, combine to a Combinator and save your pad.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Vocoded Talking Drums

The BV512 Vocoder is among the most powerful sound design tools in the Reason arsenal. While many producers use vocoders to make robot voices (think Daft Punk), the power of the vocoder goes far beyond this. Here, we’ll use it to make a dynamic and interesting rhythm track.

Classic Warm Pad

To make the most of vocoding, it’s important to keep in mind how a vocoder actually works. In essence, a vocoder is a series of bandpass filters, each covering a narrow range of the audio spectrum. The behavior of these filters (whether they’re “open” or “closed”) depends on what they receive at their modulator input. If you plug a vocal into the modulator input, then those vocal characteristics will be applied to the carrier signal—which is usually a bright sound like unfiltered synth waves or white noise.

But vocals are only one possible modulator for a vocoder, the most common one. So, what would happen if we applied drums as the modulator for a bright sawtooth pad? Let’s find out… Vocoded Talking Drums » advanced

Here’s how it’s done:

Step 1 Since vocoders work best with carrier signals that contain a lot of bright harmonic content, most producers rely on big sawtooth pads as the carrier. Fortunately, we already made one of those for our Festival Lead. With a few tweaks, we can use that as the carrier Step 2 input for this sound. Hit the Show Programmer button to access Thor’s Create a channel for Thor, then load parameters, as before. the “Festival Lead.thor” preset you created earlier.

Step 3 Now, pull back slightly on the Multi Osc detune amount to make this patch work more tightly with our vocoding experiment. A value between 27 and 32 will work well.

Classic Warm Pad Step 4 Since we’ll be using several other devices for this project, hit the Show Programmer button again to close Thor’s programmer and make more room on your screen.

Step 6 Step 7 Hit the Tab key and you’ll see Next, hold the Shift key and right click that Reason has automatically on the vocoder, then select the Dr. Step 5 detected the vocoder and Octo Rex Loop Player. (Holding the Now, it’s time to add the BV512 correctly connected Thor as Shift key lets Reason add the Dr. Octo Vocoder. Right click on Thor and the carrier input. Also, note the Rex without creating a new channel). select “Creative FX > BV12 Digital modulator input to the right of For now, hitting keys or pressing the Vocoder.” all the cables. We’ll need that in a Run button on Dr. Octo Rex won’t do bit. Then, hit the Tab key again so anything, but that’s cool. Things are we see the front panels. about to get interesting.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Vocoded Talking Drums » advanced

Step 8 Step 9 Hit the Tab key again and connect the Left main output of Now, go back and click on Thor’s channel in Dr. Octo Rex to the modulator input of the vocoder. the sequencer window so it’s active.

Step 10 Then, hit Play on Reason’s main transport controls. Now, play a chord on your MIDI controller, so that Thor receives the info and bam! The sound you hear will be Thor’s bright sawtooth pad being vocoded by the default drums in Dr. Octo Rex.

Classic Warm Pad Step 12 Then, tinker with the vocoder’s Shift knob. This will transpose the frequency ranges of the vocoder up or down. On a voice, this makes the result sound like a munchkin (up) or Darth Vader (down). On drums, it works like a timbre modifier for the vocoded sound.

Step 11 Once everything is up and running, it’s time to do some experimenting with the sound. First, change the number of modulator bands that the vocoder applies to the carrier signal. Four bands will give you a raw sound, whereas 512 bands will give you a more detailed sound, Step 13 akin to a Fast Fourier Transform. Once you’ve tested the essentials of vocoding, switch to Dr. Octo Rex and hit the “Load” folder icon.

Step 14 Then, check out the hundreds of drum and percussion loops that come with the Reason package. Each one will have a completely different vibe, based on its groove and drum kit.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive ’80s FM Bells One of the most identifiable sounds from the ’80s era of synth-pop and new wave is the FM bell sound. Since everything old is eventually new again in electronic dance music, these classic sounds from 30 years ago have made a comeback in the nu- disco and chillwave scenes.

