More useful is Propellerhead's inclusion of over 1000 new patches. Mostly synth patches geared towards contemporary dance/pop, they further underline the company's desire to target young beginners with an eye on stardom. They're all filed together, too: perfect for new users on the lookout for cutting-edge content or existing users wanting to see what's new.

  • The Simple File Organization Method for Reason or Record
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  • It's essentially the old Reason/Record duo in one rack
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  • You truly are an inspiration to all of us Reason users

Also, with the “self-contained” settings in Reason and Record, the program can do this for you on the fly

Sonar’s Mix Console has enjoyed some subtle but welcome improvements. It has always been configurable to suit different ways of working: personally, I don’t like using the Sonar mixer in docked mode, as it always feels like I can’t quite see all of it. You get duplication on the left in the inspector panel, which is also out of line with the rest of the console, and the buses and masters are fiercely segregated. So it’s only when I release the console from the dock and float it onto another screen that I begin to feel comfortable with it — but there are, as before, plenty of alternatives. You can either adjust the dividers in docked mode to reveal which part of the GUI you want to see, or you can use Screensets to flick between different views. You can also simply float the Console on top or full screen in a Pro Tools style.


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.

Sonar offers an astonishing amount of power for the money, only now you have another option for handing it over. It remains a great buy, no matter how you slice it up.


So a group of us got together and produced a ReFill for Reason labeled the Bernard Childcare Trust. Ben from 3rdFloorSound headed the project and a group of very respected and talented sound designers jumped in to contribute their sound and FX patches.

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Following are the various patch examples you will find within the patch pack, along with a brief description and key features of each. The idea behind these patches are to show you the versatility of the synth, and show some of the types of sounds it can produce. Of course, there are many more kinds of sounds. An oboe, bassoon, an ambulance siren, and the list can go on. I encourage you to try your own. But hopefully these can get you started and give you some ideas of how to work with the Subtractor.


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.

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Harmony Modulator (For Leads) is a rough harmonizer patch that works well on monophonic leads. Just a simple way you can add movement at the same time as harmony.


Fade is global, so it affects all channels, and it can be automated. But of course you can create multiple Shelobs to control fade on some channels and then fade differently on others.

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.


Adding an audio track to your sequence is as easy as hitting Command‑T (OS X) or Ctrl‑T (Windows). You choose which inputs from your interface it'll record via the pop‑up menu next to the level meter. This is also where you choose between a mono and stereo input, and hence whether it's a mono or stereo track. The green button — Enable Monitoring for Track — routes the input to the track's output. It'll activate automatically, or not, according to the monitoring mode you've chosen in Preferences (see the 'Audio Options' box).

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.


Note: The one thing that I dislike about working with Etch Red is the fact that when you start creating complex modulations and have several sources modulating a certain Destination, there’s no immediate way to see which sources are modulating the parameter and by how much. You have to click on each source to see how it is affecting all its associated destinations. On the flipside, this does make experimenting with complex modulation assignments quick and you can easily get lost in experimentation.

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

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.


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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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The flagship Sonar Platinum includes XLN Audio’s Addictive Drums 2, with your choice of three add–on AD packs. This is accessed through another online installer where you enter your key from Cakewalk and can choose any three packs from a large and interesting selection. Three more bundled products — Celemony’s Melodyne and Cakewalk’s own Dimension Pro and Rapture — also require separate authorisation and registration. I can understand why this is necessary with Melodyne, but surely it’s time that Dimension and Rapture were baked into Sonar?

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.


If you look in the patches that ship with Polar, there’s a Tape Stop patch under the “Tweaky” folder

Select a Source from the middle “Modulation Source Selection” section of the device. By default, the LFO1 is selected as a source. You can see this because the little LED within the square icon is yellow. You can also select a source using the drop-down list to the right of all 10 sources. For this example, we’ll use both LFO1 and LFO2 as a source to modulate both Filter Frequencies.

Anyway, this method can be used in R4 and above and is for all those who haven’t yet purchased Reason 5

Put your input into Channel 1, and turn on Stripe. Channel 1 will then be sent to Channnels 2, 3 and 4. Now you can turn each Channel off/on either as a Channel group with it’s Pass Switch (hence why it’s recommended not to use the Pass Jacks), and you can turn all Channels 2, 3 and 4 on and off simultaneously via the Stripe switch!


Hi, for future reference, we EXPRESS ship replacement hardware in the case that it is faulty. My goal is no more than a few days from support ticket to new hardware arrival.

If you already have any previous version of Reason or Record, the upgrade will cost €149$169

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.


Most people that have used Reason since version 1/0 might already be very familiar with the Subtractor. It was the first synth in Reason, and at the time, was the only synth in Reason. However, if you are just coming into Reason right now (version 6/5), you may not have ever used the Subtractor. Or maybe you haven’t touched it in a very long time. So this article will present some of the basic building blocks of Subtractor sounds. Use these 25 patches as starting points for your own creations, or use them as is. What I tried to do here is show some of the capabilities of the Subtractor synth via example patches.

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

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?


It splits the input signal into three separate channels, each sporting a gate, modulated filters, drive, a phaser, delay, pan and a volume control. There are 64 on-board gating patterns, but you can program your own too, using the Matrix step sequencer or RPG8 arpeggiator, or simply by playing notes on a MIDI keyboard. Going well beyond the typical sequenced-filter effect, it has potential as a powerful rhythmic treatment for drum loops, synth pads and entire mixes.

