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Thor in Reason is a polysonic synthesizer. This synthesizer is very powerful and has a lot to offer. Here are a couple of features you can find in Thor:

- 3 oscillator slots
- 6 different oscillator types
- 3 different filter slots
- 4 different filter types
- build in routing scheme
- 4 different envelopes
- 2 LFOs
- build in stereo delay and chorus
- a programmer for routing
- a sequencer

1 The different Oscillator types

Thor in Reason has 6 different oscillator types: Analogue, Wave table, Phase Modulation, Fm Pair, Multi Oscillator (one of my favorites at this point) and the Noise. Each oscillator is based on a certain algorithm to create sound. Lets go through them one by one.

1.1 The Analogue Oscillator

The analogue oscillator comes with 4 different settings: Saw, Square, Triangle and Sinus. Which are analogue sounds (they have been present inside the Subtractor and the Malstrom as well).

Lets start presenting a couple of clean based analogue sounds using Thor.

RNS Example: Analogue Saw
RNS Example: Analogue Square
RNS Example: Analogue Triangle
RNS Example: Analogue Sine

Most analogue sounds are pretty straight forward in this case, since they sound as a clean analogue sound. However, there is one big difference using the analogue type called square. The square wave form (the second option inside the analogue oscillator) comes with a setting which is called PW (Pulse Width).

1.1.1 The PW setting

By setting the analogue type set on square wave in Thor and the PW knob set on 64 (that is in the middle), the wave form will sound like a harmonic square wave (as you will recognize it from the Subtractor either the Malstrom). However, by adjusting the PW setting, the shape of the square is being shifted, to either the left either the right (depending on which direction the PW is being set too).

RNS Example: Using the PW Setting at 64

RNS Example: the PW Setting set higher

There is however one nice sound effect that you can create with using 2 different square waves using the PW knob but have them on alternate settings (eg, the PW of the first saw is set on 24, and the PW of the second saw is set on eg 50).

Side note
To use the second oscillator click on the number 2 knob next to where it says “filter 1”, this will trigger that the second oscillator is being using in the final mix. I will discuss these features inside of chapter 2, the routing

RNS Example: Using 2 different PW settings

What will happen with this last example is that the 2 square sounds are being blended together using its own unique sound setup (a different square form). Which can create really full square sounds to begin with. There is however another trick to this that you can use to make it sound really dynamic in a way. I will just so you an example on how to do this, but will explain this feature inside of chapter 5 - the programmer.

RNS Example: 2 different PW connected to an LFO

What you will notice with this example, it uses an LFO to change the PW, which will result into a dynamic square wave. And thus creating another unique sound for each individual note while the song commences.

1.2 The Wave table Oscillator

The wave table oscillator in Thor is basically what it says, it is an oscillator based on a couple of different wave tables. Which means, each sound is a recorded sample based on different wave forms. When you insert a wave table oscillator inside slot one, you will notice it will come with a couple of different prefixed samples from basic analogue, harmonics, mixed waves to piano's and vocals.

1.2.1. Multiple samples inside each instrument

There is a knob inside the wave table oscillator which is called position. With this, you can slide through all the different samples in each different wave table. You can can of compare it with having the Malstrom and using the Index for instance. However, when you slightly adjust the knob of the position, the instrument itself will gradually change. This is done by a setting which is called X-Fade which is default set on.

By turning X-Fade off, and then slightly go through all the different position. You will notice that the samples themselves will change very drastic all of a sudden. Jumping from one sample to another.

The next example will show this using the automation feature. It will sound odd in a way, but this is just to demonstrate what I mean

RNS Example: Changing the Waveform Position

So, in a way, there are multiple samples in each instrument of the wave table oscillator. Where does the X-fade fit into this? X-Fade, when turned off will make the position slide gently and blends the 2 different samples that are next to each other in the wave table together. Then turned off and changing the position, the waveform will jump for one sample to another.

Lets do the same example, but then with X-fade on.
RNS Example: Changing the Waveform Position using X-Fade
MP3 Example:

There, that should sound much better. With that being said, the wav table can shape your sounds really clean in a way. I could write books while going through all the different wave table instruments. But I will leave that part up to you.

1.3 The Phase modulation oscillator

Thor in Reason has a Phase modulation oscillator. The phase modulation is a different oscillator type then all the other oscillators that we know from the Reason rack. The easiest way to describe it: the phase modulator uses 2 different wave forms and places them next to eachother creating a new sound.

The PM parameter will change the way this behaviour is being triggered. The easiest way to demonstrate this is using for instance the saw wave (which we also have in the analogue oscillator). Using 2 saw waves next to eachother, setting the PM (modulation) on maximum will generate a clean saw wave form again. Because in this setup, there is not modulation going on and the 2 saw waves are played in a sequence.