Classic Warm Pad

The original source of this preset was the Yamaha DX7 synthesizer and its successors, so if you want full-on realism, Propellerhead’s PX7 Rack Extension is truly the way to go. But that doesn’t mean you can’t recreate this sound using the tools that come standard with Reason. Thor, with its incredible array of oscillator types includes an FM oscillator that’s specifically designed to generate DX-style FM tones with a minimum of fuss.

Here’s how to evoke this classic sound in a straightforward manner. ’80s FM Bells » advanced

Here’s how it’s done:

Step 1 Create a channel with Thor as your instrument and reset the device.

Step 2 Initialize the filter with maximum cutoff and minimum envelope and velocity settings.

Step 3 Since we’ll be using three oscillators, route all of Thor’s oscillators to the filter.

Classic Warm Pad

Step 4 Set up Thor’s Amp Envelope to reflect the volume characteristics of a bell, with immediate attack, medium decay, no sustain and a release of around 3 seconds.

Step 5 Select FM Pair for the first oscillator. Step 6 Leave the carrier set to 1 (the first harmonic) and set the mod parameter to 6 (the sixth harmonic) and then raise the amount of FM to a range between 20 and 30. This will create a waveform with shimmery high harmonics.

Step 7 Select FM Pair for the second oscillator Step 8 and set the carrier to 1 and the Repeat this process for the third modulator to 5, then again, raise the oscillator, but tune the modulator amount of FM to a range between even higher, to the eighth 20 and 30 for another set of upper harmonic. Then set the FM amount harmonic frequencies. to a range between 30 and 40. This oscillator will provide the sparkling highs for our bells. 45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive ’80s FM Bells » advanced

Step 9 For the final touch, we’ll detune the second and third oscillators slightly to give the sound a bit of natural chorusing. Start by detuning oscillator 2 by minus 8 cents.

Step 10 Now, detune oscillator 3 by plus 8 cents..

Power Tip: Whenever you’re detuning a pair of oscillators, be sure to detune each by the same amount in opposite directions. This will ensure that they stay in tune with your music. If you detune only one oscillator—whether positive or negative—the result will sound either sharp or flat in relationship to the rest of your tracks.

Step 12 Classic WarmNow, usingPad Thor’s modulation matrix, select the filter envelope as the modulation source in the first row.

Step 11 Finally, lets add a slight “tap” to the beginning of the sound by using the filter envelope to Step 13 provide a click via modulating Next, select oscillator 1’s FM amount parameter as the destination. the amount of FM to oscillator 1. Start by setting all of the filter envelope’s parameters to zero.

Step 13 Finally, set the modulation amount from the filter envelope to 100. At this point, you should hear a slight tapping sound at the beginning of each note. Experiment with different envelope settings and mod depths to get a feel for how the envelope modulation interacts in the context of FM synthesis. 46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Electro Fifth Lead

When electro started hitting big in 2007 and 2008, artists such as Deadmau5 pioneered a return to the classic sound of two sawtooth waves tuned to a fifth. To make that distinctive sound more contemporary and punchy, some compression and a touch of distortion were added.

Classic Warm Pad

While Reason’s Malström and Thor synths can also create this sound, the most direct route is to use Subtractor—with a slight twist. Routing the resulting Subtractor sound through Reason’s Pulveriser delivers that trademark squashed, overdriven sound. It’s just a matter of knowing which knobs to turn. Electro Fifth Lead » advanced

Here’s how it’s done:

Step 1 Create a Subtractor channel, reset the device, and then initialize the velocity settings for the filter envelope.

Step 2 Step 3 Since the filter and The default settings for the first oscillator oscillators are doing are in the right place for this patch, so most of the work in leave them “as-is.” this patch, we’ll use our trusty gate envelope for the amplifier.

