We’ve just released an update to our ST100 Strumming Machine, our recent Player rack extension for Propellerhead Software’s Reason DAW. This new version 1.0.1 adds a small, but creatively usefull, new button “Play Position Retrigger” that resets the play position each time you release all your keys and retriggers the sequence play status when you press down a new one. In live situations this is pretty handy to trigger those riffs whenever needed.
You also get some small UI improvements (check out the back panel for some details) such as the new “Alter” function that slightly randomizes your patterns.
We’re happy to announce the release and immediate availability of our first player rack extension for Reason, the ST100 Strumming Machine. Yes, starting with Reason version 10.1, as the name of the rack extension implies, you will be able to play strums on any instrument in your rack. Check out the product page for more information!
Following the success of our Noxious end of summer sales 2017, we decided to permanently drop its price to only 39 $/€! And remember, if you haven’t done so, you can get a free 30 day trial of the Noxious Rack Extension at the Propellerhead Shop.
We’re very happy to announce that the new major release for Oberon 2 is now available in the Propellerhead Shop.
Based on an optimized additive engine, Oberon 2 now builds on the recent 2.5 version of Propellerhead’s Rack Extension SDK to add new powerful sound design features. The synthesizer still features an architecture of two editable filters fed by two additive spectrum sequence oscillators, with bend and morph capabilities, modulated by two LFO’s and three multi-point editable envelopes through a six entry modulation matrix.
Now, users can import up to two simultaneous audio samples of any format supported by Reason into one of the two user wave sequences. Audio samples are analyzed into a sequence of evolving partial spectrums which can then be played by the oscillators. Play complete samples, single cycle wave forms or freeze onto a specific time. Either way, this opens up new possibilities combined with Oberon’s morph and filtering capabilities.
Even without audio samples, Oberon’s sound design process has been greatly improved. The introduction of two modifiers on top of the existing user drawable wave form sequences lets you modulate these wave forms in a non destructive way. Each modifier shares the same list of possible operators such as FM, sync, clipping, bit reduction or analog sounding filtering. Since each wave form of the original two step sequence has its unique two modifiers, morphing between a FM wave form and an analog sounding synced wave is now possible.
Oberon’s 16 point curve based envelopes where already powerful but their loop section was constrained to begin at the first point. With version 2, the start of the sustain loop can be anywhere on the envelope curve. Even the release section now has a separate loop option. Combined with an improved user interface for envelope editing, such as quantize on all four sections, giving movement to your sound is easier than ever.
The latest Rack Extension SDK features let us improve the user interface, especially the main editing display. Each curve type features more templates, quicker functions, sorted menus in a more compact form, leaving more space for the curve display. The modulation matrix has migrated to this central display, giving the interface a less cluttered feel. The two LFO’s now gained a delay and rise parameter for more subtle modulations. For those of you who wish to integrate Oberon inside Blamsof’s Polymodular system, we’ve added a new audio output mode for more compatibility.
We are officially announcing that a major upgrade to Oberon is in the pipeline. This will be a paid upgrade and will benefit from the new Reason SDK. This implies it will be available only to Reason 9.2+ owners but offers a number of new features:
Back to work after some refreshing and inspiring summer vacations? Now’s the time to get back composing and be creative. To help you out, we’ve dropped the prices of our audio rack extension lineup for Propellerhead Software’s Reason by up to 60% until september 5th!!
A number of you have had the issue of trying to map physical controllers either through MIDI or Remote to the Volt SL-1 control knobs only to discover that this has to be done for every control of every set. Each time, the current set is changed, the controls are no longer mapped. How frustrating, and we understand. Now why is this necessary? How more illogical can this be? Why the heck have we made it so complicated?
Well, it is due to how remote / MIDI mapping works in Reason and / or how rack extension GUI works. The mapping of knobs to MIDI controllers (or remote controllers) is in fact a misunderstanding. You are in fact mapping device properties to MIDI controllers, not the physical UI knob. A RE knob (button, fader, etc.) is itself mapped to that same property. The Volt SL-1 works by switching the properties mapped to each control knob when you switch sets. But the MIDI mapping still remains linked to the same property, which is no longer mapped to the control knob.
Why do we do this, that is, change the properties linked to each knob, instead of keeping the same properties for each control knob and just change the value of that property when we change sets? Well, that’s because the RE SDK doesn’t allow us to do this. A RE engine cannot change the values of its properties, unless they are purely visual feedbacks like meters or blinking lights. In a nutshell, the RE engine can’t modify properties that the user can modify at the same time. I can’t really go into much detail as this would break the NDA every RE developer has signed with the Props.
Another point to understand is that for a certain number of physical MIDI controllers, what you are asking won’t be perfect too because if we changed sets on the Volt SL-1, in some way, your physical MIDI knobs should rotate to the correct position. Unless you have alpha dials with a LCD display, this won’t be practical.
The besk workaround we’ve found, is to use 2 Volt SL-1s. The first one is used for the basic set transitions, and can be considered like your usual SL-1. The second one is an “offset” controller that will remain on the same set all the time. This one you can map to your MIDI Controllers. Then, on the back panels, you just have to merge the CV control outputs of the first SL-1 with the second one in bipolar mode, for each controls you are using, and then use that signal as usual. Your MIDI controller can then be used to offset the control values (not replace them). It creates a whole lot of cable clutter, but it works.
Since we don’t want you to loose time on this, a ready-made combinator is available to download with this particular setup.