Note: You must use the Mod Wheel in order to trigger these effects. You won’t hear anything happening to your audio if you don’t use the Mod Wheel!


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.

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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.


Since those with Reason 4 won’t be able to open the file, I’ve included the Combinators separately

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.

Internal Pitching: Try sending the LFO 1 CV output to the Pitch CV input on the back of Etch Red. Then turn on Key Track on the front, and set up your Filter. Choose a Fatty LP filter for a nice bassy sound. Set Freq to about 185 Hz, Rez to 70%, and set LFO 1 Rate to 34 Hz, Free-running, and Mph to about 77%. Oh yeah, some nice Bass Wobbling.


In old versions of Reason, you'd see just instruments and effects devices in the rack

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

In conclusion, when you’re dealing with file structures on your hard drive the idea is to make it as easy as possible for you to find what you’re looking for. When creating file structures for refills, the idea is to make it as easy as possible for the end user.


The new Reverse MIDI notes and MIDI note-chopping are useful too, but less inspired are two new visual themes: Blue and (the uncannily similar) Dark. They're okay, but having to select them from Preferences and restart Reason to enable them seems daft. Similarly, 'Drop to Allihoopa' - allowing audio export directly to an Allihoopa account - is the answer to a question most have not posed.

Finally, check out the series of little buttons at the far bottom‑right of the mixer. Clicking these shows or hides areas within all the channel strips: input, dynamics, EQ, inserts, effects sends and fader. So if you aren't currently working with the inserts and sends sections, for example, deselect them to make the mixer that bit more manageable.


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.

MIDI Keys E2 – G#2: Subtractor Bass. E2 – G2 plays Bass patterns 1 – 4 in a “Latched” mode. Therefore, you need to press the key once to trigger the pattern, and press once more to stop playing the pattern. G#2 applies a delay / reverb effect to the bass patterns. You can play each of the bass patterns or all of them combined if you like. Then press G#2 to apply the effect to the bass sound.


Rotary 2: Parameter 2 – Same as Rotary 1, except this knob is mapped to one or two “different” parameters than Rotary 1. It is mapped to at least one or two parameters inside each of the effects chains. So utilizing it will definitely affect your sound in some weird and quirky way, no matter which effect is being played. I would caution, however, not to turn the knob before first listening to each of the effects. All the effects were built to have their parameters exactly where they are. But if you want to mangle things even more, you can do so with this knob. If you ever want to reset it back to the original values, just reload the Combinator again (of course, make sure you don’t overwrite the original file by saving over it after you’ve changed this Rotary to a different position. If you do so, all bets are off and your parameter will be permanently changed.

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Other than the upgrade to Addictive Drums 2, the instruments are all old favourites. Addictive Drums v1, as bundled with X3, was great but had been around for a while, while AD2 is a new and premium product in its own right. What’s more, Sonar buyers get to choose any three of the ADpacks, MIDIpaks and Kitpiece packs. Addictive Drums 2 is a world–class drum and percussion instrument that not only sounds fabulous but allows a lot of control over the sound and feel of all the fully customisable kits. Much more than just a sound source, it also has a fully tweakable beats and pattern section which can then be dragged as MIDI clips onto a MIDI track. It’s a very powerful piece of kit — but should we be expecting more than one significant inclusion (https://karinka-selo.ru/hack/?patch=1431) in a major upgrade like this? Well, this does help to highlight the function of the Cakewalk membership. Cakewalk promise that any updates, or additional content, will be released as soon as it’s ready, rather than waiting for a new full release, and that new content will be released every month. According to the web site, three new features are in the works, called Drum Replacer, QuickFX and ‘Onscreen keyboard’, though no more detail is forthcoming than their names and a tantalisingly blurred image. So, ultimately, there should be a load more content coming, which is quite exciting, but out of the box it feels a little light.


These are all Combinators with all 4 Combinator knobs and buttons mapped to various parameters. Usually Combinator knob 4 is mapped to volume for convenient live use. The remaining knobs and buttons control anything from filter frequency to reverb amount, reverb time, chorus speed, octave settings, and more. Pitch wheel and mod wheel are mapped as well. About 90% of the ReFill is custom Thor and Subtractor patches, with the remaining 10% made up of NN-XT patches which rely on the Orkester and Factory Soundbank for samples.

Button 2: Body Off / On: This turns on the Body section of the Scream. When pushed in, the Body section is on, when the button is off, the Body section is turned off.


Button 2: Twist 2 – This turns on the Malstrom Shaper. It provides an overdriven sound effect. This is much higher pitched or brighter than the Thor Shaper, so it provides a more distinctive sound. However, depending on how your Frequency and Resonance are set, this will affect how much you will hear the Shaper affect the sound.

Patches do not rely on any outside files, and instead are built wholly inside Reason

Finally, go into the Malstrom and change the two Oscillators to use the “JewsHarp” graintable in both. Reduce the Filter A & B Frequencies to your liking, and have a listen by playing a few notes. You end up with a very different sound altogether; like a slow meandering rumble. With just a few minor changes you get all sorts of different sounds.


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?

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.


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.

Finally, there are times when you'll want to create a Mix device manually, which is an option when you right‑click an empty part of the rack. One such situation is when you're using more than just the main stereo outputs from an instrument like NNXT or Kong. The additional outputs will need their own Mix device (or devices) in order to become part of your mix. So right‑click an empty part of the rack or instrument and choose Other > Mix Channel from the pop‑up menu.


