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Reason Electric Bass ReFill Manual

Manual by Fredrik Hylvander

Photo by Johanna Hanno

The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. The software described herein is
subject to a License Agreement and may not be copied to any other media expect as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced
or otherwise transmitted or recorded, for any purpose, without prior written permission by Propellerhead Software AB.

Note: Trademarks referred to within the Reason product are the property of their respective trademark holders. None of these trademarks holders are affiliated with Propellerhead Software
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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
symbols are protected trademarks and trade names of their respective holders. All rights reserved.
Reason Electric Bass

Reason Electric Bass ReFill Manual

Table of contents
3 Getting started
6 Introduction
8 The best of the best
18 Hypersampling
19 Using Reason Electric Bass
41 ReFill folder index
43 Credits


Getting started The recommended system requirements for REB are as follows:
System requirements • Windows XP or Vista
• Reason 4.0.1 or later
Due to the size and complexity of Reason Electric Bass (henceforth re-
• Intel P4 2.4 GHz
ferred to as REB), this ReFill is not suited for low-end systems lacking the
processing power and memory required for using REB without hitches • 2 GB RAM
and glitches. • 4 GB free hard disk space (for the 24-bit ReFill versions)
• Low-latency ASIO compatible sound card
• DVD drive
The minimum system requirements for REB are as follows: • 4-octave MIDI keyboard with MIDI interface
• Sustain pedal
• Windows XP or Vista Mac OS:
• Reason 4.0.1 or later • Mac OS X 10.4 or later
• Intel P4 1.4 GHz / AMD Athlon XP • Reason 4.0.1 or later
• 1 GB RAM • Intel Mac
• 1 GB free hard disk space (for the 16-bit ReFill versions) • 2 GB RAM
• 16-bit Windows compatible audio card • 4 GB free hard disk space (for the 24-bit ReFill versions)
• DVD drive • DVD drive
• 4-octave MIDI keyboard with MIDI interface
Mac OS: • Sustain pedal
• Mac OS X 10.4 or later
• Reason 4.0.1 or later
• Intel Mac
• 1 GB RAM
• 1 GB free hard disk space (for the 16-bit ReFill versions)
• DVD drive


DVD-ROM contents – overview REB Documentation (folder)
The REB ReFill comes on two separate DVDs - one containing the 24-bit Contains this Reason Electric Bass ReFill Manual and a Key Map in pdf
version and the other containing the 16-bit version. The file and folder format.
structure is exactly the same on both DVDs.
In the root directory of the DVD-ROM you will find the following: REB Demo Material
D Reason Electric Bass.rfl (file) Contains Reason version 4 demo songs (rps and wav) and demo
sequences (rns and wav).
D Reason Electric Bass Samples 1 -16.rfl (file)
D Reason Electric Bass Samples 2 -16.rfl (file) REB Instrument Auditions
Contains audio snippets of a few bars of each bass instrument in wav
D Reason Electric Bass.rfl (file)
D Reason Electric Bass Samples 1 -24.rfl (file) Other Propellerhead products (folder)

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.


Installation Since the above four questions are non-issues for offline rendering, when
Reason works at whatever pace the computer can handle, this method
Simply drag all three ReFill files of the DVD-ROM of your choice (the 24- gives you the best of both worlds - efficiency, speed and power conserva-
bit versions or the 16-bit versions) to the folder where you keep your Re- tion during the creative stage, and supreme audio quality at the mixdown
Fills. That’s it! stage.
! It’s important that you drag all three .rfl files to your com- ! Note: As the 16-bit /24-bit REB ReFills are designed to be in-
puter. If any of the Reason Electric Bass Samples files terchangeable, all data except the sample bit rate is identical
should be missing in the folder on your computer, the factory and therefore the ReFills cannot co-exist in any location
patches might not load. where Reason scans for ReFills, such as the Reason pro-
gram folder, the Desktop, or any additional folders you have
Which one should I choose – 24 or 16 bits? added to the Locations pane in the Reason browser. If you
plan on alternating between the two, the version not in use
In order to determine which ReFill version to pick, you need to consider must always be kept outside of Reason's jurisdiction!
the following questions:
If you have a computer with lots of power and bandwidth, you can safely
• Is your computer powerful enough to handle 24 bits? (CPU speed, go for the big version, and enjoy the REB ReFill in 24 bits at all times!
system bandwidth, RAM size, audio card…)
• Do you have any practical or creative need for the 24-bit format?
• Are you prepared to dedicate the disk space required for the 24-bit
• Are you concerned about workflow issues such as loading and brows-
ing time?
If the answer to two or more of the above questions is no, the choice is
easy - pick the 16-bit version. Conversely, if the answer to all four ques-
tions is yes, opt for the 24-bit version. If you're still undecided, you may
want to consider this solution: Use the 16-bit version while you're com-
posing, arranging and mixing, and once you're ready and set to render an
audio mixdown you can temporarily replace the 16-bit version with the
24-bit version.


Introduction Total sound control
With the Reason Electric Bass Refill you have access to a selection of
some of the finest electric bass instruments ever produced - captured
through parallel signal chains that include some of the true heavyweights
in the amp and microphone business.
Parallel signal chains make it possible to swiftly create a tailor made
sound and feel for your bass without possessing professional sound engi-
neer skills.

Reason Electric Bass ReFill is designed to be the ultimate source for

electric bass sounds for any type of contemporary music. The Reason
Electric Bass ReFill is also designed to be the most playable product ever
made for people who want to lay down their own electric bass lines in a
music software. And the only product which provides real, world-class
studio-ready, production sounds - with Hypersampling control.
With the Reason Electric Bass ReFill we are solving difficult tasks like the
handling of alternate notes, hammer-ons, glissandos, slides, mutes, ghost
notes, fret noise etc. The Reason Electric Bass ReFill takes care of all
these issues and provides you with the ultimate production-ready electric
bass library.


Reason Electric Bass ReFill comes with a wide variety of Combinator Pre- By providing parallel signal chains and thus replicating a professional re-
set patches that allow you to pick a bass and then easily blend different cording situation, REB lets you be both the musician and the engineer at
amp and mic combinations to change the total character of the sound. the same time. REB gives you all the control you would have in a profes-
There is also a selection of Combinator Style patches divided into differ- sional studio - with the added benefit of total recall of not only the mixer
ent musical styles to make it easier to find the perfect sound for your pro- settings, but in fact the whole package; the bass, the amp, the micro-
ductions. phones, the effects, everything exactly the way you left it. The illustration
below shows the various signal chains that are available in the Reason
Electric Bass ReFill. For more detailed info, see page 16.

