#7. Synthesizers in Reason - Thor

Note: It will be a good idea to look at “Basic synth concepts”, “Subtractor” and “Malström” tutorials first if you haven`t done that already.

Thor is the biggest synth beast in Reason. This monstrosity has 6 oscillator types and 4 different filter types + shaper, modulation matrix, a sequencer and so much more... There is a lot of explaining ahead of us, so let`s begin right away.

Let`s expand Thor with the Show Programmer button. We are going to look at the oscillators section. The common things between each of them are the following: Kbd knob which determines how strictly the Thor is going to follow the notes we input – it is turned all the way to the right by default. If we turn it all the way to the left we will disable key tracking. The other three knobs are the standard Pitch transposition, Semi tone change and Tune. You can run from 0 to 3 oscillators at once with one instance of Thor.

OSC Types:

Analog Oscillator

It has the standard basic waveforms with the option to manipulate the pulse width of the squarewave. According to PH, those waveforms differ from their twins in Subtractor.

Wavetable Oscillator

This osc looks a little bit like the PPG Wave 2. It has 32 selectable wavetables (each with different amount of waveforms in it) and a Position knob which slides between them (if you are into dubstep, this is a knob you might consider automating). Xfade is cool thing which allows you to make a smooth transition through the waveforms. If you turn it off, the Amount will change the waveforms abruptly.

Phase Modulation Oscillator

This synthesizer is similar to Casio CZ series synthesizers. They were a much cheaper way of creating diverse waveforms and filtering effects than the expensive analogue solutions. The phase modulation is achieved by manipulating the clock rate of a waveform. For example, if you manipulate the timing of a sinewave – playing its beginning fast, while holding its maximum value for a longer time, you will end up with a square wave. The waveforms are created using such techniques.

The PM knob acts like a filter morphing the original sound into a different one. In Thor Phase Modulation osc we can combine two waveforms (played in series, not mixed, the second one adds a fundamental 1 octave below the original pitch – this type of synthesis can`t be done with analog synthesizer) – the first has 8 variations and the second has only the first 5 without the last 3 (which simulate resonance). The second waveform can be turned off if necessary. 

FM Pair Oscillator

This is Frequency Modulating oscillator with modulator Mod (which effect is controlled by the FM knob – if it is at 0 no modulation is occurring) and Carrier sine waveforms. The numbers determines the frequency ratio between the two.

Multi Oscillator

This oscillator uses multiple detuned oscillators with detuning amount set by the Amt knob. It has 5 different waveforms and 8 detuning algorithms. The first two detune the oscs randomly. The Interval detunes each oscillator evenly in cents while Linear does that in Hz. FifthUp moves the oscs tuning five semitones above at maximum amount – both sets of four oscs are slightly detuned. At maximum value OctUpDn detunes half of the oscs up an octave and the other half – down an octave. It also detunes slightly the both sets of four oscs. In all of those, the 0 amount means no detune. In the last two (at 0 value) – Fifth and Octave half of the oscs are tuned up – by approx. a fifth or approx. an octave respectively. Turning the amount knob makes a random detuning of the oscs in both detuning algorithms. 

Noise Oscillator

The noise oscillator has 5 modes – the first 4 of which have controllable features with a modifier knob. Band – at knob put on 0 pure noise is heard – turning it to the right narrows the bandwidth. SH is “Sample and Hold” mode (a type of random generator) – the knob controls it`s rate from a random noise to a slightly phased colored noise. Static produces a static noise. The knob controls it`s density. Color makes colored noise - the modifier knob makes a white noise at max or boosts the low end at min. The last mode is for white noise in which all the frequencies are equally high.

On the left side of the oscillators we have additional types of modulating options. The AM is Ring Modulation (type of Amplitude Modulation). When you turn the slider up the result will consist the sum and the difference of the two osc`s frequencies. The first osc is the carrier while the second is the modulator. In Osc Sync one oscillator`s waveform (the master (osc 1)) will restart the period of another oscillator`s waveform (the slave (either osc 2 or 3)). The slider determines how pronounced he effect is going to be (you need to light the arrow in red in order to hear the effext).

If you want to hear the output of any of the oscillators, you`ll have to turn on the buttons with their numbers in the right – either from those above (which pass the oscs through the Shaper and Filter 1 one if turned on) or those below (passed through Filter 2 if turned on). If we select the same oscillator from both sets of buttons we will hear it twice (note that you may have to turn on some the arrow buttons first). You can route both sets of oscillator buttons separately or route the first one through the second one.

In this example we route osc 1 and 2 through Filter 1 (set to Low Pass Ladder) and another parallel clean unaffected copy of osc 1 below (since Filter 2 is disabled). If we switch the left arrow located below the Shaper, the first two oscs will pass through the Filter 2 slot, with the copy of osc 1 in series rather then in parallel. We can apply additional filtering by selecting one of the four available filter types in the Filter 2 slot.

