Lately It seems like the only things I purchase from guitar cnter are connectors and jacks. Yesterday I wandered in to get (more) connectors to make some XLR to 1/8″ phone cables which would further my experiments using Reason 4.0 as a control voltage generator with some of my analog synthesizers. Surprisingly, they had some premade cables that fit the bill: Female XLR to 1/8″ mini plug!

After wiring everything up, it took about 90 seconds to find the right calibration settings and I had Reason sending Note CV and Gate CV signals out through the MOTU 896HD into an old Oberheim CPS-1 / S.E.M. module. A bit of tweaking was required to get the note cv scaling set, but after finding the right settings, I had Thor acting as a MIDI to CV converter.

With this Thor patch, it’s possible to control analog synthesizer systems (in this case the Oberheim S.E.M.) from the Reason MIDI Sequencer, Thor Pattern Sequencer, Matrix Pattern Sequencer, any LFO source in Reason, and the RPG-8 Monophonic Arpeggiator. It should also be noted that because the Reason 4.0 sequencer is sample accurate, theoretically, the synchronization should be very solid when sending CV signals through the MOTU audio interface.

This should work on Windows based computers running Reason 4.0, so PCers who are itching for Volta for windows can try this out, provided you have a proper interface. Make sure that your system meets the specifications outlined by Mark of the Unicorn on their site:

http://www.motu.com/techsupport/technotes/testing-analog-outputs-for-control-voltage-compatibility/

Disclaimer: Do not play notes into the combinator or run the song file if your system is not configured to control analog synths. The Reason file generates a DC signal directed at your audio interface which may cause problems. The CV/Gate signals are connected to the Reason Hardware Interface inputs 3 and 4. Disconnect these if you don’t know what you’re doing!

The reason song file containing the arpeggiator combinator patch is available here:

Peff - Reason CV to AudioCV.zip

The song file will not work without multiple audio outputs assigned. These should be enabled in the audio preferences. This file was calibrated for the MOTU 896HD. Other Interfaces may not be calibrated properly. You will need to adjust the KeyNote to Audio Out1 AMOUNT values on the Thor modulation matrix. Try adjusting the -29 value, and play octaves until you get a proper note division. AMOUNT Values of 79 and -17 might be more appropriate in some cases.

I have not tested this with an S-Trig system like a vintage minimoog, and I suspect that it will not work properly. As I try out new configurations, I will post updates. I’ve tested the file with an Oberheim Two-Voice and CPS-1, and an ARP 2600.

If you are using a Rewire Host application, make certain that the signal path is direct to the audio interface, and that the gain structure remains at unity.

The introduction of Volta from Mark of the Unicorn, is especially exciting news for those of us who have held on to our beloved analog gear. Volta is an application/plug-in that sends control voltage signals through MOTU hardware interfaces which can trigger and modulate analog hardware synthesizers and effects. The beauty of this system is that it is sample accurate and for old MOTU interface owners, adds new life to interfaces which might be considered obsolete.

I was pretty excited when I saw this since I have a MOTU 896HD (prior to volta I had seriously considered selling it). Then it dawned on me… in Reason 4.0, you can route control voltages to audio. Maybe i could create my own ‘ReVolta’? I’ve certainly used reason to trigger hardware envelope generators as gates, but the thought of sending DC signals from Reason had never crossed my mind before.

It was easy to test this out. I fashioned a couple of XLR to TRS cables, and connected them to a couple of audio outputs on my MOTU 896HD. In Reason’s audio preferences, I enabled the (normally dormant) motu outputs which would be used as control voltage sources. The plan was to route the connections to CV inputs on a Moog FreqBox and Moogerfooger Lowpass Filter.

Before making any connections, I read up on the MOTU specs and tested out the wiring with a voltmeter. Pin 2 is the positive connection and Pin 3 is the negative connection. The signal is DC coupled across the balanced outputs of the MOTU interface. To test the CV to DC relationship, an instance of Thor, with Rotary 1 routed to Audio Output 1, was connected directly into the Reason Hardware interface. Turning the rotary generated a steady DC voltage on the meter, which indicated that this was definitely going to work. One issue to take into consideration with this is that the moog devices have a low current +5dc on the ring, so the connections should be from the tip and the sleeve from pin2 and pin3 on the XLR. My cables also have pin 1 tied to the sleeve.