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

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.


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

Just don’t forget that you should not trust a new HDD, at least not until a week has passed and you’ve been able to test it all. Sometimes they fail on the first week. Remember this to prevent disaster.


Propellerhead Reason 6.5 Now Available – Here Are The Details

You may not give, trade or lend copies of this product in part or whole to others (includes electronically transferring the contents of this CD from one computer to another over a network or via a modem). To protect yourself and others you are working with, ensure that others you are working with do not illegally take copies or duplicate this electronic refill file or CD in part or whole.

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


In the “Bypass Gate” Thor device, set the Pitch Bend Range to 0, the Polyphony & Release Polyphony to 0, and click the Show Programmer buttton. 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 all the Envelope (Gate Trig) buttons.

Reason is making the point that this is all the “Paintbrushes” you need

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.


One minor quirk with this Scream effect should be noted: Button 3 switches between the Feedback and Modulation algorithms in Scream’s damage section. However, if you automate the Damage Type (using Button 2), when you then go to turn off this automation, the Damage Type will always reset to “Feedback,” even if Button 3 is telling you the algorithm should be set to “Modulation” — simply press Button 3 two times and you’ll get back to the “Modulation” algorithm. Yes, I know there’s definitely a way to jury-rig this button to work more logically, but I was getting a little tired towards the end of developing that patch and I just didn’t have the mental energy nor dexterity to rework it. Either way, I think it’s a minor inconvenience. This patch is still my favorite out of all the effects patches.

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The name of the new Pattern Tool suggests drum patterns or some kind of automatic player, but actually it’s much more interesting than that. It allows you to select part of a MIDI clip and ‘paint’ that data elsewhere in the timeline. The results are similar to copying and pasting, or duplicating, but the process has a much more creative elegance.

If you really can’t wait and just want to get to the good stuff, here it is: Layered-FM-Pair-Synthesis. The download contains 4 Combinators that are variations on the Multiple FM Pair Oscillator Synthesis.


I have the hi-res 15″ MBP and I couldn’t hit Reason’s tiny buttons anymore

The Thor is simply used as the gate trigger. So flip around to the back of the rack and connect the Note / Gate CV from the Matrix into the Thor CV1 & 2 inputs. Also connect the CV 1 & 2 outputs from Thor back into the Note / Gate CV inputs on the Subtractor.

Then create a 14:2 Mixer, and a sound source (in this case a Subtractor). Load up a Subtractor patch or else create your own synth sound in the Subtractor. Then create a Matrix underneath. It should automatically connect the Note / Gate CV for you. Enter a pattern into the Matrix (or press Ctrl+R to quickly enter a random pattern).


Polar + Essentials Patch Pack

I'm not terribly impressed with J37 (granted after a pretty brief mess-around). When comparing to UAD Studer and/or Ampex it seems a little cartoon-y. With a tendency to impart a nasal-y character. I'll definitely give it a more thorough run-through while I've got the demo but thus far it's not winning me over.

Cakewalk are the first major DAW developer to move to a monthly payment model. And Sonar ‘membership’ provides plenty of goodies.


The other nice thing about this patch is that you can have any combination of these three effects running at the same time. Or you can use only one of the effects at a time.

There is a ton of Tutorials and videos online, for free. Experimenting is wildly encouraged.


Try this one out on your Bass sounds. It tends to raise the level and spreads out the Bass sound a little for you.

VocalSync does more than simply cut up audio and move it about. It analyses and compares the onsets and decays of the guide and overdub and then uses time–stretching and compression to bring the waveforms into line. You can see the time manipulation going on if you change the edit filter to show Audio Transients, and it’s clearly being very clever indeed.


If you have a previous version of Reason, the Combinator will give you a “bad format” error message

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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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).


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).

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.


Tape Stop Lite .cmb

FM Audio Fun: Try sending audio from a Loop or a synth into the Filter 1 and/or 2 FM inputs. Then on the front, turn up the FM Rotaries, and adjust the Filter Freq & Res to taste. Noise and Saw Oscillators are great audio inputs too (though you may need to raise their volume). For further manipulation, assign an LFO to modulate the FM amount.

Once you get comfortable with Templates, you’ll realize you can create as many of them as you like. Perhaps you’ll create a new Template for each album or EP project. Or, you might want to create a few different templates for different genres or recording situations. The point is, you’ll start developing your own Template folder.


Version 6 is a new dawn for Reason users. This month, we offer some essential techniques for getting up to speed with it.

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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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.


Thor Button 1: Vibrato Tempo Sync – Turns on the Tempo Sync for Thor’s LFO 2. When turned on, the LFO 2 Rate is tied to the song Tempo. When turned off, it is free-running.

While all the drums are different and Subtractor is capable of producing a wide variety of drum sounds, there are some common characteristics. For example, most drum sounds don’t have any Sustain, and also have extremely short Attack — usually set to zero. There is minimal Decay and Release as well. So set up the Amp envelope with this in mind. In addition, your drums may or may not require pitching up or down, so you can disable the keyboard tracking for the Oscillators. Then use the Oscillator tuning to get them to sound accurate (usually in the lower register). This way, the drum will sound at the same pitch no matter where you play it on the keyboard. However, this may or may not be what you want.

