Propellerhead Reason - 4.0 Manual de operaciones descargar pdf (Pagina 345)

THE EFFECT DEVICES

343

Tips and tricks

Don’t restrict yourself to using Scream 4 as a basic distortion stompbox, but try it in as

many ways as possible - you may be surprised to find how often Scream 4 can add

power, warmth and color to your sounds. Here are some examples:

Creating a heavy drum sound

Scream 4 is ideal for processing drums. Try connecting it as an insert effect to a Re-

drum device and experiment with the Damage Types and settings.

• For classic distorted drums, try the Tube, Tape or Distortion algorithms.

• The Scream algorithm is excellent for a really raw body or industrial drum sound.

• For more weird, synth-like effects, try the Modulation or Warp effects.

Remember that you don’t have to route the whole drum kit through the Scream device

- sometimes it may be better to route the individual outputs from the bass drum, snare

and/or toms to a Spider Audio Merger (see page 360), connect the merged output of

the Spider to the Scream 4 and route this to a separate channel in the Mixer. That

way, hi-hats, cymbals and similar are unprocessed.

Warming up a mix with the Tape effect

If you find your mixes a bit sterile, the Tape algorithm is excellent for providing some

warmth and gentle distortion:

1. Create a Scream 4 device and connect it between the main outputs of the

Mixer and the Audio Hardware device.

2. Set the Damage Type to Tape.

Make sure the Cut and Body sections are turned off.

3. Start with a low Damage Control setting and P1 (Speed) and P2 (Compres-

sion) at 12 o’clock.

4. Play back your mix and adjust the settings.

Raise the Damage Control for more tape saturation distortion, adjust P1 to get the

desired brightness and raise P2 if you want a more controlled, compressed sound.

If you like, you could also activate the Cut section and use the three-band EQ to

further adjust the sound.

Using the Body section as a sound enhancer/phaser/wah

Nothing stops you from using the Body section on its own, without Damage. Try this:

1. Create a sampler device (e.g. an NN-19) and select an electric piano patch.

2. Select the sampler and create a Scream 4.

It is added as an insert effect.

3. Turn off the Damage section and instead activate the Body section.

You will find that this adds a resonant character to the sound, which will make it more

“alive” and help it stand out in a mix. You should experiment with the Body settings to

find the character that suits you best. You could also activate the Cut section- if you

e.g. find the sound too bassy, just lower the “Lo” slider a bit.

4. Now flip the rack around and connect the CV out from the sampler’s LFO to

the Scale CV input on the Scream 4.

As you can hear, the Scale is modulated by the LFO.

5. Adjust the amount of Scale modulation with the pot next to the CV input on

the back of the Scream 4, and the speed (and waveform) of the modulation

in the LFO section on the sampler device.

With this type of modulation setup, it’s easy to get lush, dreamy phaser effects. For

a more wah wah-like sound, select Body type B and raise the Reso and Scale set-

tings.

Emulating vintage digital gear

The first generations of digital instruments (drum machines, synths and samplers)

used 8 or 12 bit sampling and processing, at low sample rates. This “lo-fi” sound is

still in high demand, e.g. in hip-hop and R’n’B. Try this:

1. Connect a Scream 4 as an insert for a Redrum, with a suitable kit selected.

2. Set Damage Type to Digital and turn P1 and P2 fully right.

3. Play back and lower P1 (bit depth) and P2 (sample rate) to get the sound you

want.

You may also want to use the Cut section to emphasize or cut frequencies in the

sound.

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