Step 4 Increase the filter cutoff to maximum, and then switch the filterC typelassic to “LP 24” Warm (also known P as adfour-pole filtering).

Step 5 Now, let’s start moving toward the trademark sound by turning on oscillator 2, then setting the Semitone parameter to +7, which is a perfect fifth. Hit a few keys and you should hear the sound beginning to take shape.

Step 6 Now for the secret sauce. Right click on Subtractor and select Pulveriser Demolition. The default “Basic Pulverisation” preset is a great starting point here

Step 7 For the trademark compression/limiting, set the Squash amount to around 75%.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Electro Fifth Lead » advanced

Step 8 Compressing the signal so strongly results in a perceived drop in volume, so raise Pulveriser’s volume to around 80% (but not much more, so you still have some headroom for mixing).

Step 9 The amount of distortion you add to this sound is purely a matter of taste. Some producers like it nasty, others like it cleaner. Set Pulveriser’s Dirt amount to 70%, play the sound for a while, then raise or lower it according to your preferences.

Classic Warm Pad

Step 12 Step 10 Setting up the mod wheel for this morphing effect is pretty To make this sound even straightforward. First set the mod wheel to subtract from the filter “mousier,” we’ll use the mod cutoff by turning it counter-clockwise to around minus 30 to 35. wheel to introduce that classic eighth-note pulsing effect. Start by setting Subtractor’s LFO 1 to “Sync” Step 13 and then set the rate to “1/8.” Next, make the mod wheel introduce the pulsing effect by setting the LFO 1 amount parameter to between 30 and 40.

Step 11 Now, select the LFO’s Step 14 downward sawtooth wave and When you’ve completed all these steps, tinker with Pulveriser’s route the modulation to the Dirt and Subtractor’s filter cutoff a bit more, then right-click to filter cutoff frequency. combine the result and save it.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Alligated Pads

The trance and progressive styles have often relied on pulsed, rhythmically gated pads to keep the groove going, especially at faster tempos. The combination of majestic chords and intricate percolations is a huge part of some of the biggest hits in these genres.

Classic Warm Pad

By combining a shimmering pad from Thor with Reason’s Alligator device, you can make light work of this often-complicated approach to infusing rhythm into your chord progressions. Alligated Pads » advanced

Here’s how it’s done:

Step 1 Create a channel using Thor, and then reset the device as in previous tutorials. From there, change the filter type from “Ladder” to “State Variable Filter.”

Step 2 Next, initialize the filter envelope and Step 3 velocity modulation by turning those Now, lets create a pad parameters to zero. envelope for the amplifier. Set the sustain to maximum and the decay to zero, and add a softened attack of Step 4 around 15 to 20 milliseconds. Pad envelopes often have a slight release to them, so we’ll increase the release time to something between 750 milliseconds and one second. Step 5 Now, let’s change oscillator 1 to Classicthe Warm Multi Osc option. Pad Here, the defaults are exactly what we need for the basis of this pad: a sawtooth with just a bit of detuning for thickness.

Step 6 We’ll use oscillator 2 for the shimmer in this pad, so route it to the State Variable Filter input.

Step 7 Step 8 The original PPG Wave digital Clicking on the Table synthesizer pioneered the use Select window opens a of wavetable synthesis, so we’ll pull-down menu of all of use one of its waveforms here. wavetable options. Here, From oscillator 2’s pull-down select “PPG High Harm” menu, select “Wavetable.” (high harmonics).

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Alligated Pads » advanced

Step 9 Each of the wavetables can be scanned over a wide range of harmonic options. Turn the position knob to a value around 100. This will set the High Harmonic wavetable for a more “sparkly” sound.

Step 10 Adjusting the oscillator balance Step 11 parameter to subtly emphasize the Play a few chords on the Multi Osc will back off slightly on keyboard to get a feel for these high frequencies to focus this pad sound, then right more on the thicker, detuned click on Thor and select the sawtooth aspects. “Alligator Filter Gate.”