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Wurly Triplet Progression is probably my favorite of the bunch. Who doesn’t like a good Wurlitzer sound right? The Note sequencer is set to Triplet, and funny story: I had the chord Matrixes set to 1/2 Resolution, and forgot to set them to 1/8T during the creation stage. Of course if you change them, you’ll get a totally different sound. But it didn’t sound right, so I left them at 1/2 Resolution. It gives a much better Rhythm I think.


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.

Another wacky and heavily distorted sound. There’s a lot of vibration and drive in this one. Try it with a bass or synth sound. Or even a texture or drone sound.


So that’s Templates in a nutshell. I really didn’t think this article would end up being so long. But it seems there were a lot of things to discuss. Hopefully this helps you understand them, navigate through them, create them, and use them. So go forth and create some cool templates and please share them with me if you have some great ideas. I’d love to take a look at your inner workings. If we all shared a few templates, we’d all raise our game and learn a few things along the way.

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 (link) journey with you. I hope you enjoy learning about Reason as much as I do.


Finally, Button 3 adds a huge amount of Resonance, and Button 4 allows you to include the dry signal, if you like. The Mod Wheel is also mapped to the Polar device. Try this out on sustained sounds, like Pads, sustained Organs, or even Guitars.

I agree with you 100%, but if you use Reason you already know the limitations

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.


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.

The Subtractor is a very straightforward 2-Oscillator synth that is based on subtractive synthesis. It’s modelled to react in the same way an Analogue synthesizer would, even though it’s a digital recreation of one. Its subtractive synthesis engine means that the Oscillators make up the tones, and these tones can be shaped and whittled down between each other, and with mixing and filtering to remove or subtract parts of the sound for a final outcome. Creating sounds is like covering up an entire canvas with a coat of black, and then painting by removing those black areas to reveal the painting underneath. Or rather, painting using the negative space, as opposed to the positive space. This is the basic idea that forms the wealth of sounds you can gleen from the device.


In this article, I’m going to tackle a very simple idea from which you can end up creating several interesting patches. The idea is to create several layers of the FM Pair Oscillators in multiple Thors, which are mixed together for a final output that sounds very thick and rich, and is capable of several sounds from Bell-like high pitched to Deep thick Organ sounds (think the Wedding March to get a mental picture of where this can take you). So jump on the train and let’s go for an orgasmic FM ride.

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


Building on the first method, we need to change a few things. First, reset the Combinator by removing the key assignment (using the spin control to the right of the button — which should be set to “-“). We also need to remove the “Button 1” line in the MBRS (not necessary, but for cleanliness’ sake).

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.


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 Fade knob is 0-100 milliseconds in the white area, and 101-20000 milliseconds (20 seconds) in the green area. This means you can create a fade 0-20 seconds long. To create a simple crossfade between two signals, for example, program a Combinator Button to switch Channel 01-A to go on/off and Channel 01-B to go off/on. The button is now used to crossfade between the two signals. Program the Rotary 1 to adjust the Fade knob and use it to determine the fade time from 0-20 seconds. This makes it one of the easiest ways to crossfade between two audio sources or two effects.


In this patch I tried to show how you can get some very complex rhythms using the two LFOs and the Mod Envelope together. The Mod envelope is applied to the pitch to create a sound that continually moves downward. LFO 1 is applied to the Filter 1 Frequency Cutoff to create a gate-like rhythm to the sound.

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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.


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’.

A lot of the time you never have to think about these new devices, or interact with them in any way. Audio Track devices are created automatically whenever you create an Audio Track — in a very real sense they are the Audio Track. And Mix devices show up in partnership with any individual or Combinator instruments you create. In old versions of Reason, you'd see just instruments and effects devices in the rack. Now every instrument has a Mix device 'shadow', and as you add effects to instruments, they get patched in between the instrument and the Mix device.


With LFO2 as the selected source, change the Modulation Rotary underneath Filter 2 to a positive 50%. You now have the Frequency for Filter 2 being modulated by both LFO1 and LFO2. That’s pretty much all there is to it.

In the second Thor, set both filters to “BP” mode and set the first filter’s Frequency to 3/28 kHz and Resonance to 38. Set the second filter’s Frequency to 158 kHz and Resonance to 50. Reduce the Attack and Release settings on the first Thor’s Amp Envelope a little bit. And Reduce them completely on the second Thor’s Amp Envelope.


The first 2 slots are telling Thor to take the audio input of the Left and Right Audio cables we set up previously, and sent them to Filter 1 and Filter 2 respectively. From that point onward, the signal travels through Thor as it normally would and then outputs to Channel 2 on the Line Mixer. The last line is what modulates the filter parameters in Thor. This basically creates a cross-over between filter 1 and filter 2 based on the default Sine wave in LFO2.

I’ll start with the Reason 5 approach, which uses a Dr. OctoRex to apply some interesting variations to a single loop, then copies that loop multiple times into various different slots. Once that’s done, you change all the slice parameters in all the different loops. Then send the 8 audio outputs of the OctoRex to different FX devices (even the Kong FX) and back into the Mixer channels. Using this setup, you could even apply different mastering FX to the different outputs.


Note: You’ll notice an audible “plucked” sound when the synth notes are released. I have a feeling this has something to do with the way the rates are adjusted (detuned) in the Amp Envelope of each Pulsar device. However, I have not found a way to get rid of this sound. If anyone (Reason or Reason Essentials user) has any suggestions to get rid of it, please let me know.

