Pads and the NN-XT in Reason 4

When you open up the remote programmer of the NN-XT, you would probably go nuts around the amount of knobs that are inside the NN-XT. However, it isn't that hard to understand its full capacity. From the bottom right to the bottom left you have the basic settings such as amplitude envelope, filter, pitch, modulate envelope, LFO2 and LFO1. When looking at a normal synth like the subtractor or thor, one can control these using the edit automation feature. While the NN-XT is lacking this option, there are ways to take control of them using a different method.

The basic controls we have are the

- frequency and resonance (filter settings)
- attack, decay and release (amplitude envelope)
- modulation envelope decay (modulation envelope)

So indirectly, we already have the options to control most of the important aspects of the NN-XT sampler. When loading up a patch, we could use these knobs to control the volume, how the sound evolves over time, and we could control the filter settings. Just as a minor example, I am using a jovian pad with a minor adjusted attack on the amplitude envelope.

Download RNS file: Jovian Pads
Download MP3 file: Jovian Pads

At this point theres not much special going on. The special part would be that we could make our own pad from the ground up using an NN-XT sampler. Yet, this would also mean that we need to understand what the NN-XT thus, and so forth. The basis of the Jovian pad in this case is a sample called MKS_EUPHORIUM. It uses 4 different layers per note. The first layer is the default sample. The second layer is the same sample which are 2 octaves lower, the third layer is the same exact sample yet with semi set to 7th (meaning it goes 7 notes higher) and the fourth layer has a semi set to 7 and the octave set to 2 octaves lower. Other then that, most of the layers are the same yet the panning is somewhat different.

At some point we could look at the NN-XT as our mini combinator patch, since we can layer as many samples as we like, do all kinds of internal routing and add some automation inside the patch itself. I know, this part will make your head spin probably. So, lets just take it one step at a time.

Euphorium

Let's just create a similar pad, based of the same sample and go from there. We initialize the patch, open up the programmer and load up the samples MKS_Euphorium C2 till C5.

Download RNS file: Euphorium Mk1
Download MP3 file: Euphorium Mk1

Default it would sound like that.

Problem is at this point that the sound is somewhat layered wrong. So we need to fix that.

Download RNS file: Euphorium Mk2
Download MP3 file: Euphorium Mk2

To get the similar approach on the Jovian pad with the 2 octaves, we could play our NN-XT sequence as the following way:

Download RNS file: Euphorium Mk3
Download MP3 file: Euphorium Mk3

Or we could duplicate the samples inside the NN-XT and move the octave up with 2 on the sample level. However, one could also use different samples inside different zones. Like I have mentioned before, it is a layered thing. So we could combine as many samples as we like.The only limit is the cpu in this case.

In the next setup I am adding a new sample. This one comes from the Jp4 series (pads) and is the FltrPad1-03_D3. Since the sample is recorded on a D (notice the D3 mentioned inside the sample name) we need to adjust the root knob to correspond with the notes. So, root knob goes to D3 in this case. However, the only problem with this perticular sample is that it tends to jump right on top of the rest of the pad we created so far. One way to solve this issue is by adding a little bit filter cutoff to this specific sample.

Download RNS file: Euphorium Mk4
Download MP3 file: Euphorium Mk4

At this point we could copy the sample sample (the fltrpad1-03_d3) and make some minor adjustments in the panning and tuning as well, or setup a different filter etc.

Download RNS file: Euphorium Mk5
Download MP3 file: Euphorium Mk5

Even though the adjustment is just 'minor', it is there. And that is usually what counts with layering this kind of stuff. When you would remove it, you will notice it that it is 'gone'. That is why 'micro managing' an instrument is sometimes important to do.

Last part I am going to add right now is a Saw tooth form.This one comes from the snyth leads -> M20 raw saw. It is a bit tricky to just kick in a raw sawwave inside the sound that we already at this point. It kind of distinct itself from the rest once again. To solve the issue here, I am using a modulation envelope which is connected to the filter setting. Which means that the filter goes up and down (since I am using a minor attack on the modulation envelope).

Also in addion, I have setup the samples to connect to the velocity level. This means that the harder the noted are being triggered, the louder the sound is going to be. Again, this can be set differently using the different layers. One could use one layer to be controlled with the same velocity either have a couple of diverse settings where each sample triggers a different velocity.

Download RNS file: Euphorium Mk6
Download MP3 file: Euphorium Mk6

RPG 8

Just to go offtopic on the matter, or at least somewhat on topic at the same time. We could shape our pad differently using different routing things etc to create a dynamic part inside our part. Often a LFO would be idea in this case, since it gradually changes the progress of the pad. However, there are other ways to shape it. One method would be using a Matrix pattern sequencer and create a curve. However, I am going to go for a total different approach on the matter.

By adding a RPG 8, without any connection, we could use this one to create a pattern and make something rhythmic from it. In most cases the RPG 8 is being used to make arpeggios. However, what most people don't often know, is that it can also be used to shape the sound. Just to explain this part a bit: the gate from the Arpeggiator creates an CV output that goes from 0 till 96 in most cases. This is based on the idea that we have 8 octaves, and each octave has 12 notes (C, C#, D, D# etc..). So, with some adjustments we could use the RPG 8 cv gate output to recreate a pattern and connect the pattern to any setting as we see fit.

To have something really noticeble going one, one might prefer to use the octave settings of the rpg 8 and use octaves 2,3 or 4 to get most of the noticable effect (since the setting will jump up and down more then just 12).

So when we create a random synth, or sample... we could use the gate output of the RPG to create a single pattern and connect it to for instance to a filter setting. This will mean that the notes act as a filter setting, and are not just sounding like notes anymore.

This would result into the following effect:

Download RNS file: Euphorium Mk7
Download MP3 file: Euphorium Mk7

Anyways, have a merry Christmas and an outstanding new years eve. And with a little bit of luck, I am adding a new chapter after the first day of 2010. Until next time!