Step 12 Classic Warm Pad Reset the Alligator device to its Step 13 initialized settings. Alligator includes 64 pattern options that cover a lot of ground. For this example, well use pattern number 20.

Step 16 Pattern 20 includes a well-placed Step 14 single stab in the lowpass section, In addition to filtering and Step 15 so we’ll include a bit of filter gating Alligator includes For pads and leads, adding delays enveloping by turning up the distortion, phaser, and to the lower frequencies can lowpass filter amount knob. delay options for each of sometimes make a sound muddy, its three bands. Phasers so we’ll apply Alligator’s delay to sound fantastic on both the high frequencies to add more highs and midrange rhythmic emphasis with out adding frequencies, so for this mix clutter. Step 17 sound we’ll focus on Finally, we’ll adjust the lowpass adding some phasing to envelope settings to an immediate the midrange (bandpass) attack, medium decay, and quick area of our pads. release. From there, you can tinker with all of these settings to customize the sound according to your objectives, then hit “Combine” and save your work. 46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Yang Chords

A few years back, I collaborated on an EP with Wolfgang Gartner. We were both fans of the classic techno sound, so for one of the songs, “Yang,” we included a minor chord stab as the centerpiece of that track.

Using a combination of synths and compression, we finessed the sound of that classic Detroit techno chord. In working with Reason, I’ve discovered that a combination of Thor and Pulveriser can get mighty close to that sound, so I’ve included it here for fans of the track. Yang Chords » advanced

Here’s how it’s done:

Step 1 As with previous Thor Step 2 tutorials, start by adding Next, lower the cutoff to a channel with Thor, and around 40 to50, switch the then reset the device to filter to “24dB Type 1,” and its initialized state. Since turn off Self Oscillation. this sound will use all three oscillators, route them to the initialized Ladder filter.

Step 3 Now, sculpt the amp envelope into more of a stab sound. First, lower the decay to between 600 and Step 4 800 milliseconds, and set Then, give the envelope a touch the sustain to zero. of release, between 350 and 500 milliseconds.

Step 5 Part of the essence of this sound is a stabby filter envelope as well, so set an immediate attack, zero sustain, and short release. Then, adjust the decay so it’s in the 400 to 700 millisecond range.

Step 6 Now, activate oscillators 2 and 3 in Analog mode.

Step 7 Since the default waveform is sawtooth for both oscillators, we’ll stick with that. To start creating the minor triad, set oscillator 2’s semitone value to 3.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Yang Chords » advanced

Step 8 Then, set oscillator 3’s semitone value to 7. At this point, any key you play will create a minor chord. We’re almost there.

Step 9 Now, to get that percussive stab effect, set the filter’s Step 10 envelope modulation to a Turn the chorus on for a bit of extra thickness. value between 50 and 70.

Step 12 Then reset Pulverizer to its initialized state.

Step 11 Next, right click on Thor and select the Pulveriser device. Step 13 To add the finishing touch – a bit of compression – turn the Squash knob to a value between 20 and 30 and that’s it. You’ve now got the “Yang” sound. Tweak the parameters to make it your own, then hit combine and save the result.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Acid 303 Lead

Propellerhead pioneered virtual synthesis back in 1997 with ReBirth, their legendary software emulation of the Roland TR-808 and TR-909 drum machines and TB-303 bass synth. While ReBirth is now available as an iPad app, nailing that TB-303 sound within Reason is an essential trick for any electronic producer, regardless of your preferred musical genre.

Fortunately, using a combination of Subtractor, Scream distortion, and touch of delay, it’s relatively easy to capture that sound for use in your own tracks. Here’s how. Acid 303 Lead » advanced

Here’s how it’s done:

Step 1 Step 2 First, create a Subtractor channel, reset the Next, create our trusty device, and initialize the velocity. gate Amp envelope as in previous tutorials.

Step 3 While the original TB-303 included both sawtooth and square waves as options, many producers associate the “acid” sound with the 303’s square wave, so set oscillator 1 accordingly.