The Mixer section has a knob determining the relationships between osc 1 and osc 2. The first slider determines the level of both of those oscs while the second slider determines the level of osc 3.

Before Filter 3 you have another Gain controlling all of the oscs before with Velocity sensitivity setting and a Pan setting. Thor also has a big global Master Level knob.

Thor can run 3 filters in one instance – one for each set of osc buttons and a one global. The first 3 types of filters are very similar – all of them have Frequency and Resonance knobs, Kbd track and Filter envelope amount which can be Inverted or controlled by Velocity. Drive sets the input gain to the filter. They can also self-oscillate – this adds a feedback whistling character  to the sound and can be heard when the Resonance knob is high. It is an attempt to emulate a filter effect found in some vintage synths like Moog.

The Low Pass Ladder filter has 5 different dB settings – 6, 12 and 18 dB (inspired by Roland TB-303). Type I of the 24 dB filter puts the building shaper (self osc) after the filter output and before the feedback loop, Type II is before the filter input and after the feedback loop.

The State Variable filter offers the standard LP, HP, BP and Notch filters + a Peak one. Last two have an Amount knob determining on which side of the frequency spectrum will the effect be applied to.

The Comb Filter is similar to that in Malström, but with more rough characteristic.

The last type of filter is the Format Filter which makes a vocal type sound filterings. The Gender knob changes the timbre from male to female sounding output. The X and Y sliders controls the effect. The Env, Vel and Kbd parameters affect only the X slider.

Like Malström, Thor also has a Shaper, this time with 9 different types of distortions. To activate it, light up its small button left from Shaper.

Thor has two similar built in effects – Delay and Chorus (mono in – stereo out, if modulating external devices). Delay produces echo type of sounds while Chorus produces chorus FX with its faster delay time. They have Time parameters (Delay in Chorus) (the more to the left, the quicker the effect), Feedback knobs, determining the intensity of the repeated sound, Rate of the effect and it`s Amount. Dry-Wet determines how much of the original unprocessed “dry” sound is mixed with the affected “wet” sound.

Thor has a Portamento switch – the first position turns it off, the second turns it on and the auto applies it only when multiple notes are being played. It has also an amount knob (Portamento).

Thor has 4 types of envelopes – the Amp, Filter and Global (for the global filter) ones are used to affect as target the destinations which are implied by their names. The Mod Envelope can be assigned to different targets using the Мodulation Мatrix below. Note how the Global Filter has DAHDSR envelope – the D stands for Delay, or how much time should pass for the Attack to come after the key is being pressed and held, H (Hold) holds the sound at maximum point for a certain amount of time.

LFO1 is standard per voice LFO with 18 modulating waveforms. LFO2 is a global LFO. Both can modulate characteristics of the sound from the Mod Matrix below.

The Modulation Matrix has the following sections – Source (the modulator), Amount (the amount of modulation + or -), Destination (the target of the modulation) and Scale (with its Amount) modulating the Amount of the Source. You can see that there are vast possibilities for control with the many different types of sources and destinations. For example, you can set LFO1 as Source with 100% Amount to control Osc 1 -> pitch. Than you can modulate the LFO1 rate (as second Destination) with LFO2 (as second Source). The possibilities are endless. The Modulation Matrix is the thing that allows you to use the free Rotary 1 or Rotary 2; Button 1 or Button 2 modifiers. 

You can even route them to some of the 4 CV out as Destination to control external devices with them (for example controlling the first knob of many Combinators only with one of the Thors modifier knobs using CV Merger and Splitter).

On the right there are two variations of the mod matrix – one with 2 Sources and one with 2 Scales.

The clr buttons on the side quickly erase the modulation row.

Thor has 16 steps Step Sequencer. Their number can me reduced with the Steps knob (or by clicking on one of the little red lights above) or individual steps can be turned off by disabling the red square below them.

The first switch determines the movement of the sequencer. Repeat loops it, 1 shot plays it once and Step plays it step by step after each pressing of the Run button. You can also select a direction – either Forward, Reverse, Pendulum (forward-backward; Pendulum 1 repeats the first and last note when shifting direction, while Pendulum 2 doesn`t) and Random. You can also adjust the rate and tempo sync it if you want.

The next knob sets different properties of selected step in the sequencer. You can adjust the Note (with octave adjusting switch), Velocity, Gate Length (length of the step), Step Duration adjusting the step timing. Curve 1 and Curve 2 are Modifiers similar to the 2 free rotaries and buttons in Thor and are used to control different destinations through the Mod Matrix.

You can select weather you want to use the only the MIDI input to control Thor or the Step Sequencer from the Trigger above.

