Thor Polysonic Synthesizer Vst Download

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Thor Polysonic Synthesizer Vst Download 6,0/10 3934 votes

Digital Audio Workstation: Reason 5
Developer: Propellerhead (Reason Studios)
Release Year / Date: 2010
Version : 5.0.1 Build 1.472
Vista Compatibility: Full
Windows 7 Compatibility: Full
Bit depth: 32bit
Language: Multilingual

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Jun 19, 2013 Thor is a synthesis playground, a flexible sonic workhorse, but above all, an expressive musical instrument for the iPad. Thor highlights. Play Reason's Thor Polysonic Synthesizer on the iPad. Load any of the 1000+ expertly crafted synth patches, or create your own from scratch. Jun 12, 2019 This series of videos, by Zombie Fights Shark, takes an in-depth look at Propellerhead’s Thor Polysonic Synthesizer. The Thor Walkthrough series is a 28-part series of videos, covering all aspects of Thor. Each piece of the synthesizer is covered, with many example patches created for users to experiment with. Thor the polysonic synthesizer is cool at times. Till this day I still revisit this device for many different reasons. While it is flexible to play around with different oscillator types. The most interesting part is playing around with the Thor Modulation Bus matrix. Jun 20, 2013 - Move patches back and forth between Thor on iPad and Thor in Reason - Expressive touch interface with aftertouch and strumming Thor is a comprehensive synth app for the iPad. 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.

Who needs Reason?

Keyboard players and beat-makers who are not indifferent to sound quality and the overall sound production process. To musicians who have a DAW and who dream of a rack rack.

A rack with an unlimited number of “mouth-watering” synthesizers, samplers, drum machines and effects. For keyboardists, beat makers and DAW owners – in Reason you will find all the instruments and effects you have been looking for.

Integrated sound bank of amazing sounds. No matter what musical style you work in, with Reason you will create much more quality music.
Do it yourself! Customize all the connections for yourself and create your own sounds. Just flip the rack and connect the signal channels as you like.
Integrates with all existing hosts on planet Earth. With ReWire, you can use Reason with your favorite DAW. And in combination with the Propellerhead Record, you will become the proud owner of the most powerful production station.

In Depth: Propellerhead Reason 5 (Win)

Propellerhead Reason 5 (Win) is a virtual rack with tools and effects. During operation, you independently complete the rack. If you wish, you can simply “flip” the rack and connect the audio cables as you want and as you like. In Reason, everything, like in a real studio, is only faster and more reliable.
Finding “your” sound is very important when working with music. An extensive sound bank Reason will be an excellent assistant in this difficult, but such a responsible matter. Gigabytes of synth patches, multisample instruments, drum kits and effects – you will find what you have been looking for. Want more? Then tons of paid and completely free refills are waiting for you!

What really becomes a real surprise for new Propellerhead Reason 5 (Win) users is the ability to perform a huge amount of work in a short period of time and, of course, with incomparable pleasure from work. The legendary Reason working interface allows you to completely concentrate on the music. Reason – a fully integrated environment – fewer dialog boxes, more music !!!
Kong Drum Designer and Dr.OctoRex, replenished the Arsenal of musical instruments Reason, are designed to create the phenomenal sound of rhythms, drum tracks and beats. With Kong, which is based on synthesizers, samplers, REX loops and physical simulations, you can create and “play” on drum sets. Dr.OctoRex allows you to simultaneously load 8 REX loops into one player and provides instant transition between them. It is used to build a chord sequence, variations or complex loop loops.

Propellerhead Reason 5 (Win) introduces a completely new sequencing mode – Blocks. Compose the patterns, or blocks, of your song as you need, and send it to “Song” mode for super fast organization. You can also use the classic Reason sequencer with Blocks to create complex, perfect-quality compositions.
And that’s not all: discover the lost art of sampling with Live sampling. The new Reason format allows you to include all samples, even from refills, in a single composition file, which greatly facilitates the collaboration of Reason users. Fantastic multi-core optimization, a practical on-screen keyboard and an advanced sound bank are just the beginning.

Reason 5 Tools

Kong Drum Designer
Thor polysonic synthesizer
NN19 sampler
NN-XT advanced sampler
Malström graintable synthesizer
Dr. Octo Rex turntable loops
Redrum drum machine pattern
Subtractor analog subtractive synthesizer
Combinator for creating chains of instruments, effects and patterns.