In the Matrix view, you have multi–touch control over all the cells, so you can trigger a bunch of them with the tap of your fingers. You can drag and drop samples and MIDI loops, and play with the faders in the Inspector all at the same time. It works very naturally and becomes a simple, creative space.


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.

It allows you to lock the Buffer (Delay) from both Polar devices. Depending on the patch you’re sending through this effect Combinator, you can get some interesting glitchy effects when the Buffer is locked.


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

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.

Download the project files here: more-glitch-boxes This is a single zip file with one RNS file containing both Combinators. Since those with Reason 4 won’t be able to open the file, I’ve included the Combinators separately. Note that one of the Combinators is for Reason 4 and up, while the other one is for Reason 5. Sorry to those who can’t open the R5 file, but you at least get to use the R4 Glitch Box Combinator right?


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

Flip the rack back to the front and in the Combinator Programmer, ensure both the Subtractor and “Pattern” Thor is not receiving notes (uncheck the “Receive Notes” checkbox), and ensure the “Trigger” Thor is receiving notes (the “Receive Notes” checkbox has a check in it). Also set the Key Range value for the “Trigger” Thor to Lo: C-2 / Hi: C-2.


Other Notes: For both Combinators, you can really change this sound around quite a bit just by playing with all the parameters. So you’ll have to experiment to find something that suits your taste. In addition, you can use the Frequency rotary to create a frequency sweep or build-up in your tunes.

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The piano–roll view has also been enhanced. Cakewalk have made the piano notes a bit chunkier so it’s easier to see individual notes, and improved the use of colour to help you identify the right velocity stems for overlapping notes. You can use the Pattern Tool here in exactly the same way, with the added bonus that you can hold the Shift key to change the root note of the pattern you’re painting.


I-vi-ii-V (Blue Moon) Progression uses an ID8 set to the “Crystal Pad” Synth. It also provides a very mellow and slow progression. The idea here was to present one of the most common major chord progressions and show how it is put together. So this should sound very familiar.

These Combinators outline some of the methods presented in the tutorial below. Try them out and see what you can do with these ideas.


The cool thing about this patch (and the take-away I think), is the way in which the Matrix is used to “Gate” the Polar device. Notice on the front of Polar, the “Env to Amp” button is lit up. Essentially, the Matrix Gate/Note CV is used to trigger the Polar’s envelope section. Then this envelope section is sent to the Polar Amp section. The envelope parameters you set in Polar affect the Amplitude, as you would adjust the Amp Envelope in any of Reason’s synth devices. This is what causes the gated sound. I’ve also mapped Rotary 2 (Staccato) to the Envelope’s Release parameter. This has the effect of creating a very short Staccato sound as you turn the Rotary left. The sound gets longer as you turn the Rotary right.

When you load in a new patch, about 80% of the time all the knobs are at either 0%, 50%, or 100%. At first load-in you’ll find the patch to be exactly as I used it in my ReCover, so you can simply deviate from there.


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.

I’m terrible at managing my projects and tend to rely on a comprehensive undo strategy as I go bounding off at tangents, so it’s an awesome ability to be able to quickly save where I am and then save a new scene, safe in the knowledge that after I’ve experimented I can return without interrupting the flow by having to find and reload whole projects. One last Mix Recall goodie is that you can opt to export all of the scenes in one Export Audio action — nice.


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Now create a Thor device underneath the Main Kong (hold the “Shift” key down so nothing is routed). This Thor is merely used for CV purposes, so initialize everything, and turn on the “Step Seq” button in the “Global” area of Thor (top panel).

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.


For the most part, if you leave Button 3 off, you have a fast pitch shift

This was another idea I had in which the Wave shapes from the Pulsar are in a state of constant LFO flux. The Pulsar LFOs are used as Oscillators in this one. But since the Waves are constantly shifting, the sound they produce can be quite chaotic (aka: lovely in my world). You can alternate which waves are fluctuating using Button 2. You can also turn the Wave shifter off and on using Button 4. The Pitch Wheel affects how fast or slow the Waves fluctuate (Rate). Lastly, the Mod Wheel is very cool way to get an extreme pitch shift for the Oscillators in the main Pulsar.

And as with all rules of thumb, there are always exceptions. If you disable Oscillator 2 and enable the Noise generator, you can still use the FM knob to modulate Oscillator 1 with the Noise generator (remember that the Noise generator outputs where Oscillator 2 is output). You are effectively using the Noise generator as the second Oscillator, and this is used as the Modulator to Frequency Modulate Oscillator 1. So yes, there are exceptions. And while all of this may sound complicated, it’s really not. Think about it. Turn on Noise, increase FM, and turn the Mix knob all the way left. Then experiment with the various Oscillator 1 and Noise generator settings to see what you can come up with.


And you can’t make any money off the file. It’s not going to win any awards anyway. But if you remix or play with the file, send them back to me privately and I’d be happy to showcase them here in a new posting (send to my email in the top menu), I’d love to see what you come up with.

All we see are a lot of people applauding the Reason concept and the way it works

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.


Here’s a few patches I put together for Reason Essential users who have the Pulsar Rack Extension. It was pointed out that there were very few synths and effects bundled with Pulsar that are usable in a Reason Essentials environment (I think there were about 5 out of 90 synths and 11 out of 52 effects which were compatible with Reason Essentials). And being one of the team members that helped come up with those sounds, I felt it was a missed opportunity.

