exactly WHAT effects does reason 2.5 come with?
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- Banned
- 22457 posts since 5 Sep, 2001
[DELETED]
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- KVRist
- 293 posts since 9 Dec, 2002 from Europe, Stockholm, Brussels or Rome
In addition to the new Reason 2.5 effect listed at Props site:
RV7 Digital Reverb: Though the RV7 won't fool you into thinking a Lexicon PCM80 has invaded your computer, it does add the requisite feeling of space around Reason sounds. It's perfect for synths, and doesn't go boingy on drums (unless you want it to!). Basic algorithms include three halls, three rooms and gated reverb, with editable size, decay, high-frequency damping and wet/dry balance. Software reverbs are known for hogging CPUs, but RV7 is moderate in its demands, yet still sounds pleasing.
DDL1 Digital Delay Line: Provides up to two seconds of MIDI-syncable delay, a choice of straight or triplet taps, feedback, pan and balance. Pan and feedback can be controlled by external CVs, to make the effect even more dynamic.
D11 Foldback Distortion: Now this is something -- a gritty or subtle sound destroyer. The distortion has a real digital edge to it, even at low levels, but it's a killer process in the right context.
ECF42 Envelope Controlled Filter: Just in case the filters on Subtractor, NN19 and Dr:rex aren't enough, here's another filter. Frequency, resonance, three characteristics (12dB/octave band-pass or low-pass, 24dB/octave LP) and EG are all provided for this eminently externally-controllable device -- frequency, decay and EG may be CV modulated, and EG triggered.
CF101 Chorus/Flanger: A conventionally specified but versatile device with delay, feedback, LFO rate and amount parameters.
PH90 Phaser: A thoughtful design has provided a surprising amount of control over the 'notches' in the phasing process -- under real-time CV direction, too, if desired.
COMP01 Compressor: Basic, but effective, and equally suitable for mix or instrument processing.
PEQ2 two-band Parametric EQ: Has a frequency range of 31Hz-16kHz, with gain and Q controls. If only one band is required, disabling the second saves processor overhead. It sounds OK, if a little unsubtle, but the main problem is determining centre frequency: the device's display isn't specific, and the frequency parameter's pop-up value box (one of these pops up for every Reason parameter; Propellerhead call them Tool Tips) is only calibrated 0-127.
RV7 Digital Reverb: Though the RV7 won't fool you into thinking a Lexicon PCM80 has invaded your computer, it does add the requisite feeling of space around Reason sounds. It's perfect for synths, and doesn't go boingy on drums (unless you want it to!). Basic algorithms include three halls, three rooms and gated reverb, with editable size, decay, high-frequency damping and wet/dry balance. Software reverbs are known for hogging CPUs, but RV7 is moderate in its demands, yet still sounds pleasing.
DDL1 Digital Delay Line: Provides up to two seconds of MIDI-syncable delay, a choice of straight or triplet taps, feedback, pan and balance. Pan and feedback can be controlled by external CVs, to make the effect even more dynamic.
D11 Foldback Distortion: Now this is something -- a gritty or subtle sound destroyer. The distortion has a real digital edge to it, even at low levels, but it's a killer process in the right context.
ECF42 Envelope Controlled Filter: Just in case the filters on Subtractor, NN19 and Dr:rex aren't enough, here's another filter. Frequency, resonance, three characteristics (12dB/octave band-pass or low-pass, 24dB/octave LP) and EG are all provided for this eminently externally-controllable device -- frequency, decay and EG may be CV modulated, and EG triggered.
CF101 Chorus/Flanger: A conventionally specified but versatile device with delay, feedback, LFO rate and amount parameters.
PH90 Phaser: A thoughtful design has provided a surprising amount of control over the 'notches' in the phasing process -- under real-time CV direction, too, if desired.
COMP01 Compressor: Basic, but effective, and equally suitable for mix or instrument processing.
PEQ2 two-band Parametric EQ: Has a frequency range of 31Hz-16kHz, with gain and Q controls. If only one band is required, disabling the second saves processor overhead. It sounds OK, if a little unsubtle, but the main problem is determining centre frequency: the device's display isn't specific, and the frequency parameter's pop-up value box (one of these pops up for every Reason parameter; Propellerhead call them Tool Tips) is only calibrated 0-127.
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- Banned
- Topic Starter
- 22457 posts since 5 Sep, 2001
[DELETED]
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- KVRAF
- 5196 posts since 13 Jul, 2004 from Earth
Hi invitia 
You forgotten to mention the BV512 Vocoder:
No studio setup is complete without a proper vocoder, so here it is: the BV-512, superior sound quality, multitalented and advanced - yet simple to use.
Besides being a 4 to 512-band vocoder capable of modulating sound in both old-school analog style and digital FFT fashion, this unit also doubles as a fully automated equalizer with a twist. The BV-512 can be used for everything from classic robot vocals to weird harmonic effects.
And Scream 4:
Imagine having all your favourite distortion pedals and overdrive boxes transformed into one shiny, rackmounted Reason device.
Add a touch of speaker modeling and a rough sounding EQ section and you have Scream 4, the ultimate sound destruction unit. With a wide variety of built-in damage methods, Scream 4 is capable of mangling audio in more ways than one. Use it for digital bit crushing, or regular crushing, or just for adding analog warmth and body to your sounds.
If you're into creative distortion, this unit is your friend to the end.
You forgotten to mention the BV512 Vocoder:
No studio setup is complete without a proper vocoder, so here it is: the BV-512, superior sound quality, multitalented and advanced - yet simple to use.
