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©2008 Propellerhead Software and its licensors. All specifications subject to change without notice. Reason and ReFill are trademarks of Propellerhead Software. All other commercial
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Reason Electric Bass
D Reason Electric Bass Samples 2 -24.rfl (file) Here you’ll find demo versions and info about additional products by
Propellerhead Software.
The contents are identical, with one major exception: The sample formats
- 16- and 24-bit, respectively. The two ReFills are 100% interchangeable,
however they cannot co-exist in a location Reason is aware of, so if you
plan on alternating between the two you must place the one you're not
using for the moment outside of your designated ReFill locations (more
on this in the following section, “Installation”).
ReadMe.rtf (file)
A “Read Me” document, containing important last minute notes about the
Reason Electric Bass DVD-ROM.
Fender Showman
Fender Precision x 2
Ampeg Fliptop Gibson Les Paul
Stingray Fretless
Gibson EB0 Shure SM57
Didrik M49 Kay Hollowbody DI Box
Neumann U47
Didrik M49
The amp rigs were captured using a setup of tried and true microphones
| Source | Microphone
including Neumann U47 FET, Didrik DeGeer M49, Coles 4038, Shure
SM57, AKG D12 and Yamaha SKRM-100 Subkick. Ampeg B-15 rig 1 x Neumann U47 FET
1 x Coles 4038
| Source | Microphone
Fender Showman rig 1 x Shure SM57
1 x AKG D12
1 x Coles 4038
AKG D12
Introduced in 1953, the AKG D12 was the world's first dynamic cardioid
mic with a "unidirectional" design. It was based on new developments in
microphone technology which extended the frequency response deeper
into the bass range. The transducer has a special "bass chamber" that
boosts the lower frequencies in the 60-120 Hz range giving it a full, round
bass end.
The figure above shows the signal chains, including the mic preamps, for The figure above shows the signal chains, including the mic preamps, for
the six single-pickup basses. The pickup signal is split three-ways - two to the two double-pickup basses. The pickup signals are routed to separate
the amps and one direct signal to Pro Tools. amps and also split and routed directly to Pro Tools.
The people
D Sven Lindvall, bass player
Sven is one of Scandinavia’s most well renowned and sought after
bass players and has worked with numerous Scandinavian and inter-
national pop and rock artists over the years.
D Niklas Flyckt, engineer
Niklas is one of Sweden’s most respected engineers and has re-
corded and mixed some of the most famous artists in the world.
Up-down fast
Glissando
Down fast
Fret noise
Ghost D
Ghost E
The Preset Basses, Style Basses, Producer Basses and all Combinator
Template patches are mapped according to the keyboard layout in the fig-
ure below.
Hammer-On
Fret noise
Fret noise
Up-down
Ghost G
Ghost A
FX & Noise Modifiers & Notes
Down
Additional
Slides Fret Ghost Mod Original Notes Alternate Notes Slides
Up
Up-down fast
Glissando
Down fast
Fret noise
Ghost D
C0 C1 C2
Ghost E
Hammer-On
Fret noise
Fret noise
Up-down
Ghost G
Ghost A
D Slides
Down
Up
C0 C1 C2 C3 C4 C5 C6 C7
The slides on keys C0-E0 are the characteristic “wroom” sound gen-
Keys C0-C#1 are used for FX, fret noise and for modifying the sound. erated when playing full neck slides. There are five slide variations,
Keys D1-C4 play back the regular bass notes whereas keys D4-C7 play with different directions and speed.
back the D1-C4 note range using alternate notes. Both the regular D1- D Fret noise
C4 notes and the D4-C7 notes make use of release samples - samples Fret noise is the different types of noise that appear when you move
that trig from key releases - to add even more realism. Keys C#7-G7 are your fingers on the fret board from one position to another. The fret
used for additional slides. noise sample selection is controlled by velocity.
D Ghost
Ghost notes are the sound that occurs when damping a string. There
is one ghost note per string (E, A, D, G) and there are also several ve-
locity layers.
D Release samples
The release samples are the sound that occur when you release the
string with the fret hand and at the same time damp the string with
Hammer-On
the other hand. In all factory Combinator patches there are release
samples for every note. The release samples have been very carefully
C1 C2 C3 C4
programmed to faithfully reproduce the behavior in various playing
techniques. The release samples use several velocity layers.