Step 4 Leave the filter in “LP 12” (two-pole) mode, and then lower the filter cutoff frequency to a value between 40 and 50.

Step 5 To get that signature 303 squelch, raise the resonance value to between 90 and 100.

Step 7 Performance is one of the key aspects of the acid sound, so set your modulation wheel (or physical controller of your choice) to control the filter cutoff. A value of around 20 should do the trick.

Step 6 The default filter envelope settings are very close, though you may want to adjust the decay slightly to make it a tad longer. From there, set the amount of envelope modulation to around 50.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Acid 303 Lead » advanced

Step 8 The original 303 was monophonic, so to set up Subtractor for that 303 “sliding” sound, we’ll use portamento. First, set the polyphony parameter to 1 voice.

Step 9 The two most common monophonic Step 10 modes are Retrigger and Legato. In At this point, playing keys legato mode, portamento will only slide or pads on your controller between notes when the second note is should yield a strong played while the first is still held. This is approximation of the raw another crucial element in capturing the TB-303 sound. To get a bit 303’s “slide” feature. closer, right-click and add a Scream distortion device.

Step 12 As with the majority of Reason’s synths, the initialized state is a perfect starting point for most sound design experiments. Recreating the 303 is no exception, since Scream defaults Step 11 to the ideal overdrive settings, with one small Reset Scream to its initialized state. change: Set the Tone parameter (P1) to a value between 90 and 100.

Extra Credit - Step 13 Some producers prefer their 303s with a tiny bit of dotted eighth-note delay, so right-click on Extra Credit - Step 14 Scream and select the Since we only want a touch of delay, keep DDL-1 Digital Delay. the Dry/Wet mix set to between 5 and 15, so the delay doesn’t overpower the sound. Once you’re happy with your settings, right-click to Combine, then save.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Morphing Trance Arpeggiations

Arpeggiators are another key component of the trance sound, especially if the underlying sound morphs and shifts as the arpeggiator plays. One classic approach is to have a plucked percussive synth that transitions into a wide, bright sound with a lot of depth and character.

The initial steps for creating a sound this complex can be very time consuming. Fortunately, we’ve already got a great patch that can be edited to morph and shift and evolve as the arpeggiator plays. It just requires a few adjustments to get there. Morphing Trance Arpeggiations » advanced

Here’s how it’s done:

Step 1 Start by loading the Progressive Lead sound we created in Thor back in our sixth tutorial.

Step 3 The first thing we Step 2 need to do is change Click the Show the waveform for all Programmer button to oscillators from square Step 4 open up Thor. to sawtooth, so start Next, switch the with the Multi Oscs and Analog oscillator to switch their waveforms. a sawtooth wave.

Step 5 When creating a morphing sound, it’s essential to decide in advance where you want to begin and what you want the sound to morph into. We’ll start creating the percussive component by using a filter envelope, so first lower the filter cutoff to around 300 to 350Hz.

Step 6 Now, increase the filter envelope amount to a value between 50 and 60.

Step 7 Next, give the filter envelope a short- Step 8 to-medium decay with a value under The final filter envelope shape 900 milliseconds. should look something like this.

45 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Morphing Trance Arpeggiations » advanced

Step 9 Our “morphed” sound will use less portamento than the progressive lead, so lower the amount in the matrix modulation section. Step 10 To make the morph more dramatic, we’ll also use the mod wheel to open up the cutoff frequency for the filter. In the second matrix row, select “Mod Wheel.”

Step 11 Now, assign that Mod Wheel to the Filter 1 Cutoff Step 12 destination. Set the amount to a value between 60 and 70. At this point, when you move your modulation wheel up, the sound should have more glide as well as increased brightness.

Step 13 Controlling the amp release time from the modulation wheel is another time-tested way to make a sound bigger and more Step 14 expansive. In the third Assign this to the matrix row, select the amp envelope mod wheel as your release time . . . source again.

