Pads in Reason 4

Pads are often used in a very wide range of music genres. They are often tend to be long, sweeping and long lasting in length. It totally depends on the the wave form, envelopes and filters on what makes the pad. However, the whole pad thing will be the one that is most likely one of the most time consuming parts to set up (next to the leads). A lot of times a simple pad works, however, one might find it daring from time to time to stack a whole bunch of layers on top of eachother just to make the difference between a simple, and complexed pad session.

In this topic I will start of simple, give a couple of ideas, and then go to the more complexed approach. One might get lost at some times when I make certain discissions inside this topic in specific, however, I think it is also about using your own ideas and experience to make the perfect pads for your own productions. And to add, one might notice the amount of love I will put in this topic, since I just love pads and leads... since they are a real important part for the production parts.

What instruments to use?

It is often a question that comes to mind. In a lot of times, I prefer to stick with analog as a basis, however one could also use real life instruments. In most cases one could stick with the malstrom for thin layering (since the malstrom isn't that thick in sound), or use thor to get most out of the synths. Other setups would be sticking with the samplers in alot of cases. Even though samplers are limited at what they can produce (since it is based of a single sample) one could use multiple ideas and layers to get different sounds from them. In a lot of times using a combinator patch would be the ideal approach.

Synths

Lets gets started with a simple synthetic kind of pad. Like I said, I prefer analog sounds. So one might find me using the wave forms such as saw, triangle, square and sines very often. Since these are the most basic waveforms to use inside a complete arrangement. And they tend to be mostly harmonic in most cases. Just as a simple form, the first example I am going to show works pretty straight forward. I am using a thor patch, stick 3 different analog oscillators in there and use a minor bit of detuning (different tune settings). Second there is low pass ladder filter involved. With using a high attack in the filter envelope, it means that the filter will gradually climb up, until it reached a specific time. Next to this is the amplitude envelope. This setting makes the volume gradually gain momentom. In a nutshell, these are the settings I have changed:

And it basicly sounds like the following example file:

RNS Download: setting up a basic pad
Mp3 Download: setting up a basic pad

For the next example I am using a similar method. Difference is there is a different wave form used to shape the pad. Also there are some other minor changes made inisde the Wave BandWidth.(BW) to shape the waveforms a little bit different (rather then using its default tone).

RNS Download: setting up a basic pad
Mp3 Download: setting up a basic pad

While using for instance the Malstrom, the basic princible is still the same thing. At this point, it is a different waveform (string with minor motion), and attached a bit of attack on the amplitude envelope.

RNS Download: setting up a basic pad using a malstrom
Mp3 Download: setting up a basic pad using a malstrom

When it comes down to the clean subtractor (with no effects attached to them), it often tends to become a somewhat dull sound. However, there are some ways to even get some stuff done with a few subtractors left and right. However, in a lot of times one might want to use them for background or support orsomething in that specific form. In other setups, the subtractor is more ideal for creating basslines or leads in this case, since most of the other synths are more versatile to create some great pad sounds.

RNS Download: setting up a basic pad using a subtractor
Mp3 Download: setting up a basic pad using a subtractor

Last but not least, the samplers. Personally I prefer the NN-XT over the NN19 since there is more control from the initial sampler (remote editor). However, when you prefer to go heavy on the automation then at some point the NN-XT might be limited to use (which totally depends on the knowledge on how to set the remote editor up).

At some point the samplers are pretty much straight forward to use, since one only needs to load up an NN-XT patch or NN19 sampler, change in most cases the filter envelope/ amplitude envelope and one could be done. Just as a quick example:

RNS Download: setting up a basic pad using a nn19
Mp3 Download: setting up a basic pad using a nn19

So till this point most of the stuff I have gathered here are pretty much straight forward stuff: I pick a waveform, select a filter, create a filter envelope next to it (most likely with a high attack, since it sweeps), and last I have the amplitude envelope settings where the attack is often a little bit more to half / high, and the release high. When it comes down to a more complete approach, I personally stick with combinators or stack a whole bunch of different pad like instruments on top of eachother. The reason behind the 2 is: layering. There is a huge amount of difference between just having a single oscillator playing a single sawwave compared to having all kinds of different wave forms joined together. Also, even if it is just a minor twist inside a complete patch, it can make a difference.