The Mod keys C1-C#1 are used to introduce Hammer-on and Glissando
samples (see below). Keys D1-C4 are used for playing back the original
bass note samples.
D Sustained notes
These are the regular bass note samples. The notes of each of the in-
struments were sampled very tightly in the note range and with sev-
eral velocity layers to guarantee authentic playback.
D Hammer-on
Hammer-on is the thinner sound you get when you quickly press a
string against the fretboard with your fret hand without plucking the
string with your other hand. The Hammer-On (C1) key works as an al-
ternating switch, enabling you to switch between regular sustained
plucked notes and hammer-on notes when playing in the D1-C4 and
D4-C7 ranges. The hammer-on notes also use several velocity layers.
q Hammer-ons are perfect for altering the tone slightly for a
more “live” feel when playing bass lines.
s & Notes
A Additional
Alternate Notes Notes Slides
C5 C6 C7 C6 C7
Keys D4-C7 play back the D1-C4 note range using alternate samples. Within the key range C#7-G7 you’ll find additional full neck slides.
Like with the original notes the Mod keys C1-C#1 can be used to intro-
duce Hammer-on and Glissando samples instead. In all factory Combina- Performance Controllers
tor patches there are also release samples for the alternate notes.
D Pitch Bend
D Same note repeats
The pitch bend range is set to +/- 2 semitones in all patches by de-
By using a sustain pedal with your master keyboard you can simulate
fault.
“tied note repeats”. By pressing the sustain pedal and playing the
same note alternating between the “original notes” keys (D1-C4) and D Mod Wheel
the “alternate notes” keys (D4-C7) you’ll get the effect of repeatedly By using the Mod Wheel on your master keyboard you can simulate
playing the same note without dampening in between. For example, if damped notes (strings) in the original and alternate note ranges. The
you want to play the lowest D note in a tied fashion, press the sustain amount of damping is controlled with the Mod Wheel. Note that on the
pedal and play the D1 and D4 keys alternately. StingRay Fretless bass the Mod Wheel controls vibrato instead.
q To avoid overlapping notes when playing at fast tempos and D Aftertouch
using the sustain pedal, try playing short, staccato-like In all factory Combinator patches, Channel Pressure (Aftertouch) con-
notes. You could also dampen the notes slightly using the trols vibrato.
Mod Wheel (see ‘Mod Wheel’ in the next column).
q It’s also possible to replace the default signal chains with Fender P Bass P A|M49+F|D12 The M49 captures the nuances of
Precision (P) the instrument through the Ampeg
others by loading other sets of NN-XT samples. This is de- perfectly, while the grittier Fender
scribed in detail on page 33 and page 36. Showman is represented by the D12.
The Preset Basses are the following: The two are very well balanced in this
patch.
10. The Brit [P Bass Finger] Alex James (Blur) - Girls & Boys.
11. French 60s [Hollowbody] Serge Gainsbourg and Air.
12. Ballad Bass [Fretless] Fretless, smooth chorus and some de-
lay. Good for slow emotional songs.
15. Gibson-FlipTop H3 Bass Shift [EB-0] Pop bass sound with a touch of pitch 28. Cool as Kim Deal [P Bass Pick] Kim Deal, bass player from The Pixies.
shifting. The reference is from The Dandy War-
hols’ song I wish I could have a girl as
16. Gibson-Showman H3 Bass Shift [EB-0] Pop bass sound with a touch of pitch cool as Kim Deal.
shifting.
29. Grungy Gibson [EB-0] Rock bass sound.
17. Love [EB-0] Peter Hook (Joy Division) - Love will
tear us apart. 30. Clawfinger [EB-0] Typical bass sound of Swedish band
Clawfinger.
18. Chorus Wash [P Bass Pick] A Pop/New Romantic bass sound.
31. Fascinating Street [Rickenbacker] The Cure - Fascination Street.
19. Chorus Fretless [Fretless] A nice fretless bass where pitch shift-
ing has been used to create the chorus 32. Rock Foot [P Bass Pick] Kasabian - Club Foot. A song that is
effect. dominated by a bass riff with this
sound.