To convert Reason CVs to Audio signals, the CV source must be bridged through a Thor Polysonic Synthesizer. In the modulation matrix, set CV input 1 and CV input 2 as sources, Audio Output 3 and Audio Output 4 as destinations, and set the destination amounts to 100. For the Moogerfooger modulation setup, two Matrix Pattern Sequencers were created and the Curve CV outputs were patched into the Thor CV inputs. With this configuration, one Matrix Sequencer controlled the FreqBox’s pitch, and the other Matrix controlled the MF-101’s Cutoff setting. A Dr. REX provided a drum loop to process through the effect devices.

With the REX loop running through the effect boxes, I programming the Matrix Sequencers and listened as the two curve patterns modulated the Moog hardware. LFO Signals, Gate CV, Envelope Generators, Thor’s Sequencer all work great with this configuration. The one thing that I haven’t quite sorted out is accurate pitch control from the Matrix Note CV. A bit of CV math has to occur to make this work properly. When this is sorted, I’ll post some patches along with a few more details in setting this up with the Moog devices as well as other analog hardware.

Audio Demo of Moogerfooger Pitch and Filters modulated by Reason Matrix Pattern Sequencers:

CV to Moogerfoogers MP3 example

Audio Demo of Thor Step Sequencer (Note CV) controlling FreqBox pitch & Thor Envelope modulating Low Pass cutoff frequency. Live knob tweaking on top of repeating pattern sequence:

Thor to Moogerfoogers MP3 example

I’ll be in New York City during the beginning of June for a few days - long enough to drop in on the first official Reason Users Group NYC event at Dubspot. I’ll be talking about Malstrom stuff, Combi Stuff and building Malstrom effects. There’s also a Q&A session afterwards where we can hang and go deep into Reason.

For more information and sign-up, please visit the NYRUG page:

Reason Users Group NYC

Those who attended the Producers Conferences this past weekend were given a sneak peak at Propellerhead Software’s new music production application, Record. Public beta testing is officially open, and Producers Conference attendees can use the codes they were given to sign on and have the first opportunity to see how cool Reason and Record work together. Click on the image to see a screenshot of the song Push Me Down, by Josh Mobley. The track features Jodie Evans on vocals, Tim DeGaugh on Drums, Goh Nakamura on Guitars, James Bernard on Bass, and mixed by the legendary Niklas Flyckt

The official announcement is now posted on their website where you can read the details!

http://www.propellerheads.se

Record-You.com

Video Courtesy of Alan Strahsburg

Chris Petti, a good friend and expert Reason User who you know from the Producers Conferences and many many many clinics he has presented over the years, is organizing the New York Reason Users Group. He’s planning a very active schedule over the coming months and is looking to schedule some great workshops and get-togethers at various locations around the city. I’m also planning a trip to present at one of these events.

You can find out more information and get on the mail list here:

http://reasonusersnyc.com/

I’m curious to know if anyone will be twittering from the various Producers Conferences this Saturday. Please drop me a line (@peff) or send me a message so that I can follow what’s going on.

If i’m not too harried with setting things up for the Producers Conference in Los Angeles, I’ll try to do a bit of live tweeting/posting on the happenings at the Musicians Institute:

Follow me here: http://twitter.com/peff

In case you didn’t know, the Scream 4 Tape Compression algorithm induces somewhat of a phase inversion to signals passing through the device. As the photograph of the oscilloscope indicates, It’s not a perfect phase reverse because the signal is also being processed by the effect, but it’s enough to cause some problems if you’re not aware of this characteristic.

In order to determine the linearity of the phase response of the Scream 4, I broke out the old oscilloscope and wired up a stereo jack to a pair of bnc connectors to monitor two channels coming from my workstation. In Reason, I created a basic configuration of a Thor being self-triggered with the internal sequencer with the analog oscillator and no filters. The Thor Synthesizer was connected to a mixer with a Scream 4 inserted on the right channel only. The left channel was unprocessed.

Running sine waves through the Tape Comp reveals that there is indeed a drastic phase inversion. This comes as no surprise. Running square waves and sawtooth waves reveals that the rising and falling edges are modulated by the effect to a point where higher frequencies will pass, but low frequencies are inverted. Two traces on the scope displayed the left and right channels separately. In the photo you can see that the top trace moves in the opposite direction of the bottom, indicating the waveforms are inverted.