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

Subkick DI Box DI Box

Neck Pickup Bridge Pickup
Coles 4038

Fender Jazz Bass

Rickenbacker 4001 Coles 4038


The best of the best Fender Jazz Bass - 1968
(played with the fingers)
With the emphasis on sonic and creative realism, it is vital that every com- One of the most recorded bass
ponent along the path from the bass guitar strings to your computer is the models of all times. This partic-
best of the best - no weak links anywhere. ular instrument is in original
We therefore took the utmost care in assuring that the studio, the record- condition with no parts ex-
ing gear, the instruments, and last but not least the talent involved, was changed.
top notch across the board. Pickups: two bipole pickups
More than 25 years of experience of electric bass recording assures the connected in parallel.
absolute best combinations of instruments, amp rigs, microphones, mic Strings: Ernie Ball Nickel Round
preamps, mixer and recording equipment. Wound (a couple of months
Aces of basses Character: Very dynamic bass
Our first goal was to gather a representative selection of fine electric bass which sounds very different de-
models. We wanted a wide range of basses, with different character, to pending on playing style and is
cover different musical styles. We therefore contacted one of the most re- therefore suited for a wide vari-
nowned session bass players in Sweden, Sven Lindvall, to see what he ety of musical styles. Very direct
would suggest. Sven took a tour around his studio and returned with the sound with lots of presence.
impressive collection presented on the following pages. All instruments Famous users: Flea (Red Hot
except for the Rickenbacker are owned by Sven. Chili Peppers), Geddy Lee
(Rush), Leland Sklar, Jaco Pastorius.


Fender Precision - 1965 Fender Precision - 1978
(played with the fingers) (played with a pick)
The Fender Precision bass was This P-bass is very similar to the
the first mass-produced electric 1965 P-bass described on the
bass model and is probably the previous page. The big differ-
most best-selling electric bass ence in sound mainly depends
of all times. The first “P-bass” on the round wound strings and
shipped in 1951 and it’s still the fact that it’s played with a
being manufactured today. pick. It also has a maple fret
The P-bass with flat wound board which gives it a harder
strings played with the fingers and more transient tone.
produces the typical warm and Pickups: 2 single coil (1 pick-up
“round” ‘60/’70 R’n’B and for 2 strings) that work like a
Motown sound. humbucker.
This particular instrument was Strings: Ernie Ball Round
sampled played with fingers and Wound.
there is hardly any distortion in Character: The round wound
the samples - not even in the strings played with a pick makes
loudest velocity layers. the sound very rich in overtones,
Pickups: 2 single coil (1 pick-up perfect for rock, new wave and
for 2 strings) that work like a humbucker. punk music.
Strings: Ernie Ball Flatwound for less overtones and more “round” tone. Famous users: Adam Clayton (U2), Geezer Butler (Black Sabbath), Sid Vi-
Character: Very deep and warm sound with characteristic mid-range and cious (Sex Pistols).
only a little high end.
Famous users: James Jameson (The Funk Brothers, Motown), Donald
“Duck” Dunn (Stax), Pino Palladino.


Gibson EB-0 - 1972 Gibson Les Paul - 1969
(played with the fingers) (played with the fingers)
The short scale EB-0 is one of An American medium scale bass
Gibson’s most popular bass with British sound manufactured
models and was manufactured between ‘69 and ‘71. The body
between 1959 and 1979. The is made out of solid mahogany,
design is very similar to the pop- set 3-piece mahogany neck with
ular Gibson SG electric guitar. rosewood fretboard. Due to its
Pickups: one EB humbucker. heavy weight the Les Paul bass
is more popular in the studio
Strings: Ernie Ball Round than on stage.
The first Les Paul bass was a
Character: The EB-0 is re- low-impedance instrument
nowned for its deep and fat which required a transformer to
sound. It’s very suitable for dis- play through standard amps. The
torted sound. output impedance on this partic-
Famous users: Jack Bruce ular instrument has been mod-
(Cream), Bill Wyman (Rolling ded to suit standard amps,
Stones), Glen Cornick (Jethro though. In the REB only the sig-
Tull), Andy Fraser (Free), Kim nal from the neck pickup was
Gordon (Sonic Youth). sampled. On the other hand, it’s
the neck pickup that provides the characteristic Les Paul sound.
Pickups: Two humbucking pickups that were modded to high-impedance.
The REB only uses the neck pickup.
Strings: Ernie Ball 5-string vintage round wound set (more than 10 years
old). The thinnest string is not used.
Character: “Plunky” sound which sits right in the mix. A lot of mid and low
end with a distinctive attack. Sounds similar to a hollowbody bass.
Famous users: Suzie Quatro


Kay Hollowbody - 1963 Music Man StingRay 5
(played with a pick) - 5 string fretless - 2001
The Kay Hollowbody electric (played with the fingers)
basses were sold on mail order The MusicMan StingRay first
in the US and were quite inex- came out in 1976 and was de-
pensive. Because of the low signed by Leo Fender. It was
price the Kay bass could be one of the first production elec-
found almost anywhere in stu- tric basses with active electron-
dios across the US and has ap- ics. It featured a 9V battery to
peared on many recordings over power the built-in preamp and
the years. EQ. This particular instrument is
This model (in very good condi- a 5-string, fretless one and was
tion) was chosen for the REB for sampled without the character-
its “dirty” and “muted” ‘60s” istic vibrato.
sound. It was played slightly Pickups: MusicMan Humbucker
muted with a pick, and only with active.
Strings: D'Addario Stainless
Pickups: Gibson Thunderbird Flatwound.
Character: The StingRay doesn’t
Strings: Pyramid Gold Flat- produce the traditional “fretless”
wound. sound but a more solid and “round” tone with fantastic frequency re-
Character: A “plunky”, hollow sound similar to that of the Les Paul bass. sponse. When you play chords on the StingRay the notes harmonize ex-
tremely well together.
Famous users: No-one that we know of by name but it has appeared on
numerous recordings. Famous users: Tony Levin, Mick Karn (Japan), Louis Johnson (Brothers
Johnson), Pino Palladino.