20. P Romance [P Bass Pick] Pop/New Romantic bass sound.
33. Chili Magic [P Bass Finger] Red Hot Chili Peppers - Sir Psycho
21. American Standard 60 [Hollowbody] A bass patch aiming to mimic the pop/ Sexy (on Blood Sugar Sex Magic).
rock sound of the 1960s. Typical refer-
ence song is “Knockin' On Heavens 34. Maiden Solo Option [Jazz Bass] Typical Iron Maiden bass sound.
Door”.
35. Rawk Bass [P Bass Pick] A distorted bass for heavier tracks.
22. American Standard 70 [Jazz Bass] A bass patch with references from the
1970s. Typically Lynyrd Skynyrd and 36. Motorbass [Rickenbacker] Lemmy of Motorhead has a classic
The Band etc. Rickenbacker sound. He uses only the
neck pickup (to give his bass sound
23. American Standard 80 [EB-0] Another "imitate an era" bass patch. better definition) and turns all the tone
This time the 80s. Typically Springs- and volume knobs on the bass up full.
teen. On the amplifiers, he turns the bass
and treble off and the midrange up all
24. American Standard 90 [Les Paul] This is the 90s. Typically REM. the way, with the volume and presence
up to the 3:00 position. The result is a
25. Stone Age [P Bass Finger] Queens of the Stone Age - No-one
Knows. biting midrange sound which is some-
what distorted but not blurry.
26. Anthem Rock [Rickenbacker] Radiohead - National Anthem.
48. Disco Wah [P Bass Finger] Funk sound with Auto wah. 66. Release Bits [Hollowbody] A Nine Inch Nails style bass sound.
49. Bootsy's Luv Wah [Jazz Bass] A typical Bootsy Collins sound.
50. Bernard's Axe [P Bass Finger] Anything from Chic and "We Are Fam-
ily" by Sister Sledge.
NN-XT sample sets placed in the subfolders in the Separate Mics folder The NN-XT Patch name
use the following syntax: 3 JZ GLS BFS.sxt
N_BB(-B)_TTT_(P)AM.sxt tells us that the instrument is a Fender Jazz bass (JZ), the sample set con-
which translates as follows: sists of glissando notes (GLS) and the signal chain is from the bridge
pickup via the Fender Showman amp to the Shure SM57 mic (BFS).
N: number of the sample set in the subfolder. Can be 1, 2 or 3.
Another example:
BB(-B): Bass model. JZ=Fender Jazz, PB-F=Fender Precision (finger),
PB-P=Fender Precision (pick), EB=Gibson EB-0, LP=Gibson Les Paul, The NN-XT Patch name
Kay= Kay Hollowbody, RB=Rickenbacker 4001, FL= StingRay fretless. 1 FL SUS AS.sxt
TTT: Type of samples in the sample set. SUS=regular sustained notes, tells us that the instrument is a StingRay fretless bass (FL), the sample
HON=hammer-on notes, GLS=glissando notes. set consists of regular sustained notes (SUS) and the signal chain is from
(P): pickup type on double pickup basses. N=neck and B=bridge. the pickup via the Ampeg amp to the Subkick mic (AS).
A: Amp model.
A=Ampeg B-15 S Portaflex Bass Combo
F=Fender Showman
M: Mic model. DI=Direct Input (no mic), C=Coles 4038, M=Didrik De
Geer M49, S=Yamaha Subkick, U=Neumann U47, D=AKG D12,
S=Shure SM57.
! Note that mic model “S” could be either Subkick or Shure
SM57 depending on the amp model combination. In the AS
combination (with the Ampeg amp) the S always means Sub-
kick and in the FS combination (with the Fender Showman
amp) the S always means SM57.
Individual samples intended for use with the NN-XT can be found in the (P): pickup type on double pickup basses. N=neck and B=bridge.
“Reason Electric Bass Samples 1” and “Reason Electric Bass Samples 2” A; Amp model. A=Ampeg B-15 S, F=Fender Showman
ReFill folders. The samples from each of the bass instruments are divided M: Mic model. C=Coles 4038, M=Didrik De Geer M49, S=Yamaha Sub-
into separate subfolders according to the following example: kick, U=Neumann U47, D=AKG D12, S=Shure SM57.