With reducing the PM knob (the modulation knob), the phase modulation will start to act like a filter setting, which you could for instance compare with using a low pass filter either a bandpass filter. However, what will happen is that, it will slightly change the waveform and still plays the waveform in a sequence, but with having the complete waveform being shaped differenly again.

Sounds complexed in a way. The only way to actually make it visual is using 2 different sound samples and load that inside of a audio sample program so you can visually see what the effect is that takes place.

One thing a phase modulation is good at is using them for basslines:

RNS Example: Phase Modulation Bassline 1
RNS Example: Phase Modulation Bassline 2
RNS Example: Phase Modulation Bassline 3
RNS Example: Phase Modulation Bassline 4
RNS Example: Phase Modulation Bassline 5

They can also sound pretty nice for melodies
RNS Example: Phase Modulation Melodies
RNS Example: Phase Modulation Melodies 2

I hear you thinking. It sounds a bit too squeeky. Yep, it does. However with using a set of filters and modifying all the different parameters with using the phase modulation oscillator you can create really awesome sounds.

RNS Example: Phase Modulation Melodies 3

So the last one was just all kinds of effects and such. I will explain those later in chapter 2 till chapter 4 (routing, filters and envelopes)

1.4 The FM Pair

FM (Frequency modulation) is, next to the Analogue oscillator, one of the older forms of creating digital music. Where some FM synths rely on different settings such as modulation, offset type, carrier, shape either patterns the Reason FM pair is prerty simple to use and really easy create those nice DX2 (from yamaha) piano kind of sounds.

The FM pair in Reason Thor comes with 3 different settings: the carrier wave, the modulator and the FM. The Carrier wave and the modulator determine the sound, the frequencies and the flavor of the sound, where the FM Knob alters the FM Amount.

Setting the FM on zero will have no FM effect what so ever. With using more FM it will change the overal sound frequencies. Making these real sharp pitched sound effects.

Based on a clean setup:

RNS Example: a clean setup for the FM Pair
RNS Example: a clean setup for the FM Pair example 2
RNS Example: a clean setup for the FM Pair example 3
RNS Example: a clean setup for the FM Pair example 4

Using Effect processors:
RNS Example: using effect processors with the FM Pair example 1
RNS Example: using effect processors with the FM Pair example 2

Either using Thor internal effects;
RNS Example: Internal effects with the FM Pair example 1
RNS Example: Internal effects with the FM Pair example 2

(just to quickly demonstrato some internal routing, which I will discuss in chapter 2 and chapter 3)

1.5 The multi Oscillator

The multi oscillator is based on the following principle: take one wave form, duplicate the same wavefrom, detune those 2 waveforms (Read the bookwork I did about detuning) and create a new sound.

The real trick to it is that you could almost create the same effect using the analogue oscillator, but the multi oscillator just shapes the detuning for you. Using paremeters like Random detuning, octave detuning, fifths etc.

The multi oscillator comes with a set of different wave forms. There is the saw, the square (both analogue), but there is also set of 2 different sounded waveforms and a spike wave form. When you select a waveform, it will automaticly use 2 times the same waveform and detunes it using the detune mode. The amount will set the amount of detuning. Be aware though, detuning it too much can sound into notes that will be totally off from the complete composition. Making them not sound ‘right' to the human ear. But, if that's the way you want to compose you music pieces. then be my guest ;)

The multi oscillator is good at 2 things, creating basslines and creating full scale melodies (especially for trance music you are going to love the multi oscillator).

As a bassline:

RNS Example: The Multi Oscillator as a Raw bassline
RNS Example: The Multi Oscillator as a Sine bassline
RNS Example: The Multi Oscillator as a bassline (I don't know how to call this shape)

for Melodies:

RNS Example: The Multi Oscillator using a saw melody
RNS Example: The Multi Oscillator using a square melody
RNS Example: The Multi Oscillator using a spike melody (Octave up down)
RNS Example: The Multi Oscillator using a spike melody (Notice the octave mode)
RNS Example: The Multi Oscillator using a saw Fifth melody

1.6 The Noise Oscillator

Last oscillator type. is noise. Which basically creates noise. While you might be wondering why to use noise making a full scale instrument. Well, there are a couple of reasons:

- noise are good for creating high hats or other percussions
- noise are good to make sound effects
- noise can add some static in the beginning of an instrument making it sound more percusive.
- noise comes in many different flavors and colors (a noise is mostly refered as a color as in white noise, pink noise)
- noise has been a very powerful ally in the world of analogue synthesizers

https://memoentrancement310.weebly.com/blog/the-weeknd-one-of-those-nights-download. With the next 2 examples I am using some effects (as in filters and envelopes), since withouth them the noise settings will take over the overal instrument.
RNS Example: The Noise Oscillator example 1
RNS Example: The Noise Oscillator example 2

2. Common settings in all the different Oscillators

With having explained most of the individual parameters on each oscillator type, there are some common settings that all the oscillators have. These are: KBD, Oct, Semi and Tune.