Step 15 . . . and set the amount between 60 and 70.

46 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive Morphing Trance Arpeggiations » advanced

Step 16 Step 17 Adding a touch of delay is a classic technique Then set the Dry/Wet amount to zero for making the morphed sound even more (completely dry). dramatic. So switch on Thor’s delay.

Step 19 Now for one last matrix modulation routing. Select “Mod Wheel” as the source in the next empty row Step 18 and assign it to the So that we don’t lose the groove, turn on Delay Dry/Wet mix. Tempo Sync and set the Time to “3/16.”

Step 20 Then set the modulation amount to between 50 and 60. When you’re done, the row should look like this.

Step 22 Arpeggiators are so fluid and flexible that it’s more fun to simply experiment with the parameters until you find something you like. Reason’s arpeggiator offers so much more than just the usual up/ down-type patterns that this is the perfect time to experiment with the Mode knob and Insert button until you find something you like.

Just be sure to move your modulation wheel over its full range as you experiment with the arpeggiator patterns. You’ll quickly see that this patch can go from minimal to massive with just a flick of the thumb.

Step 23 Step 21 Once you’ve got an arpeggiator Now, right-click on Thor and add setting you dig, select both Reason’s RPG-8 Arpeggiator. devices, hit Combine, and save.

47 Get Reason project files and device patches for these sounds at keyboardmag.com/reason7deepdive reason Reason 7 Deep Dive 2013 Author: Francis Prève Publisher: Joe Perry Project Editor: Stephen Fortner deep dive 7 Art Director: Kristine Ekstrand

About the Author With a career that runs from collaborating on EDM hits like Wolfgang Gartner’s “Yin” and “Yang” to serving as Technology Editor for Beatportal.com and Contributing Editor for Keyboard Magazine, Francis Prève’s contributions to the electronic music community have earned him a unique place among producers. While many of his high- profile colleagues have opted to specialize, focusing on production or DJing, Prève’s boundless enthusiasm for sound itself has placed him squarely at the intersection of both the synth technology world and dance community at large. Prève’s funky tech sets have earned him main stage slots in legendary clubs like Pacha NYC, Cielo NYC, Avalon Hollywood, Ruby Skye San Francisco, and Melkweg Amsterdam. Most recently, Prève’s work has included high-profile remixes for legendary DJs Sander Kleinenberg, Dave Seaman, and Josh Gabriel, as well as pop acts Dragonette and Winter Kills. Prève recently launched his own imprint, Academik Records, a label devoted not only to music but to sound itself. | www.francispreve.com

About Keyboard Magazine Keyboard is the world’s most trusted and longest-running wellspring of musical know- how and technological expertise for keyboard players across all styles and all levels of ability. Whether you’re a singer-songwriter, aspiring piano virtuoso, composer, producer, cover-band chameleon, or synthesizer mad scientist, Keyboard has been helping you master your craft since 1975. Via our print magazine, email newsletters, website, and social media, we offer in-depth reviews of the latest gear, music lessons penned by the best players on the scene, tech clinics to get the most out of your instruments and software, and interviews in which artists both contemporary and legendary reveal their creative secrets. When it comes to playing great, sounding great, and making optimal buying decisions, there’s no information source like Keyboard. | www.keyboardmag.com

About Propellerhead Software Formed in 1994, Propellerhead Software is a privately owned company based in Stockholm, Sweden. Renowned for its musician-centric approach, Propellerhead has created some of the world’s most innovative music software applications, interfaces and technology standards. Musicians, producers and the media have praised Reason, ReCycle and ReBirth applications for being inspiring, great sounding, and of superior quality. Technologies such as ReWire and the REX file format are de facto industry standards, implemented in all major music software. Today, Propellerhead’s products are used all over the world by hundreds of thousands of professionals and enthusiasts for all kinds of music-making. | www.propellerheads.se