Stereolizing a pad inside Reason 4

Just to demonstrate the whole layering approach on an easy level, I have setup 2 different combinator patches based on 2 of the patches I already mentioned. The first one is based of the basic pad using the subtractor, the second one is based of the NN-19 sampler patch. The minor difference is, that there are 2 subtle changes. First, there is a exact copy of the patch and duplicated inside the combinator. With having a minor detuned setting (tune up, or tune down) it already sounds a minor bit more present. Second, the 2 different layers are stereo wise more effective. One patch goes to the left, the other goes to the right. So, in a way, this is somewhat as a replacement for the Unison, yet difference is: we are at full control here.

With the second patch (nn-19), I took it one step further. The sample itself is detuned, however the next difference is the filter setup. Both nn-19 patches uses a Bandpass filter. Yet, the settings are somewhat 'off'. Therefor, it creates this minor bit of additional space inside the sound itself once more. The same trick applies to using EQ-ing for instance, subtracting different bands and moving them around will definitly give them just that little amount of space inside the patch itself.

RNS Download: setting up a basic pad using a subtractor stereolized
Mp3 Download: setting up a basic pad using a subtractor stereolized

RNS Download: setting up a basic pad using a nn19 stereolized
Mp3 Download: setting up a basic pad using a nn19 stereolized

Layering pads inside the combinator

One specific part of the whole process will offcourse be the layering inside the combinator. And this is also the frustration part about the topic itself: since the amount of layering is unlimited, and the amount of different effects is almost unlimited. So, the first though might be, what to do... Often when I get around into the same stuff inside the combinator, making pads and such, I often tend to start of simple. It just depends what the purpose of the pads are. Do they need to be dark, or bright and light.. Or, do they have to be very dynamic in the long run, or can they be pretty long and boring. There are all kinds of different discissions one can make during the process of making just a single pad. That is probably one of the reasons why pads and leads are most often the sounds themselves which take most of the time just to tweak. Since these will often set the tone of the whole music project (while basslines are more about the feeling).

One of the processes that could be done here, is the same setup I just did to go from 'simple' to 'stereolized'. One starts with a simple instrument, builds it up.. and thinks: Ok, this is the fundament right there. And builds on top of that. Using this process, I will start with one example. In this case I am starting of with a simple thor patch based on the multi oscillator (since these work pretty well as pads themselves).

Just to get myself started with this one, I have created a combinator, added an inline mixer in here (since I tend to use more then just one channel), and added a single thor patch. The initialized thor patch contained a analog oscillator, so I replaced it with a multi oscillator, increased the amount of detune just a little with and removed the initial low pass ladder filter. The control of the pad is in this case handled through the amplitude envelope only (so no fancy filtering yet).

RNS Download: Basic pad based on thor multi osc
Mp3 Download: Basic pad based on thor multi osc

From this point on we could use the same cheap method of using a chorus which applies a bit of stereo amount into it. Personally I prefer to make my own stereo sounds. So the next step would be doing the same thing as I already did before. Recreate the same thor patch (copy patch, add thor then paste patch on the second thor patch). Make some adjustments and send the to thor patches to left and right.

This should look somewhat similar as the following setup:

I had to minimize the 2 thor patches, since the screenshot would become a bit to big. The only main difference in this case is that the detune amount is somewhat different. With the first thor patch the detune amount is set to 33, with the second it is set to 28. In the file itself it looks (and sounds) like the following:

RNS Download: Basic pad based on thor stereolized
Mp3 Download: Basic pad based on thor stereolized

At some point, it would work similar when using the programmer of thor in this case. Since it also an option to use OSC1 to Left in filter 3, and OSC 2 to right in filter 3. However, this method also comes with a minor issue which needs a workaround again (Amplitude envelope is skipped). In this setup, with 2 thor patches inside the combinator we don't have this problem. Yet again, I just wanted to point out there are mulitple ways to solve all the different patches / internet routing.