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.


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You can download the project files here: 8-way-audiomatic-kong-switcher. There’s 2 Combinator files included. One file with an audio bypass, and one without. It requires Reason 7/0, Audiomatic Retro Transformer and Directre.

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.


Hold down Shift and create 8 Audiomatic Retro Transformer devices. Label them the same way you labeled the first 8 Pads on Kong above. Then switch each device’s Preset to the corresponding label. In this case, we will have 8 Audiomatic devices, each with a different preset. The basic premise is to send audio splits from each Directre output into the Audiomatic, and then send that back out to the Main Mixer and then out of the Combinator.

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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.

Navigation buttons appear by default at the top (for the mixer) and the right of the main window, shuttling you around vast mixing boards, racks and track lists with the merest drag of the mouse. However, you can switch these off if you want, to further maximise your screen space. Then a mouse scroll‑ball or trackpad scroll will do the same job, as you mouse over each of the window areas.


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What I did on a few traps was to build a frame using corner bead(drywall). Assembled with sheet metal screws. Light weight and turned out pretty solid. But I was covering the frames with a slip over bag my wife had made as per my specs. They have lasted a few years now.

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Sadly, though, Cakewalk haven’t extended this concept to any other part of the Pro Channel, or anywhere else for that matter — which is a shame, because some of the other multi–touch implementation in the ProChannel is lacking a little consistency. With a mouse, you click on any control and move forward and backwards to change the value. With a finger, controls in some of the modules behave the same way, but with others like the compressor, tube emulator and EQ, you have to use a side–to–side, arc–type movement following the turn of the knob.

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.


When I first started working with Reason, I was amazed at the breadth and depth of the program. It had such a wide array of devices and options, it made my head spin. And the visual design of the software was truly stunning. I was excited and wanted to learn more. I had longed for a book that would walk me through all these Rack devices, and more importantly, would explain how to connect all these devices together to create what I wanted. It had to be highly visual as well, doing justice to the fine artistic efforts put into the Reason software design. I searched everywhere for a concise and comprehensive book that would teach me all the possibilities. Yet, nothing like that existed at the time. And it was at that point I decided to eventually write that book. I’m more than happy to provide it to you now, a decade later.

It is just a massive chaotic Effects processor that can be added after any sound source in Reason

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.


I was wondering if anyone knows any online suppliers that will ship within the US? I have not been able to find sh*t locally, and most electrical suppliers are not keen on selling only 4-12 pcs at a time. I was originally looking for aluminum cable tray, but due to the price difference between aluminum and pre-galvanized steel I've been entertaining the PG option as long as it is cost and weight effective. Any help would be greatly appreciated.

In conclusion, you have to simply be cognizant of the fact that if samples are used anywhere in your Reason (hop over to this website) devices, Reason is only storing a link to those samples. Now let’s look at things from the other side of the coin. Let’s see how we can best optimize the samples and other Reason files so that we never lose any samples, songs or other files ever again.


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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.

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


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

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The Frog Bass is a throaty Bass-like sound, which could also be used as a Texture. Muck Rain is one of my favorite Textures, simply because it sounds like you’re in the middle of a swamp. And Tin Can Whistle is a very simple sound that can be used as a one-shot triggered for some added percussive sound. It’s kind of like a Digeridoo meets a downward ramping bomb being dropped. Hard to explain properly, but give it a whirl and see what you think.


The following were two ideas I was developing for the FSB6 ReFill. One is a very common Reese Bass idea I had after watching a few videos on creating Reese Basses on the internet. The second was a typical glitch-induced mayhem patch (those who know me, know I love chaotic and mangled sounds – I think this one falls into that category).

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Features: The Combinators are pretty simple. Mostly, they use saw waveforms which are detuned. Add in a few special effects and you have some highly customizable sounds. The Reese’s Pieces Combinator was created with a Reese Bass sound in mind, so it’s better if you use this in the lower registers of your keyboard. The Trance Lead Combinator is pretty much what it says on the tin: a Trance Lead.


Feel free to use them in your own projects, and if you do, please let me know so I can post a link to your work here. Also let me know what you think. Comments and discussion are always welcome! And keep checking in here, because there’s much more in store and coming your way soon.

Before I get into the nuts and bolts of the device, let me first point you to the PDF User Manual that you can download. This comes straight from the FXpansion site, and it’s a good idea that you have a read before jumping in. There’s a few pitfalls that you want to avoid when working with this Rack Extension, and while it’s a very nicely designed device, there’s still some areas that might cause you to scratch your head.


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Button 4: Sine / Saw – Determines whether a Sine waveform is used or a Sawtooth wave is used. Sine is used if the button is off (disabled), and a Sawtooth waveform is used if the button is on (enabled).

It’s wonderful to be a part of something that truly makes a difference in our little music community, and I was lucky enough to contribute to a ReFill that helps out a true legend in the Reason world, James Bernard. The Bernard Childcare Trust is a ReFill where the proceeds go directly to helping out the 4 Bernard children. The family suffered a tragic loss in July 2021, when Nicole Bernard, wife to James and mother to the children, passed away. Please help out by purchasing this ReFill.


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Dreamy Island Progression uses a Subtractor as the main instrument and it’s a fairly slow tempo sequence. It’s got a Carribean-type flavor with a nice meandering synth sound.