Reason 5 Effects

RV-7 digital reverb
DDL-1 digital delay line
D-11 foldback distortion
ECF-42 envelope-controlled filter
DF-101 chorus / flanger
PH-90 phaser
COMP-01 compressor
PEQ2 2-band EQ
RV7000 advanced reverb
Scream 4 Sound Destruction Unit
BV512 vocoder with 4 to 512 bands and equalization
UN16 unison
4-band mastering EQ
Dual band stereo imager
Stereo compressor with sidechain input, soft-knee mode and CV out
Maximizer with look-ahead and soft clip

Additional functions

RPG-8 monaural arpeggiator
ReGroove Mixer real-time groove console
Matrix pattern sequencer
Multifunctional multi-track sequencer with the new Blocks mode
14 x 2 w / EQ mixer and send / return effects
6: 2 linear stereo mixer
Spider Audio Merger & Splitter
Spider Control Voltage Merger & Splitter
Mapping to external MIDI controllers and equipment control panels

Changes and corrections v. 5.0.1

Thor Polysonic Synthesizer Free Download

The handling of bad sound drivers has been improved, lessening the risk of a crash due to faulty drivers.
Added Remote support for M-Audio Oxygen 88.
Added localized help and documentation in German, Japanese and French. Note: The localized help and documentation files are automatically included when Reason or Record are installed from the DVD. When downloading Reason or Record, you need to download and install localized help and documentation separately.
During certain circumstances, if a MIDI control surface was locked to a device and the user deleted any device from that song, the program could crash. This would happen if there was another song open and that song was playing back in the background.
The “Arpeggio Notes to Track” function on the RPG-8 could cause the program to crash if some of the RPG-8 parameters had been automated.
Saving a patch could in rare cases cause the program to crash. This happened if the user loaded a patch from a folder containing a huge number of patches, then moved the patch file to another folder and finally attempted to resave the patch by Alt-clicking the Save Patch button on the device.
In some cases, after copying and pasting a sample-based device from one song to another, the pasted device could refer to the wrong samples if the samples were self-contained.
Cable drawing has been slightly improved.
Thor’s step sequencer in random mode triggered two voices. This could happen when the “Step” run mode was selected and the direction was set to “Random”.
The program will occasionally check the available hard disk space. On some systems, these checks could make the user interface temporarily unresponsive.
Duplicating devices a large number of times could cause a graphical bug in the rack.
A number of localized (translated) text strings were cut off.
Voice handling for the NN-XT has been optimized slightly.
Dr. OctoRex slice numbers were not shown correctly in Edit mode when using the application in German.
If a song used SoundFonts under Windows Vista or Windows 7, the program could store the wrong path to the referenced samples. As a result, there would be missing sounds next time the song was opened.
Switching from MIDI sync to internal sync could result in an “Unknown Exception” alert.
The program could become very unresponsive when working with songs with a large number of self-contained samples.
Songs or combi patches could load with incorrect settings. This happened if a Combi rotary or button had been programmed to control a certain device parameter, and this parameter had been changed “manually” so that its state conflicted with the Combi rotary / button. After saving and loading, the setting of the device parameter was reset to match the Combi settings.
When stopping after recording in ReWire mode, the program could freeze for a few seconds.
Updated some Japanese translations.
The program could assert when changing to virtual MIDI input settings.
Kong’s Nurse Rex in Slice Trig mode within a Mute Group would not mute the voice when another pad was triggered.
A crash could be caused by dragging one or more half width devices and hovering over a Disk Channel device that doesn’t show inserts.
The function of bouncing several audio clips to new samples or to a new recording could take longer than expected.
The remote override mode was not completely blocked while the program tried to quit.
Muted audio clips in Blocks while adjusting the Block Clip offset could look a bit peculiar.
Sample Editor now handles samples with a sampling frequency below 8000 HZ correctly.
Names of Mix Channels could become blank in certain cases.
Bug in the Mix / Disk-channel, which could occur whenever a device was added or removed in the combi of a channel device (insert effects). This bug might show itself by some short clicking sound, artifact or short freeze when adding or removing devices in a channel device. The Combinator was not affected, and also not the master section.
There was a bug when the user tried to move the notes that were being recorded either by scaling the tempo in the tool window or nudging them with Ctrl-left / right.
Handling of ReGrooved blocks has been improved.
NN-Nano now uses High Quality Interpolation when pitching samples.
Converting pattern automation to notes disregarded pattern offsets incorrectly.
Automation of aftertouch, expression and breath are now smoothed in Thor.

After installation finished
After installation at the first start – Refills (Standard soundbanks of Reason) is initialized.
Copy the refills
You need to copy them from the folder with refills to the root folder of the Installed Reason.
Or mount
Or, mount a disk image with refills from version 5.0 and Reason will automatically copy refills!

