Posted March 14, 2018, 10:50 a.m.
Today Propellerhead are launching the third installment of the hugely successful Rigs. Simply put – it’s difficult to find a better deal in the music industry today.
The new devices that are included in this version are tremendous, top-of-the-line products that have been the best-selling instruments and effects for the past couple of years. Parsec, Expanse, Nostromo, ReSpire are all new additions to the Synthetic Rig. We’ve boosted the Backline Rig to the brink with three new A-List “musicians” as well as the GForce complete catalog. Mix & Mastering have all of McDSP REs included – even the creative FutzBox that provides endless hours of fun with creative impulse responses.
Also, not to forget when you buy a Rig you do not only get the devices and Refills included, you also get a complete video tutorial course from the people of AskVideo as well as a tailor-made patch-refill that utilizes the devices in the Rig with new and fresh patches from some of the best in the industry.
And it’s all package in a very attractive price – 349 USD/EUR.
“What!? What about us loyal customers that have been supporting you from the start?”, you might ask. Well, we thought about you too. You can upgrade to the new version of the Rigs you already own by depositing a small token of gratitude in form of 99 USD/EUR.
Hurry and buy before it runs out. Get Rigs 3 here!
Posted Nov. 29, 2017, 3:49 p.m.
With VSTs in Reason, you can now tap into the amazing pedalboard designing capabilities of BIAS FX, while blending the tones you create inside that plugin with standard rack devices like Scream 4 for custom tones only possible in Reason.
Posted Aug. 3, 2016, 8:51 a.m.
Jordi Moonen and Laurens Van Steenbergen, also known as Aerotronic, met each other at the age of seven and discovered at this very young age to share the same taste of music. A couple of years later, they decided to start experimenting with dj-ing and producing, leading to developing a passion that has been growing ever since.
Aerotronic has released their music on labels such as Teenage Riot Records, Sex Cult and Boxon Records, and gained support from many artists including Mr Oizo, Zombie Nation, Fake Blood and Mixhell.
We had the pleasure of chatting with Jordi and Laurens about their relation to Reason and their thoughts on our latest release, Reason 9. Be sure to download and check out their top 5 custom Combinator patches below!
What's your favorite new Reason 9 feature?
The Dual Arpeggio is definitely a game changer. It’s so easy to program polyphonic sequences now. I like it that you can make it as simple or complex as you want. It feels like a fusion of the Matrix Pattern Sequencer and the RPG-8, but even bigger. And you can perfect your loops with the ease of clicking the send to track button, which transfers the arpeggio sequence into midi data. Super useful. I also found myself to be using the ‘Bounce in place’ function quite a lot. It allows for quick loop creations. Overall, R9 is a superb update, from the players to the pitch edit. It’s all really solid.
How do you get started with a new song? What usually sparks your creativity?
We just listen to a lot of different music. It does help a lot that we have a very similar taste in music, that makes it easy for us to agree on production decisions. Then, when we start to make music, it all really depends on what new sound design we come up with. Sometimes it’s a melody hook. Sometimes it’s some percussion loops we’ve made. Then we try to build a theme around it. Sound design is a big part of what we do. Mostly we come up with some new sounds in seperate sessions, later we record the results and manipulate them. Building the full track happens later. Once we’ve established a couple of decent loops, we try building them up and down into a structure that makes the most sense to us.
What do you do if writer's block hits? Any tips to break out of it?
When we don’t have any ideas with the material we made, we just let it sit in our computer folder for a couple of weeks. So you fully forget about the progress you made. When you come back later with a fresh mind, you can easily spot what you like or dislike. We recently finished a project that was over 3 years old (see the song ZYX below!). So anything can happen really. I also noticed that once you run out of ideas, the best thing is to go do something completely different. Otherwise you’re wasting time. It also helps to take risks, do things to your track that you wouldn’t normally do, if you’re lucky, that kind of experimentation can pay off.
Do you have any special Reason production trick that you always use?
It’s standard for us to cut the frequency of our kick drums below 60hz with the Main Mixer EQ. The spectrum analyzer has a highpass filter which you can move to cut some of that useless low end. Another one, is to use Thor’s low pass filer on other audio sources. It’s simply a great filter, and our songs have a lot of filter automations going on. The new bounce in place feature from Reason 9 is also a clever trick to save some DSP on your overall project.
The three most used devices in your Reason rack?
Tough question. Malström is definitely among the most imporatant three. It has been a vital part of the Aerotronic sound. Especially the very glitchy synths. The RV7000 is also very important to us. Amazing sounding reverb/delay unit. It’s so easy to make it sound good too, adding a bit of wetness to the overall mix. Our last choice would be a tie between Redrum and Kong. We both used these so much. Redrum handles our sample-based drum sections and with Kong you can create some stellar drums from scratch with the built in drum synths.
Download Aerotronic's Combinator patches
This is the arpeggio you can hear throughout the song ‘ZYX’. It sounds best when you layer it with other analog sounding synths. Gives drive to the track.
The lead stab to our song ‘Revelation’. It’s so simple it works. The song has one of our favorite buildups from the entire Aerotronic discography.
There are numerous acid style synths you can spot in our songs. This is one of them. Build with a Malström, and it sounds so dope.
By automating the pitch and the free rate of the RPG-8, you get that glitchy type of sound that we made in the song “Gearshift”. Also build with a Malström.
Night Tales Bass
In one of the darker cuts of our album, we have this huge bassline going on that drives the track from beginning to end. The more you chop your notes the better it sounds. Listen here!
Update December 15, 2016!