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If your Oscillators are set to “o” as opposed to “-” and “x,” then the Phase knobs have no effect on the sound. Phase only works with subtractive (-) and multiplied (x) modes.


It might be fairly self-explanatory, but you can’t play this instrument. Instead, you “Run” it using Button 4, which turns the whole thing on or off. Then you can adjust various parameters using the other Rotaries, Buttons and Wheels. The idea behind this patch was to create a kind of drum kit / song starter patch that uses the Pulsar devices as drum gates for the various drums. The Pulsars take over the role of the Redrum sequencer (or the main sequencer, for that matter). I particularly like how the Mod Wheel changes the kit’s sound entirely.

This encourages me to go back to Reason 🙂 Having support for external MIDI instruments would be even better

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 ran out of Programmer assignments for the Echo unit, so I had to route this through the P-Pongy Thor’s Rotary 1 and send that into the Delay Time CV on the Echo. So you won’t see the delay move visually on the Echo.

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.


Everyone will have their own purpose for creating and using a Template. As you create your template, it’s a good idea to look at the checklist below and cross out those areas that don’t pertain to you, and check off those that do. Doing this while you create a Template will ensure you don’t forget something in the process. As you create more Templates, you’ll need to rely on this list less and less. I might have missed a few things, and if so, let me know and I’ll update the list below. Print it out and make a few copies the next time you create your Template.

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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.

VocalSync has two levels of processing. It uses a simpler algorithm for live auditioning, and a more complex one for the render. It’s designed to be rendered onto the track rather than left floating and I found that most of the slight artifacts had vanished once I’d done so.


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I hope some of this helps to demystify how files work in Reason and Record, and provides a helpful and simple approach to file organization on your computer. If you have any other advice in this area, please don’t hesitate to share it with us.

Reason (https://karinka-selo.ru/hack/?patch=9524) 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 (your domain name) Shop now features a custom curated list of VSTs from leading VST plugin brands including Waves, Output, KV331 and iZotope.


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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.

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

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).


On Kong, send the first 8 Pad Gate Out CV cables to their respective Level CV In on the Mixer 14:2. However, set it up so that Pads 1-4 on Kong are going into Channels 5-8 on the Mixer, and Pads 5-8 on Kong are going into Channels 1-4 on the Mixer.

Create an Etch Red device underneath so that it is auto-routed to the sound device (hint: Etch Red is found in the Creative FX menu if you right-click under the sound device). If all goes well, the sound device’s Left and Right audio goes into the Etch Red device, and then back out to the Mix Channel or Audio Track.


Button 1: FX 1 – Each of the buttons adds a specific effect which you may or may not like. I added these in as an afterthought just to provide more flexibility with the Combinator. Play around and experiment with them to see if they enhance the sound for you. Button 1 here Changes the Modulator A to Index from 0 to -64.

This is because the Filter Frequency is fully open, and can’t go any further. You could, however, adjust the Filter Frequency in a negative direction in this example, in order to close the filter the harder you play your keyboard.


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Assuming you want to play the sound through the FX, make sure the Combinator is NOT bypassed, and instead play any key from C-2 to B4. There are 84 different effects tied to the first 84 midi keys. So playing each key will process your sound differently.


When the device is “Reset” from the context menu, the initialized patch is entered. This is used as a starting point from which you can build your sounds.

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.


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This patch is another Arpeggiated sequence in which you can Run the Arpeggio by pressing the “Run Pattern Devices” button on the Combinator front panel. Once you do this, you can play the MIDI keyboard to hear the sequence. Note that you don’t HAVE TO run the pattern devices, but it might be a little dull and lifeless without it. You could also mess around with the Matrix sequencer to create your own arpeggiator if you like.


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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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We had the privilege of hosting the official beta test forum for Reason 9/5. The forum is now available for the public, making it possible to search for posts from people having the same issues as you during the beta test (if any). As Mattias Häggström mentioned during the Propellerhead live-stream of Reason 9/5 and it’s features, [paraphrase] “there will be issues with some controllers and some VST’s. VST is a 3rd party implementation adhering to 3rd party standards outside the scope of Reason’s own SDK.


Description: This time, I was trying out various Reese Bass ideas and other trance lead ideas after watching Hydlide do a few interesting tutorial videos on putting together a trance lead. So I thought I would try out creating some trancey sounds in a Combinator which everyone can use if they wish.

What is there that I can do in Reason that I can’t do anywhere else

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


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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.

It should be noted that this is merely one method to stack a few filters. I find this method gives you a lot of flexibility when it comes to processing the sound, because you can adjust the amount of filtered sound which is mixed with the original sound (in other words, parallel processing).


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

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.


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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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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).


Remote Overrides (under Options > Remote Override Edit Mode) can also be saved with your Template. This means that you can use Templates as a “Remote Template” for any controllers you have connected to your computer. A nice handy way to instantly call up a Controller setup (especially for live recording).

Now for a somewhat different, and possibly more robust, way to create 4 Kong banks. The upside to this method is that you can control everything from the Kong pads directly. You don’t need to use separate Combinator controls. The downside (if indeed this is a downside) is that you cannot layer the pad banks.


A Player of two halves, Scales & Chords' left side lets you set a scale (choose from a list of scales or create a custom one), allowing you to either filter out notes that don't belong in that scale, or conform dud notes to the scale you've chosen. On the right side, the Chords section turns your input notes into multiple output notes in the key you've chosen.