When you flip the devise with TAB you will see that there are many CV / Gate input and output options which are self-explanatory. You can modulate the sequencer with CV signals, or make it send ones. Note that the Audio Input options and the 3-th and 4-th Audio Output options must be programmed from the Modulation Matrix after the connection. For example, you can input sound from another synth and use the matrix to route it through Thor`s Chorus.

#6. Synthesizers in Reason - Malström

Before reading this tutorial, I recommend that you look at the “Basic Synth Concepts” and the ‘Subtractor’ ones.

The Malström is the wackiest synth in Reason. It uses the so called by PH “graintable” synthesis which is basically a combination between granular synthesis and wavetable synthesis. Granular synthesis uses samples that are split into short grains with duration between 1 and 50 ms and manipulates them. Wavetable synthesis loops a certain type of waveform – often it has a wavetable with many different waveforms you can sweep through.

The Malström has 2 oscillators which can be switched on and off and contains a huge library of sounds cut in small grains combined in graintables. When you hold a note key it will loop the whole sample or it will loop it forward then backward continuously, depending on the selected sample. You can make it loop faster or slower with the Motion knob (which doesn’t affect the pitch). The Index slider allows you to change the starting point of the sample. If the Motion knob is all the way to the left and you move the Index you can hear the static waveforms from which the graintable is constructed. The Shift knob changes the formant spectre of the sound (tembre).

The Modulators in Malström act like LFOs. They can be switched on and off and can be set to control either one of the oscillators or both with the switch in the right. You can select a waveform of the LFO, set a rate with the Rate knob, Tempo Sync it and use a new option called 1 Shot which plays the LFO effect only once at a given note pressed (similar to an envelope). In order to hear the LFO you need to turn one of the blue knobs (the targets of the LFO modulation) either to the left applying negative effect or to the right applying positive effect. The default mid position is 0 which means that no effect is applied.

If you want to do some filtering you can route the oscillators to the available Filters or the Shaper. The arrows show you the signal flow.

Example routing – we turn on Oscillator 2, route it through Filter B, then through the Shaper and then trough Filter A. Note that apart from the arrows we also need to turn on the Filters or the Shaper if we want them to affect the sound.

The Shaper is used for shape modulation of the sound. It has 5 options – Sine (smoothens the sound), Saturate (adds lush character to the sound), Clip (makes digital distortion), Quant (reduces the bit resolution of the sound), Noise (multiplies the sound with noise). The Amount determines how strongly the effect is affecting the sound.

The new filters here are the Comb +, Comb – and the AM Filter. Comb filters act like fast delays with feedbacks controlled with the Resonance knob causing resonating peaks. The Comb – version cuts the low end of the sound. The AM (amplitude modulator) is actually a ring modulation filter which ring modulates the sound signal with a sinewave. The amount of modulation is determined by the Resonance, You can use a Kbd knob to enable keyboard tracking or Env knob to allow the Filter Envelope above to control the sound with the Amount knob next to it determining the amount of modulation. It also has an inversion option.

The Spread knob in the end controls the panning of Oscillator 1 and Filter A to the left and Oscillator 2 and Filter B to the right.

If we flip the rack we will see that Malström has standard Gate and CV inputs and Modulation inputs with oscillator selection switch. What differs the Main Output from the Oscillator Output is that the latter doesn’t output the Shaper and the Filter effects.

If you want to use Malström`s Shaper or Filter A / B with an external device, use the audio input jacks. The first one is for Filter A and the Shaper and the second is for Filter B. Note that you need to turn on the desired Filter / the Shaper and use the Main Output in order to hear it affecting the sound.

#5. Synthesizers in Reason - Subtractor

In the next 3 tutorials we are going to familiarize ourselves with the synthesizers in Reason. I strongly recommend that you take a look at the “Basic Synth Concepts” tutorial first which covers most of the similarities between them, since we are not going to discuss those in the following tutorials.

The Subtractor is the first synth made in Reason. It is a mono device which uses subtractive synthesis for the creation of its sounds. In simple terms, subtractive synthesis is creation of sounds in which different waveforms are processed trough filters. Additive synthesis on the other hand uses a combination of different harmonic basic sine wave tones in order to create the other types like sawtooth, square, etc. For example, if you want to create a sawtooth wave, you need to add many sinewaves – each new added with doubled frequency and amplitude (volume) being 1 / 2, then 1/ 3, then 1/ 4, etc…

Adding different harmonic sine waves together (using the Fruity Loops oscilloscope to show you what changes take place). The ending waveform looks more and more like a sawtooth waveform. The more waveforms are added, the better quality sawtooth we have in the end. The sinewave is the most basic tone (it is actually one dimensional circle).

After that healthy sound creation tip we are going to go back to the Subtractor device.