If you’re using the Scream 4 Tape Comp as an insert effect on a loop or synth device, the phase inversion may probably go unnoticed, however if you decide to use it as a Parallel effect to thicken basses or drums, the process will actually do the opposite. There’s an example file posted below.

There are two ways of re-inverting the signal of the Scream 4 tape comp signal. Either insert another Scream 4 Tape comp or use a Thor Polysonic Synth. Phase inversion with Thor is accomplished by routing audio inputs to corresponding audio outputs in the programming matrix, and setting the amount value to -100 for the routing. I’ve made patches using both techniques and made them available below. The archive contains the following patches:

Phase Aligned Tape Comp S4.cmb uses a secondary Scream 4 to correct the phase. Sounds a bit vintage - dull & portly.
Phase Aligned Tape Comp T.cmb uses the Thor inversion technique. Sounds pretty clean.

Download the Phase Aligned Tape Compressor Combis

The Rotary Controls are assigned to the following parameters on the Scream 4: Damage Control, Speed, Compression, and Master. These correspond to the main controls one uses when applying the tape compression algorithm. The S4.cmb has an additional control for rolling off a bit of hi frequencies induced by chaining the effects.

Additionally, I’m posting a Reason song file that demonstrates the use of the scream 4 as a parallel effect and the potential issue the phase inversion causes.

http://peff.com/reason/download/rps/ParallelTapeComp.zip

This is a set of scope images taken during an analysis of Reason’s Scream 4 Sound Destruction Unit. Original Signals - Sawtooth wave generated by a Thor Polysonic Synth in Reason 4.0

Overdrive Algorithm - Despite the transformation of the signal, the phase generally follows the sawtooth phase

Distortion Algorithm - The signal processing is slightly different from the overdrive algorithm. It’s difficult to see the difference on these small images.

Fuzz Algorithm - More harmonic characteristics introduced beyond that of the overdrive and distortion algorithms.

Tube Algorithm - Notice that this function also inverts the phase of the sawtooth wave.

Tape Algorithm - See the related post

Feedback Algorithm - The general phase of the sawtooth is normal with the feedback algorithm as ringing harmonics are introduced.

Modulate Algorithm - The sawtooth takes on characteristics of frequency modulation.

Warp Algorithm - Again the sawtooth characteristics are still in phase with the original as the signal is modulated.

Digital Algorithm - The staircase output is typical of the wordlength reduction effect aka bitcrushing.

Scream Algorithm - the sawtooth takes on formant characteristics after processing.

Mark down the date: Saturday May 9, 09. There will be Producer Conferences throughout North America and Europe on that date - including one at the Propellerhead Software Headquarters in Stockholm! Other cities include Berlin, Guildford, New York, and I’ll be presenting at the conference in Los Angeles.

theproducersconference.com

Advance Ticket Purchase is recommended. The conferences sometime sell out and we end up turning people away at the door

The release of the Thor Step Sequencer System Refill is no longer available through the Line6 website. Sorry I completely forgot that the “Expand Your Reason Rack” promotion ended in 2008. I’ve posted the file in the Reason Refill download section and you may download is available here:

Peff 033 - Thor Step Sequencer Systems

For detail information regarding the patches in this refill, please refer to the following page:

Thor Step Sequencer Systems

My latest iPhone obsession is the Pandora internet radio app which streams a tailored playlist to your mobile device. I’m sure I don’t have to go into too much detail about the service. In short, the beauty of Pandora is that the content has been carefully qualified, so when a user creates a custom station, the playlist contains both the music desired and songs that are similar to the initial selection. Over the past few years, the catalog has deepened and contains some great obscure artists as well. The site also features some great podcasts on music production: http://blog.pandora.com/podcast/

If any audio software or sound library company is listening - there’s a bit of magic in this technology that could be applied in a commercial sound library product to help people search through their vast collections

Internet radio stations like Pandora are still in arbitration regarding the royalty and publishing issue - which is IMHO completely unfair. I am glad that artists are receiving proper royalties, and for people like me who are listening to indys and obscure electronic artists, these people will hopefully receive their share. The cost of licensing the content has led Pandora down that dreaded path of inserting commercial ads in the music stream, but I decided to subscribe and pay the 10¢ a day to avoid the ads - it’s worth it