4/10/2023 0 Comments Rex reason![]() Now the big question is: what do you think? Algoritm's out now, included in the Reason+ subscription and available separately for purchase. In the end, I believe we succeeded in making FM both fun, quick, approachable and powerful. If you have any questions about our REX Loops. Our REX Loops can be used with Recycle 2.0, Cubase 4+, Reason 1.0+ and other applications which support REX files. I could go on and on about how the design evolved from that point and the other features we added, but I fear I've already gone on long enough. REX (2295) Reason NN19/NN-XT (898) Reason Refills (1803) SFZ (201) SP-404 (18) Soundfont (59) Stylus RMX (47) Sysex Patches (787) WAV (20972) Labels. There is an unimaginable number of sounds without ever doing anything else, which is simply wonderful. The heart of the Algoritm is really in choosing, routing, and tweaking the modules. As we started making patches, it was clear this concept was a winner! Some more grit, edge, and wonky harmonics. Think of them as spices, they add a little bit more character to something that was good already. The filter, shaper, and osc & noise modules are the results. But after Peter tried adding noise as a modulator, we started thinking about what else could be interesting to modulate with. In fact, we almost stopped development there. Once that was in place we had a really fun and unique synth that could easily do both the classic FM sounds and more complex patches. Without necessarily understanding the ins and outs of FM, you can very quickly try things out and listen your way to interesting sounds. Algoritm has nine (!) operators and completely free routing. If you're at all familiar with FM synths, the differences are quite immediate. Our main design goal was making it understandable and quick to work with, yet offer flexibility by getting rid of the pre-set algorithms that are hardly understood. So we asked ourselves: what would a Reason take on FM synthesis look like? That's how Algoritm came about. We want to create instruments that feel unique and exciting, instruments that lead to new sounds and new music. As a company, that's not what we're about. The Yamaha DX7 was perhaps too successful and influential, so much so that it's still the blueprint for new FM synths decades later. It's hard to understand, hard to use, and still hopelessly associated with classic but cheesy 80s sounds. Classic analog-sounding subtractive synthesis, cutting edge additive synthesis, feature-packed wavetable and spectral synthesis, granular sound sculpting, and even physical modelling.įM synthesis, however, has always been an oddball. ![]() We've tackled many types of synthesizers during the years.
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