The Subtractor synthesizer has 2 oscillators with 32 waveforms (including the 4 main sawtooth, square, triangle and sine) and a noise generator. You can select octave transposition, semi-tone (the interval between two adjacent keys, for example C4 and C#4) and cent which divides the semi-tone into 100 fractions.

There was a very neat article in the web from which I`ve print screened all the subtractor waveforms visuals (I can`t find it on a web anymore, so I can`t give the link :( ).

Subtractor`s special weapon is called Phase Offset modulation. When you turn it on, you create a copy of the sound waveform and move it off sync relative to the original one either positively or negatively (using the phase knob). The 0 sign means the effect is off, the "–" sign means that the effect uses subtraction and the "x" knob means that the effect uses multiplication.

Oscillator Mix determines the levels of the two oscillators relative to each other (note that the noise generator and the ring modulator amounts are on the side of the second oscillator in the mix, so if you turn it all the way to the left you won`t hear them).

The noise oscillator is used to create… noises. It has a decay knob determining its duration while the key is pressed, color (from low to bright) and level knobs. On an initialized patch – if you turn the mix knob all the way to the right and turn on the noise generator you will hear it exclusively (alternatively, you can use a little bit of hack – initialize the patch, set oscillator 1 to square wave, make a negative phase offset and turn the phase knob all the way to the left – that will also mute it).

You can use the Kbd tracking button to disable the input of notes from your midi keyboard, making it play a constant pitched sound regardless of the note (for example you may use it if you create a synth percussion sounds requiring constant pitch) .

(Note that the noise generator doesn`t change it`s pitch regardless of whether Kbd tracking is turned on or off).

FM stands for frequency modulation. In it one waveform (modulator (oscillator 2 in Subtractor)) controls another one`s frequency (carrier (oscillator 1 in Subtractor)). It`s a little bit like an LFO although you can hear the sound of the wave that does the modulation. If you don`t want to hear it, simply move the mix knob all the way to the left to hear only oscillator 1 (rather than turning off the oscilliator 2 which will stop the modulation). Since oscillator 1 is the carrier you will not hear the effect if the mix knob is turned all the way to the right which will mute oscillator 1 relative to oscillator 2.

To test that, turn on the FM knob a bit (lets say - half way) and start the second oscillator. Move the mix knob all the way to the left in order to hear only oscillator 1. Now when you play a note and make changes in oscillator 2 you will hear difference in the frequency modulation despite the fact that oscillator 2 is muted. If you do the opposite – mute oscillator 1 relative to oscillator 2 with the mix knob and make changes in oscillator 1, you will not hear any changes in the sound.

Ring Modulation is a type of amplitude modulation in which two waveforms are multiplied (one is usually sine or some other main waveform). The resulting signal contains the sums and the differences of the oscillators` frequencies (ex. - if oscillator 1 has frequency of 11 kHz, and oscillator 2 of 200 Hz, this will output result containing 1,3 kHz and 900 Hz).

In the case of Subtractor, the ring mod is applied only to the second oscillator, therefore you will hear it`s effect only if you can hear oscillator 2 in the mix (unlike the FM case where the opposite happens and the oscillator 1 is the main player). To prove that you can make similar test as we did with the FM synthesis – turn on ring mod and mute one of the oscillators and make some changes to the other one and see if there are differences in the sound output.

The name Ring Modulation comes from the appearance of the diode scheme used to achieve that effect in electronics – they are placed in a form of ring – very similar to the Graetz bridge rectifier trick used to transform AC to DC.

Subtractor has the standard envelopes and filters we have discussed before. The LP12 and LP24 of the low pass filter determines the resolution of the filter in decibels (all the others are at 12 dB). If you link the 24 dB LP filter to the Filter 2 and turn it`s frequency all the way down you will have 36 dB filter. The filter has it`s own kbd knob which modulates it by the note being played. It has amp envelope (for the level), filter envelope and mod envelope affecting selectable target. The last two have amount knob and an inversion option.

Subtractor has two LFOs – the first one has six waveforms which can affect six targets and two knobs – one for the amount and one for the rate. LFO2 has the ability to increase or decrease its rate, depending on the note being played (enabled by the Kbd key track knob). By default it has only a sine LFO wave. It also has a Delay knob which is something like an Attack of the effect determining how long it will take for it to take place when the key is being pressed.

Lo BW (Low Bandwidth) cuts some of the higher, less noticeable sounds in order to save some CPU power. It is located near the patch selector. 

Subtractor can control different targets with received After Touch, Expression Pedal and Breath Control MIDI sources.

If you press TAB and look at the back of the device you will see that it has a single mono output. You can stereo-lize it either by routing it in the left mixer channel or by using audio merger. It has modulation cv and gate inputs and modulation outputs.

P.S. Subtractor has a special "unscrew screws" function which you can do with the left mouse button.