Every DAW has a mixing console, so what's so special about the one included in Reason 6? Each channel feature a mass of controls for EQ, dynamics, effect sends, insert effects, with flexible routing options, bus compression and of course a fader section. Then there's also a Master compressor section intended for a quick and easy way to master your song.


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

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.

Must confirm what Jason said in a post above. I tried it in a session today and really didn't want to like it as much as I do. IMHO it is the tape plugin with the best tape response so far. It surpasses UAD IMHO, though Ampex still is a special beast. But it definitely is the most true to tape plugin so far. Compared to Slate VTM it is light years above it. Satin is great as well, but different. Waves really made the first tape emu where I really feel like recording to tape.


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.

In other words, I’m going to construct a song using a single Combinator and some Reason devices

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.


This ReFill contains many different experimentations and uses for Etch Red, and showcases the many possibilities of using this device, both in your instruments and as effects. There are many examples of Dubstep Basses, Pad rhythms, Wide Chorusing effects, Vibrato & Tremolo effects, and Filter Frequency effects. There are also a few Rex loops included to show you some examples of how you can integrate the Dr. OctoRex with Etch Red. My hope is that I’ve provided you not only with a highly playable and fun Refill to use as is, but also with many different designs that you can open up and look inside to spark your own experimentation and curiosity. In this way, Red can become a springboard for your own ideas.

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

This instrument gives you the choice to play all four modes of the ID8 “Synth” patch, and then processes that patch through a variety of effects devices. The Pulsar is used to modulate the “Scream” distortion. From the Scream, the signal is split to an overlapping low and high band of frequencies, and in turn is processed through a Reverb (high) and Delay (Low). The signal is then merged back together and sent back the the output. Use Button 1 to change the distortion type from “Warp” to “Digital” and use the remaining 3 buttons to decide which of the four Synths to play through those effects. Rotary 1 adjusts the amount of Reverb, Rotary 2 adjusts the Reverb Decay, Rotary 3 adjusts the amount of Delay, and Button 4 adjusts the P2 parameter of the distortion (Bias for Warp and Rate for Digital).


I have a Thor patch that is being played by a matrix. And then the sound is processed through the Combinator.

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.


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.

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.


These two patches show you how you can create some wind instruments. One of the keys to recreating these types of sounds is using the sawtooth oscillator and proper filtering. A little modulation helps as well. Generally, I find wind instruments use either Sawtooth or Sine waves, and benefit from a HP filter in Filter 1 and a then the Low Pass filter 2. Some tweaking with the envelopes and a little modulation affecting the pitch to give it a jump in pitch at the beginning can recreate the “blowing” sound that starts at the beginning of these sounds. As with everything in patch design, the devil is in the details.

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


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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.

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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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This is an example of a glock — or bell-like sound. The use of the Ring Mod feature is what really makes the sound here. The example presented is tonal, because the Oscillators are set one octave apart. But you can get some really interesting atonal bell sounds by separating the Octave in weird degrees (for example, try separating them by 6 or 9 semitones, or play around with odd “Cent” differences).

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


So let’s deal with the question: “Where are your Templates stored”? All templates are stored in the following folder.

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Repeat the above process for as many sounds as you need (up to the total amount of keys that your keyboard will allow: 88 for a full size piano or synth controller keyboard, or 128 for the full midi range which a Reason or Record Combinator allows — from C-2 to G8). This is more than enough of a range to create a complete set of instruments and sounds for most any standard songs or performances.


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But what causes a sample to go missing. If you’ve understood the above paragraph, it’s not a great leap to figure out that if you change the sample’s location or file name (or both), Reason’s sample check will fail.

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

Incidentally, I’m using a rex file that’s located in the Factory Soundbank that was created by drummer Keith LeBlanc. I was supremely excited to see some of his material included in the FSB (among other very talented individuals). If you haven’t heard of him; he, along with Adrian Sherwood, Doug Wimbish, Skip McDonald, and even Mark Stewart, formed a group back in the 80’s called “Tackhead” which were revolutionary at the time. I would highly suggest you visit these links and explore them further on your own. While not the first band to ever use samples, they were one of the first bands to heavily rely on them for their music. And they ushered in the industrial hip hop genre which was an amazingly ecclectic mix of genres. Their music may sound a little dated now, but still gets me going. Definitely worth your time to explore. Luckily I have the original “Tackhead Tape Time” LP (yes, an actual original issue LP).


It all boils down to your individual requirements. The Balance is not an especially versatile interface, nor one that will grow with you as your recording projects become more complex and you acquire more outboard gear. What it does have, though, is respectable audio performance and build quality, and a focused feature set that will be perfect for many bedroom-based musicians. The inclusion of Reason (image source) Essentials, and a Reason 6 upgrade, is clearly part of the value of the product and absolutely cannot be overlooked. And those Reason (page)-specific features are truly unique. Only you can decide whether, on balance, this is the interface for you.

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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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”).


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I have been working with Reason since Reason 2. I used to work on the MPC-2000XL with the inserts and Fruity Loops Demo Version when I first begun. I have seen it grow from a standalone beat machine to a full function DAW and this enforces its stronghold on the industry. The Rack Extension is an awesome feature as 3P products can find its way into the system. The only reason why this did not get a perfect is that you cannot put programs like Omnisphere, Komplete or Vienna Instruments into the set like other DAWs.

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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.