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The drum modules are at the heart of Kong, and there are a number to choose from. The level, pitch and velocity range for each sample can be adjusted independently, and two or more samples can be added to an ‘Alt’ group so that playback alternates between them each time the pad is triggered.
Several playback modes are available: Loop Trig plays the entire loop when triggered, while Chunk Trig allows chunks of the loop to be assigned across several pads and Slice Trig allows you to assign a single slice to a pad, or several slices, with playback alternating between them each time the pad is triggered. Finally, Stop mode allows you to use one pad to stop the playback of another. Individual slices can be selected in the waveform display, have an ADSR envelope applied, have their pitch and level adjusted, or their playback reversed.
Pitch and level can both be modulated by MIDI velocity. There are some parameters that all three modules have in common Pitch, Damp, Decay and some that are specific to one drum type or another Edge Tune for the snare drum, Beater Level for the bass drum, and so on.
Regardless of what’s going on behind the scenes, the audible results are impressive. All three drum types sound convincingly ‘real’, and could easily compete with a sampled kit in the context of a mix. They’re responsive to velocity in a way that seems quite natural.
Tweaking the different parameters produces a range of useful variations, and even with the controls set to their extremes, it’s impossible to come up with anything that’s not a usable drum sound.
The physical modelling modules have three ‘synth’ counterparts, also called Bass Drum, Snare Drum and Tom Tom — which might be confusing, if it weren’t for their very different appearances.
Similar sets of specialised controls are available: Level, Pitch and Decay are common to all, Tone and Attack belong to the bass-drum module, Harmonic Balance and Harmonic Frequency to the snare, and so on.
Again, the results are impressive. Two more ‘support’ modules are also available, which load into effects slots alongside drum modules and are triggered by the associated pad. These can further reinforce the output of the synth drum modules, or add synthetic elements to sounds produced by the other modules.
If that’s not enough flexibility, you can flip over to Kong’s back panel, where you’ll find sockets for patching other effects devices into the signal path. By default, each pad in Kong is assigned to its own drum module. However, this is not compulsory, and it can sometimes pay to organise things differently — for example, to make use of Kong’s ‘hit types’ feature. Several of Kong’s drum modules offer four different hit types, which are built-in variations on their default behaviour.
You might, therefore, assign four different pads to trigger the same module, setting each of the pads to make use of a different hit type. You can then play patterns using all four variations in the sound, with the advantage that any adjustments to the module’s parameters will affect the four different hit types equally, saving you the bother of having to manually tweak the knobs on four different modules.
All in all, Kong is an impressive instrument. Kong’s design makes creating and playing sophisticated sampled and synthesized drum kits easy. It’s essentially an updated and supercharged version of the Dr Rex player from earlier versions of Reason. Loops can be loaded in batches from the file browser, and are automatically distributed among the eight slots. Loops and associated settings can be copied and pasted between slots. The device can be used very simply as a quick and easy tool for creating backing tracks from REX libraries.
You might have a drum loop loaded in one slot, for example, with variations and fills loaded in subsequent slots, triggering them one after another to produce a basic but workable drum track.
When switching between slots, the changeover is ‘quantised’: the next file waits for the next available bar or beat, or 16th note before triggering, in the same way as clips do in Ableton Live. However, Dr OctoRex is capable of much more than simple loop playback. Individual slices from within each loop can be triggered with MIDI notes: the slices are automatically arranged across your controller keyboard at semitone intervals.
A Slice Edit mode allows you to adjust a range of playback parameters for each individual slice in a REX file, simply by clicking the slice in the waveform display and dragging up or down to set the value.
The available parameters include the basic Pitch, Pan, Level and Decay, plus Rev, which toggles reverse playback for the selected slice. Ffreq adjusts filter cutoff frequency, while Alt assigns a slice to one of four groups, from within which slices will be played in a random, alternating fashion, and Out assigns a slice to one of the device’s eight independent outputs. It’s difficult to conceive of much you might want to do to a REX file that couldn’t be accomplished with Dr OctoRex, from the simple business of deploying a set of sampled loops irrespective of their original key and tempo, to much more drastic deconstruction and rearrangement.