KBD is a setting to keep track of the sequencer. Having this set on maximum (which is default) it will keep track of the note changes. For instance a note on A octave 2 will sound like an A on octave 2. Using lesser KBD will automaticly result into having a total different note. The KBD setting is nice for creating custom effects, either is you want to have a sound always play the same note on each octave you can set the KBD on zero (good for percussions for instance)

For normal instruments, I would personally suggest keeping the KBD setting at maximum.

Oct(ave) is for setting the octave of the oscillator. Meaning you can adjust a complete set of notes from octave to octave just by changing this knob. Eg, having a minor instrument playing on A octave 4, and setting the octave on for instance 2, will make the instrument sound on A octave 2 again, making it more like a basstone instead of a melody kind of instrument.

Semi is a setting to change the note wise configuration. Default semi is set to zero. By adjusting the semi one up, the note will shift one note up. For instance you are playing a C (on any octave) setting the semi on 1 will make the note play on C# instead of C. The semi can be usefull when using multiple oscillators of the same type. Setting the semi of the first oscillator on 0, the semi of the second oscillator on 3, and the third oscillator on 7.In that case, the instrument will start playing complete chords while on the sequencer there is only one note.

/driver-hp-cp1025.html. RNS Example: one Single note that plays a chord

Thor Polysonic Synthesizer Vst Free Download Pc

Tune is another way to slightly tune between 2 different notes, either Tune can be a powerful asset to detune instrument manually (when having more oscillators of the same type). For instance, if you have 3 times an analogue oscillator set on Saw, set the first oscillator on Tune -12, the second oscillator on Tune +12 and the last oscillator on tune 0. In that case you have covered the basics of detuning making a full scale sawwave form.

The routing scheme within Thor is very much easier to understand then its predessesors. With the Malstrom you had to select the routing by using knobs, while visually it might be hard to understand the basics of routing. With Thor they made it a little bit easier to understand the routing scheme since there are those nice while arrows that actually point out the way the routing is handled.

Before we are going indepth on how to set up different routings, let me first explain what routing is.

1. What is routing?

Routing is a form how a certain output signal is traveling with in a certain device. With the older hardware synthesizers routing was manually done by using different wires. Where you have to inner connect a certain voice to a certain parameter by sending the signal from one place to another (for instance from a voice to a specific filter). This form of routing is still used in the Reason rack, for instance if you toggle to the rear of the rack by pressing the TAB key. You can still visually see all the different wires going from one point to another point.

With internal routings inside devices like the Malstrom either Thor, these routings are not visible by using wires. But they are being handled by pressing knobs. By selecting certain knobs inside Thor, it will automaticly route a signal from one place to another place.

Routing is the way a signal travels through a synthesizer

2. The initial routing scheme of Thor

When a Thor patch is being initialised, by right clicking (either option click using a Mac on thor, select Initialise Patch will setup a default Thor patch. When opening the programmer it will show one oscillator and one filter slot (low pass filter). Looking like the picture above.

The road that the first oscillator travel is as followed:
Oscillator 1 is going through a part which is called a Mixer. Then it will go up (where it says 1,2,3 with having the 1 knob turned on). Then it goes through the Low pass ladder filter, goes through the Thor shaper, takes a right turn and goes though the amplitude. Then the signal will go through filter 3 (which is empty with the default patch), and then finally it will go though additional effects such as the chorus and the delay (when active).

When adding a secondary oscillator, the oscillator will not be used. Since it is defaultly not connected to anything.

The best way to demonstrate this, is to turn off the '1' knob that is next to the Low Pass Filter of the default patch. In that case, Thor will not generate any sound what so ever. Because the routing of the first oscillator will go from Oscillator 1 to the mixer and then it just stops right there.

By selecting the '1' knob next to the Low pass ladder filter it will then start making sound again. Since it goes from the first oscillator to the mixer and back to the Lowpass filter etc.