Rickenbacker 4001
- 1974
(played with a pick)
Rickenbacker guitars and
basses have very unique design
which make them easy to spot
wherever they appear. The very
popular 4001 model first came
out in 1961 and this particular
red/white Rickenbacker 4001
bass was manufactured in
1974. It’s owned and played by
Swedish bassist Stefan Fandén.
Pickups: one humbucker
(bridge) and retrofitted with a
Toaster (neck).
Strings: Elixir .040-.095 Super
Light round wound with
Nanoweb coating.
Character: Rickenbacker basses
have a very distinctive tone with a rich frequency content - almost piano-
like. The 4001 bass has a neck-through construction for really solid sus-
Famous users: Chris Squire (Yes), Geddy Lee (Rush), Lemmy (Motör-
head), Roger Glover (Deep Purple), Paul McCartney, Roger Waters (Pink


The amp rigs Fender
Ampeg B-15 S “Black face” -64
Portaflex Bass The Fender Showman
Combo is a very popular all-
round amplifier de-
The Ampeg Portaflex
signed for use with
"flip-top" bass amp
electric guitars,
became very popular
electric bass guitars
in the ‘60s. This all-
and keyboards.
tube amp model has
been used on thou- The Fender Showman
sands of classic re- rig has a warm “all-
cordings and is still round” character with
one of the favorites in a lot of presence - but
recording studios not so much low end
world-wide. as the Ampeg B-15 S.
The Showman can
This B-15 S Combo
also be forced to dis-
has a powerful 70
tort quite easily which
watt RMS output fed
is very nice in many
into a 15" bass reflex
The 50 W RMS output
The powerful, warm
from the Showman
and “vintage” sound makes the Ampeg bass amps mighty popular among
amp is fed to the two 12” elements in the cabinet.
bass players and recording studios around the world.
Because of its character the Fender Showman rig was chosen as a nice
“sonic counter-part” to the Ampeg rig.


The mics The list below shows with which amp rig the mics were used.

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 Didrik De Geer M49

1 x Coles 4038

1 x Yamaha SKRM-100 Subkick

| Source | Microphone
Fender Showman rig 1 x Shure SM57

1 x Didrik De Geer M49

1 x AKG D12

1 x Coles 4038

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.


Coles 4038 The mic preamps and DI-boxes
Also known as the “horse shoe” for its shape, the Coles 4038 is a modern
classic and studio favorite among ribbon microphones. Originally designed Chandler TG2
by BBC (British Broadcasting Corporation) some 40 years ago and still
The Chandler TG2 is a recreation of the EMI TG12428 preamp used in
manufactured today by Coles Electroacoustics.
EMI/Abbey Road recording and mastering consoles in the late 60's and
early 70's. In our setup the TG2 was used together with the Didrik
Didrik De Geer M49 DeGeer M49 tube microphone.
Hand crafted tube microphone by Swedish inventor Didrik De Geer. A
true “Rolls Royce” of microphones with only a handful built. API 512C
The API 512C is a discrete mic/line preamp by the company Automated
Neumann U47 FET Processes Inc. The API 512C was used together with the Shure SM57
and Yamaha SKRM-100 Subkick microphones.
A true microphone classic, ideal for recording bass guitars. Originally a
valve microphone which was later “upgraded” with a FET transistor due to
lack of suitable valves. One of the most sought after microphones in pro- Avalon U5
fessional studios.
A high-voltage DI-preamp by the company Avalon Design. The U5 was
used as DI-box when recording the REB basses.
Shure SM57
One of the most popular microphones in recording studios. The SM57 is a Fairman TMA
dynamic microphone with a cardioid, directional pattern. It doesn’t require
A tube microphone preamp by Danish company Fairman. In our setup the
phantom power and it’s very sensitive to direction. The SM57 is perfect for
Fairman TMA was used together with the AKG D12 and Neumann U47
recording loud sources such as drums and amp rigs.

Yamaha SKRM-100 Subkick Fairman TRC MkII

Consists of a 6.5" speaker shock-mounted into a 10" drum shell and re-
A tube recording channel unit by Danish company Fairman. The TRC was
verse-wired to an XLR jack to convert the speaker diaphragm into a mi-
used as DI-box when recording the REB basses.
crophone diaphragm. The Subkick picks up the low-end that a normal
microphone can't - from a bass guitar cabinet, for example.
REDDI Tube Direct Box
Tube DI box by the company A Designs Audio. The REDDI was used as
DI-box when recording the REB basses.


The signal chains
The basses and amp rigs were recorded using parallel signal chains for For the two double-pickup basses we split the signal so that the neck
total sonic flexibility. The figures below show the signal chains for the two pickup was routed to the Ampeg rig and the bridge pickup to the Fender
bass amp rigs. We used slightly different signal chains for basses with rig. The two signals were also split and sent directly to Pro Tools.
double pickups and single pickups.
Fender Showman Fender Showman

Shure SM57 Shure SM57

API 512C API 512C

Didrik M49 Didrik M49

Chandler TG2 Chandler TG2


Fairman TMA Fairman TMA

Coles 4038 Bridge Pickup Coles 4038

SSL 9000 SSL 9000
Pro Tools Pro Tools
DI Box
DI Box
Ampeg Fliptop DI Box Ampeg Fliptop

Didrik M49 Neck Pickup Didrik M49

Chandler TG2 Chandler TG2
Neumann U47 Neumann U47
Fairman TMA Fairman TMA

Fender Precision x 2 Subkick Subkick

Gibson Les Paul
API 512C Fender Jazz Bass API 512C
Stingray Fretless
Rickenbacker 4001
Gibson EB0
Kay Hollowbody Coles 4038 Coles 4038
SSL 9000 SSL 9000

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.


As you can see, we ended up with quite a lot of signals - nine from each The studio
single-pickup bass and ten from each double-pickup bass! The samples
from all these signal chains can now be freely selected and blended sim-
ply by choosing the corresponding set of NN-XT samples in our ready-
made Combinator Templates patches. The sample sets are sorted in fold-
ers divided into separate amp and mic configurations for each bass model.
Most of the Combinator factory presets combine signals from both amp
rigs in each preset. Since the sonic characteristics of the Fender and Am-
peg amp rigs are quite different, possibilities arise to blend signals from
both rigs and produce very nice-sounding and unique bass sounds.
All instruments, with their different amp and mic configurations, were
sampled in several velocity layers and with different playing techniques
such as hammer-ons, glissandos, alternate notes, slides etc. to form the
most complete, dynamic and “live” electric bass instruments ever made for

Reason Electric Bass was recorded at Mandarine Studios in Stockholm.

The Mandarine Studios is a modern state of the art recording facility
equipped with an SSL 9000 console and an outstanding array of out-
board gear. The recording equipment consists of a Pro Tools HD system.

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.