Slice Edit mode makes it possible to isolate single hits or notes within a phrase, pitch them up or down, reverse or filter them, route them to separate mixer channels — even with the Alt parameter generate complex, random variations on the original phrase or pattern.
The major new feature in Record 1. It processes incoming audio, detecting pitches and automatically shifting them up or down to the nearest correct note, where ‘correct’ is determined by the processor’s settings. You can select a root note and desired scale type, and have incoming pitches corrected to the nearest interval on that scale. Neptune’s user interface makes this easy.
Custom scale variations can be created using the small ‘keyboard’ buttons beneath the central display, toggling notes on or off to include or exclude them.
Formant correction is included, to avoid overly artificial ‘munchkinised’ vocals, and by adjusting the Shift knob you can ‘gender change’ vocals, more or less realistically, in either direction. There are functions included to help with potentially problematic input signals. In Automatic mode, Neptune implements what it calls Catch Zones, which are pitch ranges within which an incoming note must fall in order to be caught and corrected.
It’s even possible to define a custom scale with only a single ‘correct’ note, so that all incoming pitches are shifted to meet it. A less extreme application would be to favour two or three notes within a scale by setting wider Catch Zones for them. Neptune also supports MIDI input, which can be used as an alternative method for supplying target pitches. Instead of relying on scales and Catch Zones, you can simply play or program MIDI notes to serve as targets for incoming notes.
The Catch Zones are automatically removed from Neptune’s display whenever a MIDI note is held; when the note is released, Neptune instantly switches back to Automatic mode. In this way, you can switch freely between modes on the fly, using Automatic correction wherever it suits you, dropping occasional ‘override’ notes from your MIDI controller.
MIDI input can also be used with Neptune’s voice synthesis functions. When these are activated, Neptune generates additional synthetic voices at pitches determined by incoming MIDI notes. Playing notes or chords on your MIDI controller, you can create harmonies to complement your original vocal, even while it’s having its own pitch corrected.
A pair of faders is used to balance the relative levels of the original and the synthetic voices. The synthesized voices sound slightly artificial when heard in isolation, but can be very effective in the context of a mix.
Neptune is easy to use and capable of striking results. The device is not limited to use on vocal sounds, of course. With careful tweaking, and clean and preferably monophonic sources to work on, it will happily work with other instruments. Along with the devices and functions described above, a raft of other, smaller improvements has been made in both Reason and Record.
In Record, there are functions to reverse and to normalise audio clips — and audio clips can now be time-stretched simply by holding Ctrl on a PC or Option on a Mac , and clicking and dragging at either end. When Reason and Record are installed together, a ‘Bounce clip to sample’ function offers an easy way to transfer parts of audio recordings to the pool of samples available to Reason’s instruments.
There are other enhancements too: for an exhaustive list, see Propellerhead’s web site. The Neptune pitch processor is a powerful new tool for performing the kinds of task that might previously have sent Record users into the arms of rival DAW applications. When Reason 5 and Record 1. No more guessing and tweaking. Just choose either effect, or instrument by name and Reason 5 will select the proper device, plugin, and setting to achieve the desired sound.
I’ve been using this new feature quite a bit. It’s great to get quality setting in just a few clicks without being limited to patches and trying to guess which device to use.
Download Reason 5 PC. Download Reason 5 Mac. We have thousands of free loops and sounds for Reason. Check out a few below and have a look around our site while your download your. Why is this free? For the downloadable demo version we have compiled a smaller demo sound bank. Ahh Reason 5 has been released and here is the demo, but let me warn you it’s huge.
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We recommend that you uninstall your previous Reason version. Reason contains a groove mixer, arpeggiator, a sequencer and a synthesizer. If you already have these installed, it’s easiest to move them to another folder before updating, and then move them back again afterwards. ReFills, song files and patches in your Reason application folder, then you must move them to another location before you install the upgrade, or they will be lost. Put your Reason Sound Banks in place.
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Nomenclature: Propellerhead Reason 5. These must be located in the Reason application folder. At MB this file could take some time to download.