To use the second oscillator, it is a matter of selecting the '2' knob next to the Low Pass Filter. In that case the second Oscillator will travel the same route as the first oscillator. Which will make the second oscillator 'playable'

3. Using the second filter

Default the second filter is not being used when we initialise the Thor patch. One option to setup the second filter we can do the following:

- initialise the Thor patch (which means an analogue oscillator will be routed through the low pass filter as mentioned before)
- next we add a secondary oscillator (can be any one. just take your pick)

At this point the second oscillator will travel to the mixer and stops right there. As you might notice there is an arrow going from the mixer down to the Filter 2 slot. To make the second oscillator go there, select the '2' knob left to where filter 2 is located.

Now the second oscillator will travel from the mixer to the filter 2 and the signal stops right there. Next thing that needs to be done is to activate the filter 2. That is being done by clicking on the knob next to the amplitude (Amp). And in the end it should look like the picture at the left.

When that is done, the second oscillator will start making sound. Since it will now travel from Oscillator 2 to the mixer, to filter 2, then through the amplitude then though filter 3 (which is empty at this point).

RNS Example File: Routing using filter 2

4. Using the same oscillator twice

With having the filter 2 slot used, we can also use the same oscillator one, and route it through filter 1 and filter 2 at the same time. By selecting the '1' knob left to the Filter 2 slot, the oscillator 1 will now travel 2 different ways:

Oscillator 1 goes through the mixer, then it goes through filter 1 and through filter 2. From filter 1 it will also go through the Thor shaper, and the filter 2 and the Thor shaper will be blended join together again at the part of the amplitude (Amp).

In this default setup, what will happen is that the same oscillator will be filtered by using the low pass ladder filter, but it will also sound clean. Because we haven't setup any filter yet for filter 2.

So, in a way. A Thor patch has 3 different oscillators. But we can create a sound that is generated by 3 different oscillators using 2 different filters at the same time. Which results into 3 oscillators * 2 filters = 6 different sounds blended together in one final mixdown.

By turning all the knobs 1,2,3 next to filter 1 and filter 2. Having filter 2 routed through the amplitude, it is an option to shape 3 times 2 different sounds.

5. A full scale analogue synth

So, in a way, we can make a puny analogue synthesizer based on a sawtooth sound like a real mature analogue synthesizer by using 2 different filters, connect all 3 oscillators to filter 1 and filter 2. Let that blend together through the amplitude.

I have made 11 examples using different routings. This zip file contains only RNS files for Reason 4. Since it is all about the visuals (using the routing scheme).

Download RNS files: Routing

In this set of examples I am using both different filter slots using multiple oscillator types blended together.

6. So what about Filter 3?

Filter 3 is for the final mixdown. After having filter 1 and filter 2 being blended together inside the Amplitude section, it is an option to connect a third filter type to shape the final mixdown. A good example would be using a low pass ladder filter for creating nice filter sweeps (which can be done by using the programmer, either using edit automation).

Or we could shape it by using a formant filter to create these really nice pads or chords sessions. As I will explain the different filters in the next chapter (chapter 3 - the filters). I will therefor not go in depth about the different filters.

7. The shaper of Thor

When a sound goes through filter 1, it will go through the shaper. The shaper is default turned off when we initialise the Thor patch. By clicking on the knob next to where it says 'shaper', the shaper will be turned on. In the default setup as I have explained so far, an oscillator that goes through filter 1 will go through the shaper, but the oscillator that travels through filter 2 will not go through the shaper.

The shaper has a trend for changing the overal sound quality. Which can have a real nice effect from time to time. It is hard to explain in words what the shaper does. It is a matter of experimenting with the shaper.

8. From Filter 1 to Filter 2 to Filter 3

A whole other approach on to create a routing scheme is letting the oscillator travel from filter 1 to filter 2 to filter 3. To set this up, we'll initialise the Thor patch first. Now the oscillator one will travel through filter 1 and takes a right turn to the amplitude (Amp). We can also select the arrow to the left (where it now goes to the right). In this case the Oscillator will not make any sound since we have to select the arrow for filter 2 next to the Amplitude. When that is done, the sound will now travel (without selecting the '1' knob next to filter 2) from Filter 1 to Filter 2 to Filter 3.

In this case it is an option to shape for instance a low pass filter, blend that into a comb filter and do the final mixing with a state veriable filter set on Band Pass (as an example).

Download RNS files: From filter one to filter 2 to filter 3

1. The Low Pass Ladder filter

The Low Pass ladder filter is in a way similar to the low pass 12 filter that we know from the Malstrom either the Subtractor, however it is a low pass filter based on a different algorithm so to speak (hence the term ladder). The low pass ladder filter is inner connected to the shaper to say the least. With having a different algorithm using the 24 Type 1 and the 24 Type 2. Please note, to use the low pass ladder filter and the shaper at the same time, the Self Osc. Has to be turned on.