There's a lot to get to grips with in the latest version of Reason - but we begin by looking at the basics of the giant new semi-modular synthesizer, Thor.

The eminent writer and zoologist Richard Dawkins is often heard to say that, while it's true that one cannot disprove the existence of God, equally one cannot disprove the existence of Thor (or, to use Bertrand Russell's example, the Celestial Teapot). Dr. Dawkins will be delighted to learn that the existence of Thor is now an empirical fact, as anyone who pays their 99 Euros to upgrade to Reason 4.0 will testify. The jury is still out on the Teapot.

OK, that's enough of that! Thor is, of course, the new flagship synth in Reason. Its subtitle of 'Polysonic Synthesizer' hints at the fact that Thor is more like several synths in one, by virtue of the fact that the oscillator and filter sections are 'hot swappable' between several quite different modules. If Reason is a synth rack, Thor is a synth rack within a synth rack.

Basic Architecture

Thor's user interface is divided into four sections. At the top is the Controller Panel, which is the only section displayed when you first create a Thor. (To see the rest of the interface you need to click the Show Programmer button.) The Controller Panel houses several basic controls, such as those for Polyphony, Portamento and trigger sources. As well as the standard Pitch and Mod Wheels, you'll also see two rotary controls, and two buttons. These can be assigned to alter parameters within the patch, for extra performance control.

Thor lets you choose from numerous oscillator and filter types. The Thor device at the top has been completely stripped out, while the patch below uses a variety of different modules.The next section of Thor contains all the main synth parameters, divided into modules. To the left are the three oscillator slots, followed by two filter sections, a voice mixer, and a shaper (we'll look more closely at how these fit together in a moment). To the right of these you'll find three envelope generators, an LFO, and a level/pan control.

All these parameters belong to the 'per-voice' side of Thor. Each note played has its own filters, LFO and envelopes from this section, making Thor a true polyphonic synth. All the parameters on the right-hand side of Thor (on the brown panel), are global — they are single modules operating on the mixed output of Thor's voice section.

Below the main Programmer area is the Modulation Bus Routing Matrix, where routing of both control (CV) and audio signals can be defined. One of the unusual features of Thor is that you can interconnect these signals — for example, using an audio signal to modulate a filter, or using a LFO as an audio oscillator.

Finally, at the bottom of Thor's panel you'll find the Step Sequencer, which allows you to sequence notes or modulate any other parameters to add melodic or rhythmic patterns to a patch.

Building A Thor Patch

Thor falls into the semi-modular synth category, in that although you have a very high degree of routing flexibility, there is a pre-defined routing structure. This means that you can get sounds out of the synth without needing to be too much of a boffin, but, if you do, in fact, have patches on the elbows of all your jumpers, you can over-patch the routing in nearly any way you might imagine.

Pop-up menus give access to the six oscillator types.The screen below shows an initialised Thor (see 'It's A Default Patch, Init?' box). Only the Oscillator 1 slot is enabled in the Init Patch, and is set to the Analog Osc type. This is your traditional analogue-style oscillator, switchable between saw, triangle, and sine wave shapes, plus a square wave with PW (Pulse Width) control. Add another oscillator by clicking on the pop-up menu at the top left of the blank Osc 2 panel (as in the screen above). At first you won't hear any change, because you need to route the oscillator somewhere. Each filter has a set of three square, numbered input buttons (which light up in red when active), corresponding to the three oscillators. Click Filter 1's '2' button to route Osc 2 through Filter 1.

Both oscillators are the same at the moment, so tune Osc down by one Octave, using the Oct knob. Now detune Osc 2 down about 10 cents using the Tune knob, for instant fat analogue-ness. The lines and arrows on Thor's panel indicate the default signal routing. Following these you'll see that the oscillators go through the Mixer before hitting the filters. Use the Balance control to adjust the Osc 1/Osc 2 mix.

It's A Default Patch, Init?

In Reason 4, newly created instruments come pre-loaded with a default patch from the Factory Sound Bank. This is a change from previous versions of Reason, where all new instruments defaulted to an 'Init Patch'. For synths, an Init Patch usually meant a simple saw or sine wave, while the samplers and Redrum appeared with no samples loaded. The advantage of a pre-loaded patch is that the instrument's patch browser is immediately pointing at the relevant directory in the soundbank, so you don't need to navigate through various levels of folders to load a patch. Despite the change, each instrument still has an Init Patch, which can be loaded by right-clicking on the device and choosing Initialise Patch.