• Fender Jazz (F): bass model and playing style (F=Finger/P=Pick)
! Note that mic model “S” could be either Subkick or Shure
• D Fret Noise: fret noise samples
SM57 depending on the amp model combination. In the AS
• D Gene: full neck slides in different directions and speeds combination (with the Ampeg amp) the S always means Sub-
• D Glissandos: whole note glissandos for every sampled note kick and in the FS combination (with the Fender Showman
• D Hammer-Ons: hammer-ons for every sampled note amp) the S always means SM57.
• D Release Samples: releasing strings on the fret board
• D Sustained Notes: regular sustained plucked notes ! If the (P)AM abbreviation is replaced by the letters “MST”
(bridge) or “NLR” (neck) in the sample name, it indicates that
The samples in the subfolders use a naming convention with the following the sample is from the DI (Direct Input) signal.
syntax:
(f)(f)f: File number (for internal R&D purposes only).
BBS_TTT_N(N)_(Vv)_(EE)_(P)AM(f)(f)f.aif
Example:
This translates as follows:
The sample name
BB: Bass model. JZ=Fender Jazz, PR=Fender Precision, EB=Gibson
EB-0, LP=Gibson Les Paul, KH=Kay Hollowbody, RB=Rickenbacker PRP_GST_G2_V4_8_FS413.aif
4001, FL= StingRay fretless. tells us that the sample is from a Fender Precision bass played with a pick
S: Playing style. F=fingers, P=pick (PRP). It’s a ghost note (GST) with the pitch G2 (G2) and velocity layer 4
(V4). The signal chain is from the pickup via the Fender Showman amp to
TTT: Type of samples. FRT=fret noise, GEN=Genes (full neck slides), the SM57 mic (FS).
GST=ghost notes (the pluck sound from a damped string), GLS= whole
note glissando (from down a whole note up to played note), HON=ham- Another example:
mer-on notes, REL= release notes (from releasing the strings on the fret The sample name
board), SUS=regular sustained notes.
EBF_GEN_1_MST339.aif
NN: Sampled note, or “NP” (no pitch) or sample number for Genes.
tells us that the sample is from a Gibson EB0 played with the fingers
(Vv): Velocity layer (EBF). It’s Gene no. 1 and the signal is directly from the pickup (MST).
In the figure above, we’ve increased the levels of all release (REL)
samples in the Ampeg+M49 signal chain in the factory Combinator
patch.
5. Repeat the procedure for the remaining MicroMix devices in
the Combinator patch.
All Sample Zones become high-lighted (dark blue) and the LEDs
around the knobs light up.
The selected Sample Zones become high-lighted (dark blue). The re-
lease samples, named REL, should not be selected.
Select one NN-XT device at a time in the Device list to the left, click
on the small triangle in the Modulation Routing list to the right and
choose No Target for the Amp Env Decay parameter. Repeat the pro-
cedure for the remaining NN-XT devices in the Device list.
Click on the small triangles in the Modulation Routing list to the right
4. Assign ‘Channel 4 Mute’ to ‘Button 1’ in the Modulation and choose Button 1 as Source and Amp Env Rel as Target. Then, set
Routing section. the Min value to 0 and Max to between 10 and 14.
7. Repeat the procedure from step 3 and onwards for the rest of
the signal chains by selecting the corresponding sub-mixers
and NN-XT devices containing SUS samples in the Device
list.
Now, when pressing Button 1 on the Combinator panel the release
Click on the small triangle in the Modulation Routing list to the right will be longer for all SUS samples, but not long enough to obscure the
and choose Channel 4 Mute for the Button 1 source. Since all Re- individual notes.
lease samples in the first signal chain are routed to Channel 4 of the
q If you want to play “same note repeats” with long release (as
DI Neck sub-mixer, these will now be muted when you press Button 1
described on page 23), the trick is to hold all notes up until
on the Combinator panel.
re-triggering, i.e to play in a staccato fashion. Doing so will
5. Locate and select the topmost NN-XT device containing sus- also allow you to change pitch (note) without getting blurry
tain (SUS) samples in the Device list. It’s named ‘1 Sus- results.
tained’.
Below is a complete overview of the folder structure. Individual patches Style Basses (Combinator patches)
and samples are not listed, only the folder/subfolder tree.
! “D” indicates folder/subfolder Template Patches (Combinator patches)