Next difference I am going for with this setup, is use 2 different chorus flanger effects. Notice that the first thor patch is going to the left channel, and the second thor patchs goes to the right channel. With this setup, it is also an option to use 2 different chorus setup. This is almost similar to the stereolized chorus which default comes with thor. Difference is, we can control the amount of stereo seperation by hand if we like.

RNS Download: Basic pad based on thor stereolized chorus
Mp3 Download: Basic pad based on thor stereolized chorus

From this point on we could use all kinds of different filters, EQ's, reverbs and what not and attach that for instance to each individual thor patch or inner connect it to the final mix of the combi. Ofcouse we could change the inner routing of each thor patch as well. By just using a couple of LFO parameters and connect it to the filters and such.

To make most of the usuage of stereo, one could use 2 different settings on the waveforms for left and right channel. Other methods would be using a different notch filter. Notch filters are great for widening the sound stereo wise. One could use the default state veriable filter and use the Notch setting. However, problem is that it does not really show much what the filter is doing. Preferably one could use an EQ (Mclass unit or 2 parameter EQ) instead to change the shape of the notch filter. The basic idea behind a notch is that you cut down the middle frequencies. And the gap of the Notch is determined by the amount of "Q" applied to it. The bigger the gap, the more you will loose from the original sound itself (which also depends on where you are cutting the frequencies). For pads it is most likely about the mid range of the sound (500 Hz till around 6kHz). So cutting it there will definitly make a (noticable) difference there.

RNS Download: Basic pad based on thor stereolized EQ
Mp3 Download: Basic pad based on thor stereolized EQ

Movement inside the sound while it travels

From this point it is also an option to create movement inside the sound itself. A few options to play with is to change the output of the left and right channels while the sound progresses. The easiest method would be using an LFO of somekind, since these are often based on basic pattern that repeats itself (and does not require much automation). Other methods would be tieing a matrix pattern sequencer and use the curve instead, or use other type of methods that have a cv output.

Just as an example, we take an additional malstrom graintable synth, and we'll be using the mod A (modulator A) just for signal processing only (not for audio output).

in this case we'r conntecting the LFO to a CV Spider merger splitter. The original signal is going inside the CV in, and we'll connect the CV out (slot 1) to rotary 1, and CV out inverted (slot 4) to rotary 2. This means that the rotary 1 and 2 will rotate inverted from the original LFO signal. The only thing that remains is to connect it to something to 'rotate'.

In this case I am using the Parametic 1 Frequency from the 2 different mclass equalizers. Which means that the frequency (notch in this case) will change along the time line accordingly to the rate of the LFO. In a lot of times you might want to find the right ranges to be the minimum and maximum though.

RNS Download: Moving sounds
Mp3 Download: Moving sounds

The mixdown of the sound

From this point on we could take the pad still anywhere just by mixing it down on the final output signals. One could choose to use the indepent channels (left and right seperatly) or use the final mixdown which goes towards the main input of the combinator (which is in this case a mixer 6:2). A few options to throw in here would be the following: reverbs, delays, additional EQ, distortion, phasing etc. As long as they shape the whole sound to make the final tweaks.

RNS Download: Mixdown of a pad
Mp3 Download: Mixdown of a pad

As everything discussed above basicly applies the same way as with other devices (even though I only used a single thor patch in this case). One could stack up stuff that high, that it could become one big fat pad with a whole bunch of different stuff going on. For instance, one could focus one instrument to be the center point, add 2 more instruments which go for left to right and have a forth one do a little bit of phasing for the dynamics.

As an example:

RNS Download: Padzorized mini song
Mp3 Download: Padzorized mini song

RNS Download: Some minor pad with some mixing down
Mp3 Download: Some minor pad with some mixing down