There are no rules to the topics covered in these tutorials, only that they should be related to some form of sound design, synthesis, or sound manipulation technique. Tutorial files can be downloaded by clicking the clink at the bottom of the description.  

This Reason tutorial simulates the oldschool mixers technique of feedbacking an audio signal into itself
through the routing of the auxiliary outputs within the Reason mixer.

This basic effect is then extended by the addition of
a delay line, passed through a band pass filter and finally through Reason's Scream 4. Whilst being always careful not to over feed the sound (and blast your speakers!), the
Scream 4 unit is set at the tape compression algorithm,
serving both as a powerful compressor/limiter, but also
lending it's warm saturation and tone to the otherwise
harsh feedback signal.

Once set up, a Dub drumloop is played out by Dr.Rex, and into the feedback system, a wonderful analog style delay is
created and tweaked to great effect through the frequency
knob of the band pass filter. Truly inspiring!

Tutorial files include the video song file, and a Combinator
file that puts all this wiring into a patch, ready to use with some other added tricks and beautfiul a backdrop!


Interactive tutorial taking the principles of granular synthesis and timestretching to be applied in Reason's NN19 soft sampler, but could work with most decent samplers that have a sample start function.

The idea is simple: choping up a sample into small bits, and then controlling the order of playback. To achieve this result, we simple drew a straight 1/64 step sequence in
the NN19 matrix, then by controlling the sample start knob
we can morph between the different "grains" of the sample.

This effect can be most clearly heard with the manipulation
of a v-v-v-v-o-o-o-o-c-c-c-c-a-a-a-a-l-l-l-l-l sample. By
drawing different automation lines for the sample start
knob and different slopes, one can control the "speed" of
the sample without affecting pitch. So to those familiar with
timestreching, the results are very similar audibly.

By messing around even further with the automation
curves one can achieve more granular synthesis types of


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