Filters & Shaper

In the Init Patch, a low-pass ladder filter has been selected at the Filter 1 slot. This is a classic Moog-style analogue filter emulation. Below the ubiquitous Freq and Res controls are three smaller controls that demonstrate some of Thor's pre-defined control routings. The Env control assigns the Filter Env module to the filter frequency, and the Vel knob scales this modulation by note velocity. The Kbd knob links filter frequency to MIDI note pitch.

Thor's Init Patch with a single analogue oscillator and filter.After Filter 1, the audio signal passes through the Shaper, where various types of distortion can be introduced. Following the default routing on the panel, you'll see the next junction consists of two arrow buttons. These let you choose whether the audio proceeds on towards the Amp, or is diverted through Filter 2 to use the two filters in series. By default, the output from Filter 2 is disabled, so you'll need to click the red switch that routes it to the Amp. To use the filters in parallel, route the oscillators directly to both filters. You also have the option of routing some oscillators to one filter and some to the other.

From the filters it's on to the Amp, which is modulated by default by the Amp Env, to shape the level of the sound over time. This is the last stage that operates individually on a voice; after the Amp, the voices are mixed for output or processing by the global modules.

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Global Section

The first of the global stages is another filter slot, with the same choice of four filters (or none). By default, the Global Env is assigned to this filter. In most cases you will want to turn the Env control off for this filter, as having an envelope controlling a monophonic filter in a polyphonic patch is problematic, as discussed in the last Reason workshop in the October 2007 issue of SOS. This is even true of monophonic patches, as the Global Env is always in Legato mode. (When you've mastered the Modulation Matrix you may see a way to fix this).

This assignment creates PWM (Pulse Width Modulation) of Oscillator, with Rotary 1 adjusting its depth.The final modules before the outputs are the Chorus and Delay effects, making Thor the first Reason synth to have these effects onboard. The modulation on these devices is stereo, so as soon as you turn up a Mod Amt (amount) knob, the sound will widen considerably. Prior to this point the signal path is mono, unless you start messing with the routing using the Modulation Matrix.

Modulation Madness

Aside from the interchangeable oscillator and filter modules, the feature that really makes Thor a heavyweight synth is the snappily titled Modulation Bus Routing Matrix. Many synths have a matrix for assigning modulation sources such as LFOs or aftertouch to parameters. Thor's routing matrix goes further and allows you to route audio signals, turning Thor into a fully modular synth.

Let's look at a simple modulation assignment first: setting up an oscillator with PWM (Pulse Width Modulation). Change Osc 1's waveform to pulse, and set the PW knob to the middle. Now, in the first slot in the Matrix, click on the Source field, and choose LFO 2 as the source. Notice that the list of sources is divided among the voice section and global section. Now choose Osc 1 > PW as the destination. To finish the assignment, you need to set the depth of modulation, between -100 and +100, in the Amount field. Set it high and hear the movement this adds to the sound.

Two examples of audio routing in the Matrix. Negative values imply reversed phase.In the screenshot above, you'll notice that I've also added Rotary 1 in the Scale field. Thor's mod scaling system allows you to adjust, or side-chain, modulation or routing assignments with a third control or parameter. In this example I've assigned the Rotary 1 control to scale the modulation by a factor of 100 percent. The rotary will now provide fast adjustment of PWM between none and the full amount set in the first Amount field.

The first bank of Matrix modulation slots thus allows for simple source and destination assignments with optional scaling. The slots in the second bank have an extra destination field, so you can map a single source to two destinations. The third bank (below the second in the Matrix) have a single destination, but two scale sources, so you could, for example, side-chain a modulation with an envelope and also vary it with the Mod Wheel.

Custom Audio Routing

The Matrix can be used to route audio between Thor's modules if you wish to create patches that deviate from the pre-defined routing possibilities. For example, you might want to route the output of Filter 2 to Filter 1, or route an oscillator directly to the Amp, to bypass the filters and mix a clean version of the signal with the filtered and/or shaped version. Another trick is to create a feedback loop from the Shaper to the input of Filter 1 to overdrive the sound. Both of these tricks are shown in the screen on the left. Notice that you can vary the level of the signals from one module to the next when using the Matrix, whereas the main panel routing controls are just on or off.

Filter 3 has left and right inputs, allowing for panned routing. Here the Scale slots are being used to apply an envelope to the audio signals .Another audio routing application is to create a stereo patch by routing different oscillators or filters to the left and right inputs of Filter 3. This trick is actually described on the back panel of Thor (and shown in the screen below). Notice that the Amp Env has been assigned to scale the signals. This is because you are bypassing the main Amp module, so need to manually patch in an amplitude envelope. The patching allows you to add variation between the left and right outputs, either by routing different oscillators to Filters 1 and 2, or by varying the two filters.