Hypersampling What is Hypersampling?
D Multiple velocity levels
Multisampling is the established standard for digital representation of an- For capturing the full dynamic range of each instrument.
alog instruments. While it has been refined somewhat over the years, mul-
tisampling still has a few shortcomings: D Multiple microphones and signal chains
For capturing, controlling and blending the characters of various amps
• The dynamic resolution is often too limited, failing to capture the sub- and mics.
tle nuances between the steps.
• Typically, a single microphone (or, at best, a merged signal from multi- D Multiple same-velocity samples
ple microphones) is used, leaving the recording distance, ambience Alternation between similar sounding samples, for a more realistic
and character set in stone. performance.
• You usually get only one sample per “velocity span”, while a real in- D Multiple variation sampling
strument sounds slightly different for every pluck, stroke or beat (even Capturing the different playing techniques, sound attributes and
when played at a static velocity level) noises that make the instrument come alive.
• Instruments can be played with countless approaches and techniques,
yet multisampling typically only offers the basic archetypes. At best,
you get a couple of velocity layers, but these only represent a tiny
fraction of all the sound variations you can get out of an analog instru-
So, how could we bring something fresh to the table?
The answer: Hypersampling. We like to refer to it as multi-dimensional
sampling, because it gives you complete control over many aspects of in-
strument reproduction that used to be out of reach for the end user.


Using Reason Electric Bass • Demo Songs (rps) - ready-made demo songs that show how the REB
basses can be use in a context with other instruments.
• Demo Sequences (rns) - Reason song files that show how you can
easily build up bass lines using the different attributes of the REB.

The Bass Patches folder

Inside this folder are five subfolders. Four of them contain Combinator
patches - Preset, Style, Producer and Template. The fifth folder, Separate
Mics, contains the NN-XT patches that the Combinator patches are built
q A complete folder index can be found on page 41.
D Preset Basses contains Combinator patches representing
the eight featured basses, in 2-3 variations with different
combinations of signal chains.
The Preset Basses consist of Combinator patches based on each of
Reason Electric Bass has been designed with a broad spectrum of musi-
the eight recorded basses of REB. The Preset Bass patches are
cal styles in mind, and has multiple entry points to accommodate the dif-
stored in separate subfolders for each of the basses. The signal
ferent needs of different user categories. Here is a brief summary of the
chains (amp+mic) combinations are indicated in the patch name. In
REB contents:
most cases several signal chains are mixed and blended to create re-
• Preset Basses - Combinator patches based on each of the eight ally heavy bass sounds. These basses also represent an ideal starting
basses form the heart of REB. The Combinator patches are stored in point for making up user patches.
separate subfolders for each of the basses.
• Producer Basses - virtual “signature basses” created by professional D Producer Basses contains Combinator patches exclusively
music producers. made by professional music producers.
Combinator patches with specific routing and effects all according to
• Style Basses - Combinator patches designed to serve as “quickstart”
the creative choices and preferences of the designers.
platforms for various musical styles.
• Template Patches - “Build your own bass sound” templates.
• Separate Mics - these NN-XT patches of individual instruments and
signal chains are the building blocks of the Preset and Style patches.
• Effect Patches - effect patches tailor-made for electric basses.


D Style Basses contains Combinator patches organized by mu- The Sequencer Material folder
sic style.
The Style Basses consist of Combinator patches based on different A collection of demo songs for various genres is found here. There are
musical styles or on styles of artists/bands or songs. In most cases also a couple of demo sequences that show how bass lines could be con-
several signal chains are mixed and blended to achieve really charac- structed using the various attributes in REB.
teristic bass sounds.
D Template Patches contains different “build your own bass” Demo Songs
templates, with signal chain configuration variations. Reason song files (.rps) featuring complete arrangements: Combinators,
This is the virtual bass shop where you go when you want to replace loaded with sounds, and all routing ready-made - mixer, effects, EQ, com-
individual sets of bass samples in the ready-made template, or when pression, various tweaks - everything fine tuned for a particular music
you want to build your own basses from scratch. The intended mode style.
of use is to load up a Template Patch and then select NN-XT patches
for each instrument from the Separate Mics folder.
Demo Sequences
D Separate Mics (NN-XT) - this subfolder contains folders for
each of the eight featured basses, with subfolders for each Here you’ll find a number of Reason demo sequences (.rns) that show
signal chain. Each signal chain subfolder contains three sets how you could easily build up bass lines using the different attributes in
of samples: regular sustained notes, hammer-ons and glis- the REB. The Demo Sequences show, for example, how you can start by
sando notes. recording the bass notes on one Note Lane and then continue adding
This is the virtual bass shop where you can hand pick different sets of variations, fret noise, slides and various attributes on additional Note
samples and build your own custom basses, either entirely from Lanes to bring the bass line “to life”.
scratch or by using the Template Kits.

The Effect Patches folder

Scream 4, RV7000 and Combinator effect patches
Scream 4 distortion, RV7000 reverb and Combinator effect patches in-
cluding various effect devices. Classic bass effects as well as custom-
made ones.


Playing Reason Electric Bass FX & Noise
To take full advantage of the REB Combinator patches there are some The FX & Noise section of the keyboard, keys C0-B1, is used to produce
things that need to be explained about the keyboard layout, sample map- various types of slide effect sounds and fret noise.
ping and playing technique etc. The REB takes Hypersampling to a new
level by introducing key switches for alternating sample sets and playing FX & Noise
techniques. By using the Mod, FX & Noise keys while playing the regular
bass notes you will truly reach new levels in realism!
Slides Fret Ghost Mod Original Note
Keyboard layout for Combinator patches

Up-down fast

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.

Fret noise

Fret noise

Ghost G
Ghost A
FX & Noise Modifiers & Notes

Slides Fret Ghost Mod Original Notes Alternate Notes Slides

Up-down fast

Down fast

Fret noise

Ghost D

C0 C1 C2
Ghost E

Fret noise

Fret noise

Ghost G
Ghost A

D Slides


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.


Mod & Original notes D Glissando
Glissando is the sound you get when you slide the finger on the fret
board from one fret to another while the string is still sounding. The
Modifiers Glissando key (C#1) works as an alternating switch. By pressing the
Glissando key while playing notes in the D1-C4 and D4-C7 ranges, a
Mod Original Notes whole note glissando is introduced for every played note. The direc-
tion of the glissando is from down a whole note up to the played note.
The Glissando notes also use several velocity 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

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.


Alternate notes Additional slides

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
“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).