With having a set of different dB types: 24, 18, 12 and 6. Where the difference lies in the amount of frequencies it can filter out. 24 is the best, where 6 is poorly on filter frequencies.

Tip:
when using a low end computer and there are problems for playback (the sound starts to stutter either it doesn't play anymore because the song is too cpu intensive) use the LowPass Ladder filter on lesser then 24 to gain more cpu power. Since 24 dB is more cpu intensive then having the LowPass Filter set on 6dB

2. The State Veriable filter

The state veriable filter has different filter states (as the name will give away). With this filter type, most of the filters that we know from other devices in the reason rack are here as well.

LP12 - the lowpass filter
BP12 - the Bandpass filter
HP12 - the Highpass filter
Notch - The notch
The Peak - this one is new to reason 4

The LP12 filter (low pass filter) is similar to the Low Pass Ladder filter, but is not connected to the shaper. This filter type is good for filtering out the sharp and high end frequencies. For instance, filter sweeps for climaxes.

The BP filter (BandPass) is a filter that tone that is low frequency bases, sound more sharp in a way. A bypass filter is good for making really warm pad sessions, either making really low bass tones (with increasin the Res(onance) knob)

Hints and tips:
Be aware though, when setting the BP filter too high it will filter out most of the sound quality, which will also reduce the amplitude of the sound quality. When increasing it to really high, it will make the sound itself not really noticable. Increase the Gain (Amplitude section) would slightly get the sound back into the composition.

The HP filter (the high pass filter) is in a way similar to the BandPass filter, but can even go one step further then the Bandpass filter. With this you can filter out a whole range withing the sound. Making them sound really sharp, and really squeeky so to speak.

Using a HP filter in most cases will make a specific sound really distinct itself from the rest of the composition (when the rest is based on LP, BP filters). It is good for using leads, warm pads and creating high tones.

The notch and the peak are in a way similar. The use an additional setting inside the state veriable filter (which is the LP/HP knob at the right bottom of the state veriable filter.

3. The Comb filter

The comb filter was initially introduced inside Reason 2.5, the device called the Malstrom graintable synthesizer. Comb filters are based on feedbacks inside of a filtertype. Which is good for phasing sounds. The comb filter comes with 2 different settings, a Comb + and a Comb -. Which both act differently on the feedback.

4. The Formant Filter

The formant filter type is a new filter that is introduced in Reason 4. Formants are basically good for creating 'voice' generated sounds. The real big difference between the formant filter and the other filter types is there is no frequency to filter out. It uses 2 different parameters X and Y (which are controlled by a touchpad on hardware synthesizers). Both X and Y can shape the filter. It is hard to explain what they do. Best was to create something is to excaggurate certain setting (use X on max, Y on minimum) and go from there on to listen to the different sounds that the formant filter is generating.

The Gender knob will make a voice go low when the gender is set to low. A sound will start to sound high pitched when the gender is set to high. Gender is a reference to Male and Female (where Male sounds low, and female sounds high. makes perfects sense ;))

5. Common features

The common features that all filters have are:
- the drive (the left most slider) to controle the volume of the output.
- The envelope (its usage will be explained in Chapter 4 - the envelopes)
- The velocity sets the amount how fast the envelope is being triggered
- The inv, having this of will have a normal envelope, turning it on will make the envelope setting inverted (reversed in a way).
- KBD will set how the filter response takes place when changing the note frequencies (eg going from notes C too D can have a different effect with having the KBD set to maximum either set on zero).

6. The sum of all filters - A recommended workflow

With having 4 different filters, 3 different filter types and numerous ways to route them and shape them, it is by far not possible to go through all the different settings to go through in this article. The real big benefits are coming from a combination of filters, either using envelopes, either connect them to a programmed setting like the LFO.

Be creative in using filters, they can definitly have a real big impact into creating your own Thor patches from scratch. Another tip is to check out the different predefined Thor patches that come with Reason 4. Examine how they work, change certain filter setting to check how this will inflict the changes.

Another piece of advice, when you are creating your Thor patch from scratch, the easiest way to set things up is by changing the Thor patch from left to right. First setup a range of different oscillator types and see how they sound together. Start adding filter 1, change that until there is a sound that you like. When you want to add a second filter in slot 2, use that separately first. This can make tweaking your filter setting more noticable. When filter 1 and filter 2 are in place, turn them both back on. Make some minor adjustments to make them sound harmonic in a way (eg change the drive settings, either adjust a filter setting or add a little bit resonance left and right). When filter 1 and filter 2 sound the way you like, you can throw in a third filter for the final mixdown and see if you can determine what you like with using a third filter. Or perhaps not use a third filter at all.

