People have been requesting we show a method for creating currently trending version of a classic sound: the Reese Bass - namely, the "Dirty" Reese Bass, which is characterized by heavy distortion, compression, and filtration. When it comes to dirt, grit, and nasty sounds, Malström is a fantastic tool for the job. So in this tutorial I'll show you one of the many ways you can approach this type of sound, while thinking out loud along the way so you can gain some insight into custom patch creation in the Reason Rack.
I touched on this before in my earlier article about creating a Shimmer reverb, but I want to talk about it more now - routing an effects return to its own mix channel.
Normally when adding a send effect to the Reason rack, you'd route the signal from the FX send at the back of the Master Section to the input of the effects unit, and then from the output of the effects unit to the FX return at the back of the Master Section, as shown below.
Instead, let's route the output of the send effect to its own mixer channel - like this:
Why would we do this? By routing the return from the effects device to its own channel, we're effectively isolating it, and now we can do all sorts of creative stuff with it. Here's a snippet of a hang drum with a touch of chorus, delay, & reverb.
Now I've routed the same piece through a long reverb, the outputs of which are routed to their own mixer channel. This mixer track is panned 100% to the right. This gives the reverb an interesting character of its own, but also makes the pre-effect signal stand out against the background.
Here's the same thing again, but now I've added an Audiomatic Retro Transformer as an insert effect on the mixer channel and some automation, panning the mixer channel slowly from right to left and back again.
Having the effect return on its own channel in the mixer also enables setting up a feedback loop, whereby the output of the effects unit is returned to the input to be processed again. You can achieve this by activating the send that's routed to the effect that's feeding the mixer channel. Be careful with this option, and be ready with the fader if you try it, because things can get out of control very quickly!
Isolating the effect return on its own track will also enable you to use the channel strip's EQ and dynamics processing on the effect return, and you can view the return in the spectrum analyser.
Using the various bounce options availble for mixer channels, you can even render the effect return without the original signal. Here I've added some sequenced gating and filters as further insert effects and then renderned just the effect return channel in the mixer by itself, and then added a beat.
I've used a reverb in this article, mostly because it's an effect with a long tail that makes demonstration easy - but any effect is fair game. Give it a try!
Ever since those Portishead folks in Bristol found the magic that happens when you pitch a drum sample down and bath it in gloomy reverb, Trip Hop has been one of the most popular genres for people learning to make beats. When we got requests to cover Trip Hop in this tutorial series, we wondered what people were really asking for. Trip Hop is a sample-loop based genre that doesn't require too much production wizardry, if you don't' want it to... In this tutorial, however, we'll cover those basics but we'll also delve further into the sound design theory that lies behind those loops so that you can create your own custom Trip Hop sounds and beats.
At its most basic, a shimmer reverb is a pitch-shifted reverb tail in a feedback loop. If you’ve listened to much U2 since the mid-80s, then you’ll have heard it. While it does work particularly well on guitars, it can also be used to great effect on other instruments. Brian Eno, who is generally credited with inventing the effect, had been using it on pianos long before it was popularised by U2’s Edge.
Here's a simple piece, played using a tweaked Radical Pianos preset, played through a shimmer reverb patch I created in Reason:
I built the shimmer effect in the Reason rack with an RV7000 Reverb and a Polar Dual Pitch Shifter. Hold down the shift key when you add these two devices to your rack though, because we don't want to use the default routing here - we're going to do things a little differently.
Connect an FX Send from the Master Section to the input of the RV7000, but instead of sending the RV7000's output back to the FX Return on the Master Section, connect it to a Spider Audio Merger & Splitter. Send one pair of outputs from the Spider to the FX Return on the Master Section, and send another to the input of the Polar Pitch Shifter. Send the output from the Polar its own channel in the mixer.
Now that we've got the routing sorted out, let's start dialling in some settings. You're going to want a pretty evident reverb. I've used the Arena algorithm, and selected the largest size available. Crank up the diffusion to make everything as fuzzy as possible. Turn the decay *nearly* all the way up, but not quite. Do not be overly concerned with subtlety here, people. Really: go big or go bigger. If you want to start with a preset, then the EFX Kick Bomb patch is as good a place as any. Add a little pre-delay to stagger the beginning of the reverb tail.
For the Pitch shift part of the sound, set both shifters to a shift of a single octave (by all means experiment with different intervals, but an interval of an octave is your safest bet). Play with the feedback level of and delay of each shifter to suit. Dial back on the delay and feedback if you find things are sounding a little seasick. I've detuned the second shifter, panned it to one side, and delayed it slightly.
Because you're adding higher frequencies to the signal, then it doesn't hurt to engage the Polar's LPF - you can select the frequency to match your material.
The final step is feeding the pitch shifted reverb tail back on itself. This shifts the reverb tail in pitch again and again, making for the characteristic sound of the effect.
Because you have the pitch shifted reverb tail in its own mixer channel, you can feed it back through the reverb by activating the same FX return that is connected to the reverb inputs.
In the screenshot here, I'm using FX Send 5 to send the Distant Piano instrument to my RV7000 reverb. The pitch-shifted reverb tail from the Polar is routed to the Shimmer Return channel in the mixer. This channel in turn has FX Send 5 activated, which feeds the pitch-shifted reverb tail back into the RV7000.
It's a good idea to lower the fader for this channel before you hit play! The channel fader can be used to blend the amount of pitch-shifted reverb against the normal reverb, and you can use the mixer channel's filters, EQ and compressor to control and reign in the signal and keep things under control
Here's the same piece without the shimmer effect:
Download the attached Reason song file and try it out! Try your own material through the shimmer effect. Try different intervals of pitch shift. What's important to bear in mind is that the material you’re running through the effect has space to breathe, allowing the sound to develop and flex. If your material is too dense, you're going to end up with some kind of sparkly celestial soup.
Hi there, Stefan here. I just wanted to go through a few resources of where to find new impulse responses to use with the new convolution mode in the updated RV7000 MkII–when you're finished going through the massive RV7000 MkII ReFill, that is.
There is a plethora of free impulse responses (IR files) out there on the web which are free to acquire and free to use. This is only a list of a few of them, so if you're feeling bold, just do a google search for "free impulse responses" and I'm sure you'll find even more.
Another cool trick is if you use Logic Pro, you can simply rename the .sdir files used in Space Designer to .aiff or .wav and they can be used in the RV7000 MkII! You can find the .sdir files in the following directory: ~/Library/Application Support/Logic/Impulse Responses.
Starting with the most important ones, well, since I'm a guitar player.