Sequencer recording tips The Combinator Panel
Since the REB offers all these great tools for modifying and bringing life The Combinator patches in the Bass Patches folder use a uniform Com-
to your bass lines, it could probably be a little tricky to record everything in binator panel design, with similar parameter assignments, to make it easy
one take. A very convenient working method when recording REB basses to tweak the sounds. This is what the panel looks like:.
in the Reason version 4 main sequencer is to first record the actual bass
notes on one lane in the track. Then, add Modifiers (glissandos and ham-
mer-ons), ghost notes and fret noises on additional lanes to “authenticate”
the bass line. This way it will be much easier to get the effects and noises
in their correct positions and also much easier to edit the bass track after-
D Rotaries 1 and 2
q Check out the demos in the Sequencer Material folder to see Rotaries 1 and 2 are not supposed to be tweaked since they are as-
how the bass tracks are built up! signed to the key switching functionality which selects hammer-on
and glissando notes - thus the crossed-over hand symbol. The key
switching should instead be controlled from the C1-C#1 keys on the
master keyboard.
D Rotary 3
In the Preset patches Rotary 3 controls the EQ setting - from flat to
D Rotary 4
Rotary 4 controls compression amount in Preset patches with single-
pickup basses. In patches featuring double-pickup basses Rotary 4
controls the neck/bridge pickup signal blending.
D Buttons 1-4
In the Preset patches Button 1 is unassigned and can be assigned by
the user. Button 2 controls Compression On/Off, Button 3 controls
Sub or Mid Boost and Button 4 controls Compression reaction time
(Off = Slow, On = Fast).


The Preset Basses | Bass | Name | Comments
There are 2-3 Preset Bass Combinator patches for each instrument Fender P Bass F A|M49 A single mic patch with the Didrik
model. Each patch can feature several signal chains (amp+mic) that you Precision (F) M49 mic that captures the instru-
ment and amp in full glory.
could blend using the 14:2 Mixer in the Combinator and, for the double-
pickup basses, Rotary 4 on the Combinator panel. The (F) or (P) after the P Bass F DI and one Coles mic each on the
bass model name indicates whether the instrument was played with the DI+A|Coles+F|Coles amps. The sound of the Coles is
fingers or with a pick. unique and can really be heard here.

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

P Bass P DI+A|U47+F|Coles The fat combination Ampeg - U47 is

| Bass | Name | Comments
balanced with the Showman - Coles
Fender Jazz N&B A|M49+F|SM57 The M49 with its open sound blends with a touch of DI. Makes for a versa-
Jazz (F) naturally with the narrow bandwidth tile patch to take you a long way.
SM57 in this patch.
Gibson EB-0 EB-0 A|Coles The Coles mic is positioned on a few
Jazz N&B DI+A|M49+F|D12 This is an all-round patch which in- feet distance and thus captures
cludes the DI and AKG D12 mic on some of the room ambience. It goes
the bridge pickup and the nice full very nicely with this full body Gibson
frequency Didrik M49 on the neck bass. Set the Compressor to Fast
pickup. With Blend control. mode and adjust the Comp Amount
Jazz N&B DI+A|Sub+ A big patch with many channels. to get a bit of distortion.
A|U47+F|Coles+F|D12 Both pickups are represented in DI EB-0 A|Sub+A|U47+F|Coles The EB-0 has a lot of low end to be-
as well as two mics each. The Sub- gin with and the Subkick makes it
kick and D12 gives the lower end a even more dangerous. So be careful.
boost and the U47 and Coles repre-
sent the high end. Blend to taste. EB-0 DI+A|Coles+A|U47 DI plus the Ampeg amp only, leaving
the somewhat distorting Showman
out of the game. Deep and clean.


| Bass | Name | Comments | Bass | Name | Comments
Gibson Les Paul The U47 is round and full, the SM57 StingRay Fretless All Ampeg. Together these mics
Les Paul (F) A|U47+F|Coles+F|SM57 more hollow sounding and the Coles Fretless (F) A|Coles+A|M49+A|U47 cover all “basses”.
give some of the room for character.
Fretless A|U47 One mic only. Simple, but still so per-
Les Paul This patch is a little bit of everything. fect.
DI+A|Sub+A|U47+F|Coles Listen for example to the Subkick in
isolation. There is hardly any attack, Fretless With this setup the bass is very
while the Coles is lively and dynamic. DI+A|Sub+A|U47+F|D12 tweakable. DI for presence, Ampeg-
The DI is there for presence control. Subkick for bottom and Showman-
D12 for a dirtier sound.
Les Paul F|D12 Les Paul single mic patch. The com-
bination Showman - D12 is perfect
for this bass. The Producer Basses
Kay Kay DI+A|M49+F|M49 The DI in combination with the two The Producer Basses folder features an assortment of Combinator
Hollowbody (P) M49 gives a true representation of patches created by professional music producers. The Producer Basses
this instrument. Open and dynamic. are the following:
Kay A fat version of the Hollowbody. A
DI+A|Sub+A|U47+F|D12 little bit of EQ and a little bit com- | Name | Comments
pression is all. The rest is the micro-
Flatpack Producer [EB-0] The user can select between amp model and
phones doing the job.
mic levels for Coles and M49.
Kay F|M49 This is a single mic patch with the
open and beautiful handmade Didrik Flatpack Producer [P Bass Finger] The user can select between amp model and
mic levels for Coles/M49 and add DI chain FX.
M49. It works very well on this bass
with it's significant mid range sound. Griffin Producer [EB-0] Signal chain selection: Ampeg+U47 and/or
Showman+M49. DI signal level and Tone can be
Rickenbacker Rickenbacker N&B There is a significant difference be-
adjusted in all variations.
(P) A|U47+F|M49 tween the two pickups and with the
Blend Control you can dial in the per- Griffin Producer [Fretless] Signal chain selection: Ampeg+U47 and/or
fect sound for your track. Showman+Coles. DI signal level and Tone can
be adjusted in all variations.
Rickenbacker N&B The low end Subkick adds to the fat-
DI+A|Sub+A|U47+F|Coles ness of this Rickenbacker preset. Griffin Producer [Hollowbody] Signal chain selection: Ampeg+U47 and/or
Force is the word that comes to Showman+Coles+Fender+U47. DI signal level
mind. and Tone can be adjusted in all variations.


| Name | Comments The Style Basses
Griffin Producer [Jazz Bass] Signal chain selection: DI (bridge+neck) and/or The Style Basses folder houses a wide range of Combinator bass patches
Ampeg+M49+Showman+M49. Neck/Bridge based on different musical styles or on styles of artists/bands or songs. In
blend and Tone can be adjusted in all variations.
many cases the patch name might give you a hint of what the patch
Griffin Producer [Les Paul] Signal chain selection: Ampeg+U47 and/or sounds like - if not, check the descriptions in the table below:
Showman+Coles. DI signal level and Tone can
be adjusted in all variations.
| Name | Comments
Griffin Producer [P Bass Finger] Signal chain selection: Ampeg+U47 and/or 1. Precision Flats [P Bass Finger] A basic Precision sound with carefully
Showman+Coles+Showman+SM57. DI signal defined controls for flexibility.
level and Tone can be adjusted in all variations.
2. Precision Roundwound [P Bass Pick] Another basic Precision sound with
Griffin Producer [P Bass Pick] Signal chain selection: Ampeg+U47 and/or carefully defined controls for flexibility.
Showman+M49+Showman+SM57. DI signal
level and Tone can be adjusted in all variations. 3. Round Gibson [EB-0] Pop bass sound.
Griffin Producer [Rickenbacker] Signal chain selection: DI (bridge+neck) and/or 4. Sergeant 1 [P Bass Finger] A Paul McCartney/Beatles bass
Ampeg+M49+Showman+M49. Neck/Bridge sound.
blend and Tone can be adjusted in all variations.
5. Pop Ambience [Les Paul] Pop bass sound.