In most devices of the reason rack there are envelope settings. Envelope settings are shown as 'A D S R' through out each device. The polysonic synthesizer Thor has 4 different envelopes. Where one of them is automaticly triggered (the Amplitude envelope) and the other 3 are being triggered under certain circumstances. In this chapter I will explain what envelope setting does what, and when they have an impact on your sound setting.

1.ADSR

ADSR are 4 different settings which stand for Attack, Decay sustain and release. I have written a complete article on what these settings mean (which is located over here: Attack, decay, sustain and release)

So, read that before continueing if you don't understand what they mean.

2. Amplitude Envelope

With having the basics covered of the attack, the decay and the release. The Amplitude envelope, which is usually active, has an impact on how the oscillators volume is being handled. In a way, Amplitude is the same word as volume. Please note, don't confuse the word 'Amplitude Envelope' with the 'Amplitude' settings (such as Vel, Pan and Gain).

Changing for instance the Attack of Amplitude Envelope and increasing the attack (which refers to low attacks, to make it sound a little big more confusing) will make the oscillators take alonger time before they are at full strenght. This is a technique for slightly having a note fade in (eg, pads, string sessions etc).

Here's an RNS Example of a Low Attack Sound

Having the attack on low (which is refered to as a Short Attack) will make the note kick in in an instant. Which is usefull for leads, melodies, basslines and percussion sounds.

Here's an RNS Example of a Short Attack Sound

The decay and the sustain will determine how long the note will play. Having the decay and sustain on low will make the note die out very rapidly. Which is usually good for basslines, short triggered arpeggios, either short term leads, background chords etc.

Here's an RNS Example of a Short Decay Sound

Setting the decay higher will make the notes longer. Which is also good for sounds like pads, sweeps, effects, leads and melodies.

Here's an RNS Example of a Long Decay Sound

The release will determine how long the note will continue to play when the note itself stops. Setting it on low, will make the note stop in an instant. Which is happening with all the previous examples. While having the release higher will make the note die slowly die out when the note has stopped. A good example would be using a release on around 2.5s. Having a sequence played on 16 th notes, the sound itself will noticable not stop when the 16 th note has stopped. It is therefor not really wise to use a lot of short notes after eachother with having a release set to high (since it can cause a lot of overclipping when doing it wrongly).

Here's an RNS Example of a Longer Release

3. Filter Envelope

There are 2 different filter envelopes inside Thor. The first one, located left of the Amplitude envelope is the filter envelope. This setting will have an impact on the Filter 1 and Filter 2 inside the Thor patch.

With setting the ADSR paremeters it is possible to shape the filter settings. The easiest way to describe this effect is that it works similar as the amplitude settings, but in this case it will change the volume of the sound, but how the filter takes effect.

Eg, have the attack on high will slightly slide in the filter.
Have the decay on low, will make the filter stop in an instant (while the sound itself continues).
Have the release of the filter envelope set to low, yet the release of amplitude envelope set on high will make the note continue on release, but the filter itself just stops in an instant.

Important note
Any filter has a knob called ENV. The more amount of ENV inside the filters 1 and 2, will have a greater impact using the Filter Envelope. Using lesser ENV inside the filters 1 and 2 will reduce the Filter Envelope settings.

4. Global Envelope

To the right of the Amplitude envelope there is another filter envelope, which is called the Global filter envelope. This setting has an impact on how Filter 3 reacts (the final mixdown).

Important note
Any filter has a knob called ENV. The more amount of ENV inside Filter 3, will have a greater impact using the Global Envelope. Using lesser ENV inside the filter 3 will reduce the Filter Envelope settings.

5. Modulation Envelope

The last one inside the envelopes is the Mod Envelope, also known as the modulation envelope. /rii-mini-bluetooth-keyboard-android-drivers-for-mac.html. This setting will normally have no impact what so ever. Since this modulation envelope needs to be connected to any setting inside the Thor patch (which is done with using the programmer, see chapter 5 -; the programmer).

6. The Basic usage of Envelopes

This is just a general outline to help you make certain settings to create certain sounds. This is not a must do list. This is just a brief set of examples to make you help to understand what kind of impact Envelopes can have.

For basslines, use low attack on Filters Envelopes and Amplitude envelope. Since this will make the bassline kick in as soon as the note starts. Just low decay and low sustain for short basslines. Use a higher decay setting and a low sustain to make the basstone kick in a little bit harder. Use a real low release setting on both Filter envelope, either amplitude envelope.

For sweeping pads, use a high attack on the amplitude. Can be a high attack on the filter too, but depends on what kind of filter your using. But the amplitude is the important part. Use a decay either sustain somewhere in the middle (on both filters/ amplitude envelopes) and use a higher release on both amplitude and envelope. This will make the sweeping pad slowly come in, and slowly die out when released. This is also great for using long chord sessions.