Besides being a 4 to 512-band vocoder capable of modulating sound in both old-school analog style and digital FFT fashion, this unit also doubles as a fully automated equalizer with a twist. The BV-512 can be used for everything from classic robot vocals to weird harmonic effects.
And Scream 4:
Imagine having all your favourite distortion pedals and overdrive boxes transformed into one shiny, rackmounted Reason device.
Add a touch of speaker modeling and a rough sounding EQ section and you have Scream 4, the ultimate sound destruction unit. With a wide variety of built-in damage methods, Scream 4 is capable of mangling audio in more ways than one. Use it for digital bit crushing, or regular crushing, or just for adding analog warmth and body to your sounds.
If you're into creative distortion, this unit is your friend to the end.
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- KVRAF
- 5196 posts since 13 Jul, 2004 from Earth
Hi ttoz
To get a midi gater in reason, use the matrix module
Ooops i forgotten to mention the UN-16:
Unison is exactly what the name suggests; a software reincarnation of that mysterious "Unison" button on those early eighties synths. Transformed into a Reason rack unit. UN-16 Unison fattens up incoming sound by emulating the effect of 4, 8 or 16 detuned versions of the incoming sound playing the same note. In ultra-stereo. The result is rich and wide and slightly similar to a chorus effect, only much fancier.
To get a midi gater in reason, use the matrix module
Ooops i forgotten to mention the UN-16:
Unison is exactly what the name suggests; a software reincarnation of that mysterious "Unison" button on those early eighties synths. Transformed into a Reason rack unit. UN-16 Unison fattens up incoming sound by emulating the effect of 4, 8 or 16 detuned versions of the incoming sound playing the same note. In ultra-stereo. The result is rich and wide and slightly similar to a chorus effect, only much fancier.
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- KVRAF
- 6519 posts since 13 Mar, 2002 from UK
In fact, it does everything you would expect from a vocoder, except vocode.D-Fusion wrote: No studio setup is complete without a proper vocoder, so here it is: the BV-512, superior sound quality, multitalented and advanced - yet simple to use.
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- KVRAF
- 1884 posts since 9 Feb, 2004 from Rochester, MN
I know you want to get out of VSTi world, but Reason has virtually no MIDI processing tools. Strike that, it has nothing at all. If I were you, I'd keep around eXT, if only for the Chord and Arp comps, because neither of those are in Reason right now, and the next release (after 3.0) certainly is not coming within a year.
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- KVRist
- 462 posts since 30 Nov, 2003
You can use the Matrix in Reason to make arps. Not chords, though.Warmonger wrote:I know you want to get out of VSTi world, but Reason has virtually no MIDI processing tools. Strike that, it has nothing at all. If I were you, I'd keep around eXT, if only for the Chord and Arp comps, because neither of those are in Reason right now, and the next release (after 3.0) certainly is not coming within a year.
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- KVRian
- 1202 posts since 8 May, 2003 from Munich
You make a matrix module and connect it's gate CV curve output to the AMP ENV input of whatever sound source you use.
Then you have a 32 step sequencer to design the gate, you can set that anywhere from a half note to a 128th note resolution. So you can actually do almost grain-y sounding things to any signal (because not only the synths have amp env inputs, also the mixers have level CV inputs, hook your matrix up to that and you can gate any signal thats on that particular chan strip.. or use a CV splitter module to apply the same matrix controlled gate to different targets.. several signals' level.. or the pan, or the filter ENV, or a freely assignable mod ENV input.
Plenty possibilities.
Then think reason 3 where the combinator lets you save sub-chains as presets, so you dont have to re-setup the stuff for new projects, or when you use the same thing several times in a project.
Markus
Then you have a 32 step sequencer to design the gate, you can set that anywhere from a half note to a 128th note resolution. So you can actually do almost grain-y sounding things to any signal (because not only the synths have amp env inputs, also the mixers have level CV inputs, hook your matrix up to that and you can gate any signal thats on that particular chan strip.. or use a CV splitter module to apply the same matrix controlled gate to different targets.. several signals' level.. or the pan, or the filter ENV, or a freely assignable mod ENV input.
Plenty possibilities.
Then think reason 3 where the combinator lets you save sub-chains as presets, so you dont have to re-setup the stuff for new projects, or when you use the same thing several times in a project.
Markus
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- Banned
- Topic Starter
- 22457 posts since 5 Sep, 2001
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- KVRAF
- 1884 posts since 9 Feb, 2004 from Rochester, MN
No, you really can't. You can get close to a programmable arp with the Matrix, but you can't get a regular up/down arp on played keys with it.Katanaman wrote:You can use the Matrix in Reason to make arps. Not chords, though.Warmonger wrote:I know you want to get out of VSTi world, but Reason has virtually no MIDI processing tools. Strike that, it has nothing at all. If I were you, I'd keep around eXT, if only for the Chord and Arp comps, because neither of those are in Reason right now, and the next release (after 3.0) certainly is not coming within a year.
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- KVRAF
- 1884 posts since 9 Feb, 2004 from Rochester, MN
As far as chords, if you have a fair amount of time, you can use a Combinator in 3.0 to load up the same patch in multiple units, and offset the oscillator tuning to get a chord. This is pretty much workable, considering the low CPU utilization of most Reason units, but when you want to change the chord, you'll have to go to automation. I'd rather just see the notes in the sequencer.
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- Banned
- Topic Starter
- 22457 posts since 5 Sep, 2001
[DELETED]
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- Banned
- Topic Starter
- 22457 posts since 5 Sep, 2001
[DELETED]