6. Old Folks [Hollowbody] A patch which mimics the bass sound

in Young Folks by Swedish band Peter,
Bjorn & John.
7. Sergeant 2 [P Bass Finger] Beatles - Day in the Life.

8. New Wave Maby [Jazz Bass] Graham Maby - Joe Jackson.

9. Low Rick [Rickenbacker] Pop bass sound.

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.

13. New Romantic [Fretless] Mick Karn (Japan) - Quiet Life.


| Name | Comments | Name | Comments
14. Leather Coat [Jazz Bass] Pop bass sound. 27. Ampeg Flip-Top Mush [Jazz Bass] A punky rock sound.

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.
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
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
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.
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.


| Name | Comments | Name | Comments
37. PJ Trio [Fretless] A patch designed after PJ Harvey’s 51. Kay Mouth Bass [Hollowbody] A patch that uses the formant filter in
bassist Steve Vaughn who played on Thor for vocal-like wow-effects.
PJ Harvey’s first two albums. He plays
a StingRay Fretless with a pick and 52. Rock That [P Bass Finger] Bill Laswell (H Hancock) - Rockit.
some distortion on a Trace Elliot amp. 53. Reggae Police [Hollowbody] The Police - Driven To Tears.
38. Swagger Bass [Jazz Bass] Chris Edwards - Kasabian - Reason is 54. Easy Dub [P Bass Finger] Easy Star - DubSide.
55. EarthMover [Jazz Bass] A reggae bass designed to give the
39. Killer Gibson [EB-0] The Killers - Somebody Told Me. “Earth” sound.
40. Hollow Punk [Hollowbody] Fuzz is the name of the game here. But 56. Bass of Jah [Jazz Bass] Jah Wobble.
switch the distortion off and you'll have
a wonderful mellow sound. 57. Subby Dub [P Bass Finger] Reggae bass with a sine wave blended
41. Soul Les Paul [Les Paul] RnB/Soul bass sound.
58. Elektrik [EB-0] Electronica bass sound.
42. 70's Ace Bass [P Bass Finger] A patched designed after the bass
sound on Ace’s How Long Has This 59. Fender 303 [P Bass Pick] Fatboy Slim - Everybody Needs a 303.
Been Going On.
60. Just Deal With The Clicks [P Bass F] BT - Madskills, or Smashmouth.
43. Hammer-Only [Hollowbody] RnB/Soul bass sound.
61. Spacecake [P Bass Pick] Electronic style.
44. Pusher Bass [P Bass Finger] Curtis Mayfield - Pusherman.
62. 4pusher [Rickenbacker] Squarepusher - Squarepusher Theme.
45. Bowery Ballroom [Les Paul] RnB/Soul bass sound.
63. Metal Cloud [P Bass Finger] Electronic style.
46. Roomy Flats [P Bass Finger] RnB/Soul bass sound.
64. Reverb Cloud [EB-0] Electronic style.
47. Funkmasters II [Jazz Bass] A “Funkmaster Flash” Funk/Disco
bass sound. 65. Beatbox Partner [Hollowbody] A bass with time-synced delay.

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.


Naming conventions D Mic
Sub = Yamaha SKRM-100 Subkick
U47 = Neumann U47
Preset Basses Coles = Coles 4038
The Preset Basses use a naming convention with the following syntax: M49 = Didrik De Geer M49
D12 = AKG D12
Instrument Model (Pickups) Amp|Mic+...+Amp|Mic SM57 = Shure SM57
The title represents the bass model (and pickups for double pickup mod- DI = Direct Input (no mic used)
els) and the signal chains used in the Combinator patch.
The following abbreviations are used:
The Preset Bass file name
D Bass model:
Jazz N&B DI+A|Sub+A|U47+F|Coles+F|D12.cmb
Jazz = Fender Jazz (played with the fingers)
P Bass F = Fender Precision (played with the fingers) tells us that the instrument is a Fender Jazz bass sampled using both the
P Bass P = Fender Precision (played with a pick) neck and bridge pickups. There are five different signal chains used: di-
EB-0 = Gibson EB-0 (played with the fingers) rect signal, Ampeg amp with Yamaha Subkick mic, Ampeg amp with Neu-
Les Paul = Gibson Les Paul (played with the fingers) mann U47 mic, Fender Showman amp with Coles 4038 mic and Fender
Kay = Kay Hollowbody (played with a pick) Showman amp with AKG D12 mic. The signal chains are mixed and
Rickenbacker = Rickenbacker 4001 (played with a pick) blended.
Fretless = StingRay Fretless (played with the fingers)
D Pickup (only for double pickup basses) Producer Basses
N = Neck pickup The Producer Basses use a naming convention with the following syntax:
B = Bridge pickup
Producer Name [Instrument model]
D Amp
A = Ampeg B-15 S Portaflex Bass Combo
Style Basses
F = Fender Showman
There is no strict naming convention for the Style Basses. In some cases
the patch name indicates the bass sound character in one way or another.
All Style Basses also ends with the instrument model within brackets. An
12. Ballad Bass [Fretless]


NN-XT patches Example:

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.


Samples (EE): Edit number (for internal R&D purposes only)

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.
(f)(f)f: File number (for internal R&D purposes only).
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.
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).


Building your own basses Each group of NN-XT devices represent one signal chain (amp+mic). The
three NN-XT devices in each group are intended to accommodate three
To make it easier to build your own custom designed basses we have pre- different types of sample sets: sustained samples (SUS), hammer-on
pared a number of “empty” Combinator template patches - one for each samples (HON) and glissando (GLS) samples. The Hammer-On and Glis-
bass model. Empty in the sense that the Combinators only contain inter- sando key switches described on page 22 are mapped to control these
connected empty devices - but no samples. You’ll then have to import the different types of sample sets when loaded in this Combinator template.
sample sets yourself. This opens up the possibility of creating your own
The intention with these Assigned Controls template patches is that you
totally unique-sounding basses. For example, you could create patches
load the bass samples sets you like in one group of NN-XT devices and
with samples from different signal chains or even from different basses if
then delete the remaining groups before saving your Combinator patch.
you like. Below are some basic examples on how to build up your own
Of course you could use more groups if you want to blend several bass
bass sound.
sounds in a layered fashion.
Here is the basic principle for building a bass sound using an Assigned
Using the Assigned Controls templates
Controls Combinator template:
The Assigned Controls templates are Combinator patches that consist of 1. Select Create|Instrument from the menu.
nine or ten groups of NN-XT devices, and some other devices. These
nine/ten groups of devices are interconnected to a 14:2 mixer and also 2. Select the P Bass Pick - Empty All Mics.cmb Combinator
mapped to controls in the Combinator device. patch in the Bass Patches/Template Patches/Empty As-
signed Controls folder.
3. Click the Show Devices button on the Combinator panel.