Aerotronic made 50 patches for Parsec 2 that they want to share with the Reason community! All free! :)
Download Aerotronic's 50 free Parsec2 patches!
Posted Feb. 25, 2015, 2:01 p.m.
Samuel Aneheim Ulvenäs AKA Sam Heim is a Swedish producer who lives and breathes Reason. He just produced Fredrik Jean Venard's debut single 'Business' and when we heard it here at PropellerHQ, we absolutely loved it. Sam is also a really nice guy and when we met him at Dreamhill Studios, we talked him into sharing a Combinator patch from the song! Read what Sam had to say and grab the distorted piano patch below:
"My name is Samuel and I started out as what you call a "bedroom producer", hanging around EDM forums a lot and speaking to other producers where we all exchanged experience with each other and just had fun. Some of them very successful today; Dj Deamon (Madeon) and Ekowraith (Porter Robinson). I've been producing in Reason since version 2.5 and it's still my go-to DAW. One of the many reasons that I love Reason is because of its great audio processing and its creatively humble workflow that lets me jump in to an idea as quick as I need to. Today I'm located at Dreamhill Studios in Stockholm, founded by producer and songwriter Anders Bagge.
When I produced this particular song, I wanted to create an ambient atmosphere that would sit well with the hip hop beat and Fredriks voice, but I still wanted it to be a bit edgy. With all my love for distortion and reverb I came up with this idea of a sound that I wanted to share with you guys."
Download the patch (Please note: the patch uses the Synapse DR-1 Deep Reverb, but it can be opened without it)
Posted April 25, 2014, 2:56 p.m.
Suspect and Stenchman, collaborating under the name Suspicious Stench, are two mad-men producers from Dover, UK. After hearing their music, we had to ask about their guttural, growling dubstep sound design. Read on to find out how they do it and download two free Combinator patches!
How do you use Reason in your music making?
We use Reason for everything. Quite a lot of people ReWire it but with all the new rack extensions there isn’t much reason to add loads to the CPU when we have everything we need in one simple package.
Suspicious Stench are really two artists collaborating, how do you handle that?
Sometimes we make stuff in the studio together and other times we just pass the file back and forth via instant messaging. Also if one of us was to start a project the other would sometimes finish it then go over final details and mix down together.
What do you do when writer's block strikes?
We tend to make bass patches & drums when we hit writer's block just so something’s being done and normally it sparks an idea in the process. Either that or watch YouTube videos of people falling over.
Could you tell us a bit about how you approach sound design?
We're pretty random when it comes to approach. We don’t really have a formula or a certain structure that we stick to, we basically just make whatever comes out depending on what mood we're in or what we’ve been inspired by at the time. We tend not to start from scratch when designing sounds but instead use a preset that has characteristics we like and shape the sound accordingly
Download Suspicious Stench's Combinator patches
(Requires Reason 6.5+)
Suspect’s Hover Craft Bass
It's a pretty gritty wobbler style bass, which Malström is really good for. I started off with just a Malström and I pretty much just mess about with buttons until I get a good sound and then tweak it from there. I used the Modulator B curve 17 as I don’t use it very much and was after a bit of a different wave pattern. I used 2 square 16’s with a slight bit of oscillator motion on just for extra movement. I also moved the Index on one of the oscillators, but you can set this to how you want it. I set the Shaper to 86 on Noise, this just makes it a little more prominent and fuzzy if you like. I’ve also put the attack up on both oscillators so you don’t get so much of a stabby sound on the first part of the note. Also on the Modulator A, I’ve put a pitch bend on so that the note goes up a bit as it plays to make it more interesting.
I added a compressor to it just to level the sound out and stop it being so harsh. I then EQ'd it with an old school equaliser, the PEQ-2, just to take a little bit of the harshness out again and some low end. I then added a Scream 4 to it as I felt it needed to sound a little more distorted to sound fuller. Then at the end I added a bit of reverb, a Rv-7 Digital Reverb, just to make it sound a bit more wet and to help it sit in the track better. That’s basically all i did to make the sound. You can use this bass as short stabby notes or have it as a longer note to get the full wobble. Also you can change the Modulator curve to suite you and automate the Index which keeps the sound interesting as the track goes on.
Stenchies Lazer Reece
This is a pretty simple dual layered reece patch with a bit of a twist. The oscillators are all Multi Osc's set to saw waves, all tuned slightly differently and with a little random detune as well to give a thick texture. The oscillators then go into a Notch Filter which is set differently on the two Thors to give the patch more width and character. The LFO also affects these filters on both instances, but only a relatively small amount (53).
I used slightly different effects on each of the thors, the top one has a Scream 4 on the Tape setting and an EQ with a wide mid cut. The other has a Scream 4 on the Fuzz setting and an RV7000 with the Hall reverb setting applied. I normally use the EQ on the RV7000 to cut all the low frequencies, but I kinda liked the muddiness with the full range of frequencies getting affected so I left it. The EQ is pre-setup to cut though so you can just turn it on if they wish.
I have used the built in Chorus unit on one of the Thors. I tend not to use it on multiple layers as it can soften the sound a little when used too heavily. There is also a Phaser unit that is routed to the AUX send of the line mixer. The amount it is applied to the second Thor can be controlled from the fourth rotary on the Combinator front. This is so you can give it some movement in productions. I have also used the other modulation routers to control a lazerish womp out of one of the multi osc's. The speed and intensity of it can be controlled from the Combinator. Finally there is a control for the filter frequency for one of the notch filters, again this is to give chance for automation that gives movement to the synths sound.