For leads, this can be anything, because it depends on what kind of lead you are going for. Basically a good set to start with is having a low attack on filter and the amplitude envelope, since that will make the note kick in as soon as it being triggered. The sustain and decay are guess work for this point since it depends on what kinds of lead you are going for (long notes, use higher decay and sustain. For short notes use lesser decay and sustain). For the release, I prefer a little bit release for my own leads. Since this will make the note gently die out a bit on release. Which is really nice if you combine that with a chorus effect.

Some of these setting might help you on your way when to use a certain setting inside the different envelope types to create your own sounds. Still, this is a direction I am pointing out here. It is all up to you to explore more using different settings using these envelopes. You own mind is your own limitation so to speak, be creative and see what kind of wonders you can accomplish using different settings inside these envelopes.

Regarding the Modulation Bus matrix, I have been writing a 5 part series about this. Which you can find here:
Modulation Matrix in Thor part 1

The step sequencer within Thor will allow the user to create small amount of monotomic sequences that are inner connected to the Thor patch. Which sometimes can be very handy for single line basslines, a percussion line, and arpeggion, either a monotomic lead.

1 setting up the sequencer the monotomic way

First option is to make a sequencer just play its own thing. For this setup, I am going to start with a default Thor patch (right click on Thor, then select initialize patch. For mac users option click on Thor, select initialize patch).

When opening the programmer, we can see at the bottom of Thor the sequencer with having a couple of settings, from left to right they are:

A Run button
The type of the sequencer (repeat, 1 shot, step either off, where off is the default setting)
The direction of the step sequencer (default its set on forward)
The speed of the sequencer (default is set on 1 / 16)
The settings to control the step sequencer like: note, velocity etc.
And last but not least the sequencer itself

Initially to set a Thor patch up for using the step sequencer, one must never forget to check an option in the main part of theThor patch (which is shown even while the programmer is not expanded). There is a main section which is called 'trigger'. Default it already has the step sequencer and midi boxes checked. But just in case wheather you are wondering why the step sequencer does not work (even while all the other settings are set correctly), the main checkup is to see if the step seq. button is checked at the top of the Thor device. When it is not checked, then the step sequencer won't do anything.

Second, to get the step sequencer rolling there is one setting we can turn on. Which is located next to the RUN button of the sequencer: the setting where it says:

repeat, 1 shot, step either off

Default, off is selected. To set ourselves up for this tutorial, we are going to set the notch on Repeat.

By now, if you press play (on the main timeline control panel at the bottom of reason), you should hear this monotomic beep, beep, beep, going on. and the step sequencer should step along with it. There, you just made your first step sequencer ;)

Summary:
To set the sequencer up there are 2 settings that are required. The Step Seq. knob inside the main panel of Thor should be enabled. Second set the step sequencer type: Repeat, One shot, either Step.

2 setting up the notes of the sequencer

Within the step sequencer we can control for each step 6 different parameters, which are:
Note -the pitch
Velocity - in most cases the volume, but in Thor it can be connected to other settings too
Gate length -how long the note is
Step duration - for creating grooves
Curve 1 - will change the destination source (eg inside the programmer)
Curve 2 - will change the destination source (eg inside the programmer)

With the note selected, we can now select for each step a specific note to play. Default it is set on C3 on each step. By using the rotaries on top of each step we can make alternations inside the notes pitch. For instance we could set up a monotomic line where it play on step 1 a C3, then on step 2 a C2. etc.

With the next example I have set up a couple of different notes while this thing will play a monotomic bass line.

Download RNS Example: 6_2_step_sequencer_notes.rns

3 turning notes on or off

Before we continue using the velocity, there is one thing that I want to take another look at. Under each step, you will see a couple of buttons (for each step one button). This works in a way similar to what can be found inside the redrum computer. When a step button is red, it means that that specific step will play, when it is grey, it means that this specific step will not play.

In the next example I have turned off step 10 and step 12. So in a way if just plays a monotomic line, with a couple of breaks at the ending of the sequence.

Download RNS Example: 6_3_step_sequencer_on_off.rns

4 velocity

Now for the next setting. Lets shift the knob where the note is selected, and move it towards velocity. What you will notice is that all the different rotaries above each step will now 'reset' itself. No worries. Each individual parameter is remembered, so we have not lost our note changes.

With having the velocity selected, we can now start making adjustments for each individual step to change the velocity of each note. Default the velocity is set to 100. We can now either slightly increase or decrease certain notes.