An Equalizer, a Compressor, a 14:2 Mixer and nine groups containing

one 6:2 Mixer, three NN-XT, one PEQ-2 and a Spider Audio device
show up. At the bottom, there’s also a Thor device for handling the key
switching functionality. These nine groups of devices are designed to
accommodate the samples for one signal chain (amp+mic) each.
Each signal chain group can be loaded with three different sets of
bass samples.


4. Click the Browse Patch button on the topmost NN-XT device. Using the Pickup Blend Control templates
These templates are designed with double pickup basses like the Fender
Jazz bass and Rickenbacker 4001 in mind. They feature an assigned
pickup blend control on the Combinator panel. However, you could of
course use these templates to blend two single pickup basses as well! It’s
all up to you.
5. Select the 1 PB-P SUS DI.sxt patch in the Bass Patches/Sep- Normally, you would probably only want to blend two pickups/signal
arate Mics/Fender Precision (P)/DI folder and click OK. chains but the templates can handle up to ten signal chains if necessary.
The templates also feature other assigned controls as well as key switch-
ing functions for hammer-on and glissando notes. Proceed as follows to
create a double pickup/signal chain blend patch:
1. Select Create|Instrument from the menu.
2. Select the Fender Jazz - Empty Pickup Blend Control.cmb
Combinator patch in the Bass Patches/Template Patches/
Pickup Blend Control folder.
3. Click the Show Devices button on the Combinator panel.
An Equalizer, a Compressor, a 14:2 Mixer and ten groups containing
one 6:2 Mixer, three NN-XT, two PEQ-2 and a Spider Audio device
show up. At the bottom, there’s also a Thor device for handling the key
6. Continue by loading the two remaining HON and GLS NN-XT switching functionality.
sample sets into the other NN-XT devices in the group.
Feel free to experiment by loading other sample sets into the NN-XT The ten groups of NN-XTs PEQ-2s and 6:2 Mixer are arranged in two
devices! If you like, you could dig even deeper by opening each NN- sections of five groups. The five topmost groups are intended to be
XT Remote Editor and replacing individual samples and/or tweaking used for neck pickup signal chains (using the Ampeg rig) and the
the NN-XT synth parameters. lower five groups for bridge pickup signal (chains using the Fender
7. Select and delete the empty groups of NN-XT, PEQ-2 and
6:2 Mixer devices.
8. Save your Combinator patch with a new name.


4. Click the Browse Patch button on the topmost NN-XT device, Using the Unassigned Controls templates
in the DI Neck group.
The Unassigned Controls templates are basically the same type of Com-
binator templates as the Assigned Controllers templates described above,
with the exception that they haven’t any Combinator panel controls as-
signed. These controls can be freely assigned by the user. The key switch
functionality controlling hammer-on and glissando notes from the key-
board are assigned also in these template patches, though.
5. Select the 1 JZ SUS NDI.sxt patch in the Bass Patches/Sepa-
rate Mics/Fender Jazz/DI 1 (Neck) folder and click OK. Using the Unassigned Without Key Switching template
6. Load the 2 JZ HON NDI.sxt and 3 JZ GLS NDI.sxt sample sets Due to the lack of the key switch functionality, this template is designed
in the other two NN-XT devices respectively. for handling regular sustained (SUS) sample sets only. This template is
less complex than the ones described above and can be used when you
7. Load the Fender Jazz DI 2 (Bridge) sample sets in the NN-XT
want to quickly create a basic bass patch.
devices of the DI Bridge group.
The template houses ten groups containing one NN-XT device, one PEQ-
Now, we have two complete sample sets, the Fender Jazz DI 1 (Neck) and 2 Equalizer and one 6:2 Mixer.
the Fender Jazz DI 2 (Bridge) in two separate signal chain groups in the
Combinator template. By turning Rotary 4 (NECK - BRIDGE) on the Com- As with the previous templates, the idea is that you load a set of SUS
binator panel we can blend the sounds of the two sample sets, thus simu- samples into the NN-XT of the selected group and then delete the de-
lating neck and bridge pickup blending. vices in the remaining empty groups before saving.
The template doesn’t feature any assigned controls - these can be freely
q You could choose any sample set and load into any group of
assigned by the user.
NN-XT devices. Just bear in mind that the NECK - BRIDGE
blend control blends signals from the five topmost groups
with signals from the five groups at the bottom of the Combi-
nator template. In other words, loading sample sets only in
the five topmost OR bottom groups will make the NECK -
BRIDGE blend control work only like a volume knob.


Modifying factory patches Adjusting sample set levels
Another way of building your own patches is to modify existing factory If you want to adjust the sample set (SUS, HON, GLS and REL) levels in a
patches. For example, you could open a Preset Bass patch and replace Combinator patch you can easily do that according to the following:
any of the NN-XT sample sets with sample sets from another instrument, 1. Open the factory Combinator patch of your choice.
signal chain or even sample set type.
2. Click the Show Devices button on the Combinator panel and
Let’s say you want to replace a Glissando sample set with an additional
scroll down to the NN-XT device groups.
Hammer-on sample set instead. No problem, you can freely load any sam-
ple set into any NN-XT device. You’re not limited to using the sample
types indicated on the device panel - feel free to experiment!
However, remember that if you replace sample types (glissando/hammer-
on), the Mod keys C1-C#1 might not work the way they’re intended.
If you want to dig a little deeper into the factory patches and change pa-
rameter ranges or even alter controller assignments you can do that as
well. Below are some examples on how to do some basic parameter ad- 3. Click on the triangle to the left on each of the MicroMix de-
justments and alterations. vices to expand them.


4. On the MicroMix devices you can adjust the levels of the sep- 3. Click the triangle to the left on the topmost NN-XT device to
arate sample types by adjusting the corresponding Level expand the device. Then, click the Remote Editor button on
knobs. the NN-XT device to bring up the NN-XT Editor panel.

In the figure above, we’ve increased the levels of all release (REL)
samples in the Ampeg+M49 signal chain in the factory Combinator
5. Repeat the procedure for the remaining MicroMix devices in
the Combinator patch.

