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Two more 'support' modules are also available, which load into effects slots alongside drum modules and are triggered by the associated pad. These can further reinforce the output of the synth drum modules, or add synthetic elements to sounds produced by the other modules. If that's not enough flexibility, you can flip over to Kong's back panel, where you'll find sockets for patching other effects devices into the signal path. By default, each pad in Kong is assigned to its own drum module.

However, this is not compulsory, and it can sometimes pay to organise things differently — for example, to make use of Kong's 'hit types' feature. Several of Kong's drum modules offer four different hit types, which are built-in variations on their default behaviour.

You might, therefore, assign four different pads to trigger the same module, setting each of the pads to make use of a different hit type. You can then play patterns using all four variations in the sound, with the advantage that any adjustments to the module's parameters will affect the four different hit types equally, saving you the bother of having to manually tweak the knobs on four different modules.

All in all, Kong is an impressive instrument. Kong's design makes creating and playing sophisticated sampled and synthesized drum kits easy.

It's essentially an updated and supercharged version of the Dr Rex player from earlier versions of Reason. Loops can be loaded in batches from the file browser, and are automatically distributed among the eight slots. Loops and associated settings can be copied and pasted between slots. The device can be used very simply as a quick and easy tool for creating backing tracks from REX libraries.

You might have a drum loop loaded in one slot, for example, with variations and fills loaded in subsequent slots, triggering them one after another to produce a basic but workable drum track. When switching between slots, the changeover is 'quantised': the next file waits for the next available bar or beat, or 16th note before triggering, in the same way as clips do in Ableton Live.

However, Dr OctoRex is capable of much more than simple loop playback. Individual slices from within each loop can be triggered with MIDI notes: the slices are automatically arranged across your controller keyboard at semitone intervals. A Slice Edit mode allows you to adjust a range of playback parameters for each individual slice in a REX file, simply by clicking the slice in the waveform display and dragging up or down to set the value. The available parameters include the basic Pitch, Pan, Level and Decay, plus Rev, which toggles reverse playback for the selected slice.

Ffreq adjusts filter cutoff frequency, while Alt assigns a slice to one of four groups, from within which slices will be played in a random, alternating fashion, and Out assigns a slice to one of the device's eight independent outputs. It's difficult to conceive of much you might want to do to a REX file that couldn't be accomplished with Dr OctoRex, from the simple business of deploying a set of sampled loops irrespective of their original key and tempo, to much more drastic deconstruction and rearrangement.

Slice Edit mode makes it possible to isolate single hits or notes within a phrase, pitch them up or down, reverse or filter them, route them to separate mixer channels — even with the Alt parameter generate complex, random variations on the original phrase or pattern.

The major new feature in Record 1. It processes incoming audio, detecting pitches and automatically shifting them up or down to the nearest correct note, where 'correct' is determined by the processor's settings. You can select a root note and desired scale type, and have incoming pitches corrected to the nearest interval on that scale.

Neptune's user interface makes this easy. Custom scale variations can be created using the small 'keyboard' buttons beneath the central display, toggling notes on or off to include or exclude them.

Formant correction is included, to avoid overly artificial 'munchkinised' vocals, and by adjusting the Shift knob you can 'gender change' vocals, more or less realistically, in either direction. There are functions included to help with potentially problematic input signals. In Automatic mode, Neptune implements what it calls Catch Zones, which are pitch ranges within which an incoming note must fall in order to be caught and corrected.

It's even possible to define a custom scale with only a single 'correct' note, so that all incoming pitches are shifted to meet it. Post a Poll. Question Post. Posted by. Destiny 2. Help Forums. LED indicator with dimming effect Install the button and the toolbar The advanced graphical user interface looks like a real tool. Pre-configured, does not require installation. You can save your projects on the suggested shelves. Add, delete or edit any item in the text. Manual guidance settings integrate everything The wired connection with the two holes is the same as in this studio.

New Features [Latest] For faster delivery, create sound from your device. Replace MIDI and one-button automatic. Midi music, sing your music, sing your bass bar.

Click to export black and white audio to MIDI. The view is beautiful and friendly. Choose a visual theme that suits your personality, blue or dark in your location. Click on "Run" to activate. Reason Full Crack Free Download is a virtual studio for creating and editing music, audio, and video with full facilities.

The best free software that you can download now for your PC. It was designed for multimedia or music creation. Reason 7 Crack is a powerful software for the audio creation. It is a digital audio workstation by the Propellerhead and Reason. Reason 12 Crack is a powerful software for the audio creation.

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