As I am now going for a sequence that I have become to call a 'three stepper'. I will adjust the settings as followed:
Step 1, 4, 7, 9, and 15 are going to play its full strength with the velocity set on 100
The rest of the steps are going to be around 30.
And last but not least, the first step is going to be increased a little (to emphasize the first note).

To make the velocity work, I am also adjusting the 'Vel' knob inside the Amplitude section, so the velocity will make the volume change in this case.

This will sound something as the following:

Download RNS Example: 6_4_step_sequencer_velocity.rns

5. The gate length

The gate length inside the step sequencer allows us to create longer either shorter notes. Depending on the amount the gate length is being set. Default it will be set to 75%. Where maximum lies at 100%.

We'll select next to the step sequencer the settings which is called Gate Len. Again, all the different settings are being reset for each step. While it remembers all the different changes we have made for the notes either the velocity (you can check that when selecting the note, either velocity again).

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For this tutorial I will set the notes that have a lower velocity set on a shorter gate length. And the first note is going to be our longest note (set on 100%)

Download RNS Example: 6_5_step_sequencer_gate.rns
So in this case, the notes that are decreasing in volume will also result into shorter notes.

6. The step duration

For the next setting I will park a real big warning sign:
The step duration allows you to control the tempo changes inside the step sequencer. This is nice for creating grooves. However, when the complete sequence is either longer or shorter then a complete 4/4 pattern (when the settings are set on 4/4 patterns) it can turn into sequences that are not harmonic to the complete song, thus having this really annoying tune playing that is totally out of order.

For each step it is an option to select the step duration. Going from 1 (a normal full note) to something as a 4 /3 note either a 3/ 4 note etc. My personal prefered method to keep things still in sync is, when a certain step duration is being decreased I usually have another step increased.

Another trick using the step duration is that default it is set on a 4 / 4 note (1). When adjusting for instance step two too 6 / 4, it will result into playing a sequence as:

4 / 4 - 6 / 4 - 4 /4
Where normally in within 3 notes, the total amount of notes per step is set on 4, having a sequence inside 3 steps will result into 12 notes (default this is 4 / 4 - 4 / 4 - 4 / 4)

To adjust the third note correctly (to get our 12 notes back) we can set the third note to a 2 / 4 note to keep things back in sync.

So in that case it should be:
4 / 4 - 6 / 4 - 2 /4

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to keep things in sync.
Personally, it would not be a surprise to me that I am making people their head spin at this point. It is a touch subject to explain when you have no clue how many notes there are in inside one pattern. If you have really no clue on how technically how notes and patterns work, I would suggest leaving this setting alone for the time being.

Anyways, here's the minor adjust I made for the step sequence (I also placed a secondary Thor patch in here to act as a monotomic bassline)

Download RNS Example: 6_5_step_sequencer_stepduration.rns

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7. The curve 1 and 2

The curve initially does no do a thing by default. The curve 1 and 2 are individual parameters that need to be inner connected to a certain setting inside the Thor patch by using the programmer. The source would be: Step Sequencer/ Curve 1 either Step Sequencer/ Curve 2. Depending on which curve you want to use. For the destination it depends on what the curve needs to do. It can be a pitch, either a filter frequency either a envelope. But the curve allows you to control the destination on each individual step. Which can create alternations inside your complete sequence.

In this example, I will only use the first curve setting inside the step sequencer, connecting it to the filter frequence. With having a couple of curve settings adjusted, this monotomic line will become more diverse.

Download RNS Example: 6_7_step_sequencer_curve.rns

8. Using the sequence lane to trigger the sequencer

At this point, things are becoming pretty monotomic so to speak. To spice things up a bit we can set the sequencer up so it will trigger notes that we are playing on the sequencer lane. For instance, when we trigger an A note on octave 2, the sequencer at this point will still play the same tune on the same tone height. To fix this we can setup the following using the programmer:

Set the source of the programmer on: midi key / gate and the destination on: step sequencer / trig. Set the amount on 100.

With this setting, each time when we play the note, the run button is triggered.

Now for the transpose effect to change the notes pitch while playing on the sequencer lane:
Set the source of the programmer on: midi key / note and the destination on: step sequencer / transpose. Set the amount on 100.

This will mean that as we are playing an G note for instance, all the different notes that are set on C3 in the step sequencer will transpose along towards G. So in this way we can play the same hymn on different tone heights.

With the next example I am adjusting the oscillator by parking 2 different analogue oscillators in here as well, just to make things sound a little bit fuller ;)

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Download RNS Example: 6_8_step_sequencer_trig.rns

so, in this setup it will start playing the sequence, but use alternate note heights as this is being triggered using the sequencer lane