Adjusting Pitch Bend range

In all factory patches the pitch bend range is set to +/- 2 semitones by 4. Select all sample zones by pressing [Command]/[Ctrl]-[A].
default. You can change this by doing the following:
1. Open the factory Combinator patch of your choice.
2. Click the Show Devices button on the Combinator panel and
scroll down to the first group of NN-XT devices.

All Sample Zones become high-lighted (dark blue) and the LEDs
around the knobs light up.


5. Scroll down to the Pitch Bend Range parameter on the NN- 3. Click the triangle to the left on the topmost NN-XT device to
XT panel and change it to desired value. expand the device. Then, set the Freq parameter to max.

4. click the Remote Editor button on the NN-XT device to bring

up the NN-XT Editor panel.

5. Select the first four sample zones, containing sustained

6. Repeat the procedure for the remaining NN-XT devices in the notes (SUS), by scrolling and shift-clicking in the Sample
patch so the Pitch Bend range is the same for all sample Group areas.

Assigning Vibrato to Mod Wheel

If you want the Mod Wheel to control Vibrato instead of Damping, here’s
what you should do:
1. Open the factory Combinator patch of your choice.
2. Click the Show Devices button on the Combinator panel and
scroll down to the first group of NN-XT devices.

The selected Sample Zones become high-lighted (dark blue). The re-
lease samples, named REL, should not be selected.


6. Click the W buttons on the LFO 1 AMT and LFO 1 RATE pa- Sustain Pedal simulation
rameters in the Modulation section.
One function that might be useful if there is no sustain pedal present, is to
assign longer release time to a Combinator button. Button 1 on the Com-
binator panel is not assigned in the Preset Bass patches. Therefore, let’s
use that button for this purpose.
There are two steps involved in this “sustain pedal simulation” setup: to in-
crease the release time, and to mute the release samples that sound on
7. Repeat the procedure from step 3 and onwards for the re- each key off. The release samples are automatically muted when using a
maining NN-XT devices in the patch. sustain pedal but in this case we're going to increase the Amp Release
8. Finally, bring up the Combinator Programmer and deselect parameter in the NN-XTs and therefore we will need to manually mute the
the Amp Env Decay parameter from the Mod Wheel for all release samples.
NN-XT devices in the Device list. You will most likely find it sufficient to make this tweak in the NN-XTs
containing the sustained (SUS) notes, so that’s what we will do in this ex-
1. Open the factory Combinator patch of your choice.
2. Click the Show Programmer and Show Devices buttons on
the Combinator panel.

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.


3. Locate and select the topmost sub-mixer, named ‘DI Neck’, in 6. Assign ‘Amp Env Rel’ to ‘Button 1’ in the Modulation Routing
the Device list in the Combinator Programmer. section.

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
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.


ReFill folder index Producer Basses (Combinator patches)

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)

• D Reason Electric Bass • D Assigned Controls

• D Bass Patches • D Pickup Blend Control
• D Preset Basses (Combinator patches) • D Unassigned Controls
• D Producer Basses (Combinator patches) • D Unassigned Without Key Switching
• D Style Basses (Combinator patches)
• D Template Patches (Combinator patches) Separate Mics (NN-XT patches)
• D Separate Mics (NN-XT) The folder and file structure is basically the same for all basses. The dou-
• D Effect Patches ble-pickup basses have one extra folder for the second DI signals, though.
• D Scream 4 and Combinator effect patches The (F) or (P) after the bass name indicates how the instrument was
• D Sequencer Material played, with the fingers or with a pick.
• Full Demo Tracks (rps) The structure for a double-pickup bass is according to the following ex-
• Demo Songs (rns) ample:
• D Fender Jazz (F)
Bass Patches • D DI 1 (Neck)
• D DI 2 (Bridge)
Preset Basses (Combinator patches) • D Ampeg-Coles (Neck)
• D Fender Jazz (Finger) • D Ampeg-M49 (Neck)
• D Fender Precision (Finger) • D Ampeg-Subkick (Neck)
• D Fender Precision (Pick) • D Ampeg-U47 (Neck)
• D Gibson EB-0 (Finger) • D Fender-Coles (Bridge)
• D Gibson Les Paul (Finger) • D Fender-D12 (Bridge)
• D Kay Hollowbody (Pick) • D Fender- M49 (Bridge)
• D Rickenbacker (Pick) • D Fender-SM57 (Bridge)
• D StingRay Fretless (Finger)


The structure for a single-pickup bass is according to the following exam- Reason Electric Bass Samples 1
The Reason Electric Bass Samples 1 contain all samples for the Fender
• D Fender Precision (F)
Jazz, Fender Precision (Finger and Pick) and the Gibson EB-0. The folder
• D DI and file structure is the same for all basses according to the following ex-
• D Ampeg-Coles ample:
• D Ampeg-M49
• D Fender Jazz (F)
• D Ampeg-Subkick
• D Fret Noise
• D Ampeg-U47
• D Slides
• D Fender-Coles
• D Ghost Notes
• D Fender-D12
• D Glissandos
• D Fender- M49
• D Hammer-Ons
• D Fender-SM57
• D Release Samples
• D Sustained Notes
Effect Patches
Reason Electric Bass Samples 2
Scream 4, RV7000 and Combinator effect patches
The Reason Electric Bass Samples 2 contain all samples for the Gibson
Les Paul, Kay Hollowbody, Rickenbacker and StingRay Fretless. The
Sequencer Material folder and file structure is the same for all basses according the example
Demo Songs (rps)

Demo Sequences (rns)


The Reason Electric Bass ReFill was developed and produced by
Propellerhead Software.
All basses recorded at Mandarine Studios, Stockholm
Producer and project manager: Kristoffer Wallman
Recording engineer: Niklas Flyckt
Bass player and connoisseur: Sven Lindvall
Rickenbacker bass player: Stefan Fandén
Sampling consultant: Per Larsson, SampleTekk
Editing and programming: Peter Jubel, Loui Westin, Kristoffer Wallman
and Attila Cederbygd.
Graphics: Andreas Karperyd
Combinator patch programming: J Chris Griffin, Ian Duncan, Simon Price,
Kurt Kurasaki, Sven Lindvall, Jocke Skog, Johan Skugge,
Magnus Frykberg, Ludvig Carlson and Anders Ljung.
Demo Sequences: Sven Lindvall, Martin Jonsson, Attila Cederbygd,
Kurt Kurasaki, Rick Silvestri and Ludvig Carlson.
Demo Songs: Brian Lebarton, J Chris Griffin, Jocke Skog and
Josh Mobley.
Thanks to: Bosse Person, Anders Bagge, Pontus Winnberg,
Christian Karlsson, Hans Backenrot and all the beta testers.