Reason 10 Tutorial: A (Thunderous) Trip To Europa

Google+ Pinterest LinkedIn Tumblr +

Described as a modern-day Thor, Reason’s Europa packs a massive punch and we’re going to show you how to exploit it. Check out how to use Grain here.

A trip to Europa


europa

1. Europa is an out-and-out, in-your-face monster synth that’s all about big brash sounds. It has no fewer than three Engines – see top-left – but is fairly straightforward, running top-left to right.



2. The three Engines can each be selected by way of the large red buttons and then you can select the waveform for each one – from a drop-down menu that has over 30 to choose from.



3. There are two Modifiers that can then be applied to the waveform in an LFO style. Here, we’ve selected the first one, Faded Sync, which, when the Amount dial is cranked up, really makes the sound scream.


Europa report While our tutorials show you how to make bigger sounds by adding Modifiers, Harmonics and The Spectral Filter, we encourage you to go off piste with Europa. It’ll be popular with dance fans, but you can also create great atmospheres by exploring some of its more restrained options.





4. Now deselect the two Modifiers, otherwise too much will be going on, as we are bringing the Spectral Filter in. You can choose one of 15 types, anything from smooth and deep to harsh and metallic in nature.



5. Now select the Harmonics option. Here, you can choose from seven types, which add anything from a nasally squeal to some pretty random overtones to the sound. As you can see, everything in Europa adds drama.



6. We’ve not even touched on the modulation options and effects in Europa, as you can so quickly get massive sounds without them. Here, we’ve switched everything back in, for a massive slab of sound.

Need something a little more natural? Click here and learn how to use Reason 10’s Klang, Pangea and Humana instruments.


Comments

comments

Share.

About Author

Andy Jones

Andy Jones has an MA in Music Technology and has been writing about it for 25 years. He has launched and edited several magazines on the subject and was editor of MusicTech for the last four years. Naturally, he has far too many synthesisers...