ElectroMechanical 2.

0
Reason ReFill Collection
, Mac OS and Windows
, Rhodes MK I , Rhodes MK II , Wurlitzer EP100 , Wurlitzer EP200 , Hammond Model A , Clavinet D6 , Pianet T

ElectroMechanical 2.0
Reason ReFill Collection

WE LCOM E TO TH E E LECTROM ECHAN ICAL 2.0 R E FI LL , a collection of

multisamples, patches and song files designed to bring the sound
of those hard-to-find,
easy-to-love vintage keyFeatured instruments:
boards into your Reason
, Wurlitzer EP100
rack. Our main focus
, Wurlitzer EP200
when creating this ReFill
, Fender Rhodes MK I (tubed)
has been on realism; the
, Fender Rhodes MK II
keyboards used were
, Hohner Pianet T
carefully recorded using
, Hohner Clavinet D6
both vintage and state, Hammond Model A
of-the-art equipment, but
rather than try to make
these old beasts sound squeaky-clean and sonically perfect, we
have embraced the flaws, quirks and errors that make up their very
soul. The result is a set of Reason instruments that are stunningly
authentic and a joy to play. So here it is, the ElectroMechanical 2.0
ReFill, in all its warm, fuzzy, realistic glory. Enjoy.

Whats new in ElectroMechanical 2.0?

ElectroMechanical 2.0 is basically ElectroMechanical 1.0, but
with added presets and Combinator patches that let you take full
advantage of the unique new features in Reason 3.0. No new
samples have been added to this collection, but the new content
more than makes up for that, trust us; ElectroMechanical 2.0 fea-

ElectroMechanical 2.0
Reason ReFill Collection

tures a wide selection of brand new combination instruments, all

created for Reasons new Combinator device.
The new Combi patches use sampled sounds from this Refill,
but also from Reasons huge factory and Orkester soundbanks,
giving you whole new combination instruments in whole new categories. ElectroMechanical 2.0 is fully compatible with song files
created in ElectroMechanical 1.0, the multi-setup files featured in
EM 1.0 have been converted to Combi patches, allowing users of
EM 1.0 to sprinkle some Combinator magic on their existing tracks.

Disc Contents:
NN-XT Instruments
Patches for Reasons NN-XT Advanced Sampler. Each of the featured instruments have a dedicated folder containing a number of
NN-XT patches. These patches are your instrument presets, and
are divided into three categories: Mother Patches, variations of the
Mother Patches and Tweaked Patches. The different patch types
can be identified by how they are named, below is an explanation
of the system.

es, but with a touch of NN-XTs filtering and modulation magic

sprinkled on top.

Tweaked
The Tweaked patches can be identified by their lack of dashes
before their names. And also by how they sound.
More artistic than authentic, the Tweaked patches use NN-XTs
sound sculpting tools to tweak and warp the instrument samples,
sometimes beyond recognition.

Heres all the patch name info boiled down

to a simple formula:
Dash at the beginning=Mother Patch or Variation Patch
No dash=Tweaked Patch.

Demo Songs
A number of expertly executed example songs that should give
you an idea of just how lifelike, funky and downright good the
ElectroMechanical instruments can sound.

Combinator Patches
-MOTHER PATCH.sxt
The MOTHER PATCHES are all written in capital letters, and
always with a dash in front of the first letter. These patches are

A Combi patch lets you open up elaborate chains of Reason units

instruments, effects, pattern sequencers, you name it in Reasons new Combinator device, all in one go. When a Combi patch

basic, no-frills patches designed to sound as true to the original,

untreated instrument as possible.

is opened, all sounds, settings and routings saved with the patch
are instantly loaded, allowing you to load up complex instruments
such as an NN-XT Rhodes running through three delays and a

-Variation.sxt

Malstrm filter in just seconds.

The files called Multi-setups in ElectroMechanical 1.0 have all
been converted to the Combi patch format.

The Variation patches dont use capitals, but all begin with a dash.
These patches are, you guessed it, variations of the Mother patch-

ElectroMechanical 2.0
Reason ReFill Collection

Use the wheel!

Whenever you can, try playing around with your master keyboards
modulation wheel to see what lurks under the surface; the majority
of the instruments in the Refill have some type of effect vibrato,
tone color, Leslie that can be controlled via the mod wheel.

Descriptions
and details:
Fender Rhodes MK II
The Fender Rhodes piano is the mother of all electric pianos. This
particular model a 73 keys MK II Stage Piano weighs in at
a healthy 60 kilos, lacks the Wurlitzers vibrato feature, and has
some pretty crude tonal controls, but its rich, warm sound is what
matters. And thats the sound weve tried to reproduce here. Play
hard for extra grit.
This Mark II was sampled directly from the instrument output,
with no extra Bass Boost or treble added. The sound is comprised
of four velocity crosswitched layers: extremely soft, soft, medium,
and loud (hard), allowing for plenty of variation and expression.

Fender Rhodes MK I (Tubed)

The Fender Rhodes MK I is the predecessor to the MK II, and
very similar in sound and appearance. Which is why we chose to
record this one using a Fender Twin tube amplifier, for that thick,
growling quality. The inevitable amplifier noise adds to the overall
impression this is for real!
Every third key has been sampled here, using eight velocity
levels plus release samples.

ElectroMechanical 2.0
Reason ReFill Collection

Wurlitzer EP100 (Tube Fleckstone Model 100)

Right up there with the Fender Rhodes is the legendary Wurlitzer,
a pick-up based electric piano introduced in the early 50s. This
model, the EP 100 Fleckstone model, was made in 1953 and
has full piano length action. The Fleckstones woody signature
sound can be heard on numerous Beatles albums, as well as on
tracks by Ray Charles, Donnie Hathaway and the Rolling Stones,
to name but a few. So if you need the birth of rock-n-roll model,
this is the one.
All the early Wurlitzer models featured tube circuitry amplifiers,
and this one is no exception. The patches use two velocity layers
to capture all this, and the EP100s vibrato effect can be accessed
and adjusted from your mod wheel.

Wurlitzer EP200
Another Wurlitzer piano. The Wurly sampled here an 80s edition
of the classic EP200 model made popular in the 60s and 70s
is very accurate and has that warm, soulful sound to it. Which has
translated really well to the multisampled version. Try finding another set of Wurly samples this musical and playable
As with all pickup based instruments, hum and noise are to be
expected, but us purists know that these artifacts shouldnt be
edited out completely, the Wurly would sound less alive without
them. The modulation wheel on your master keyboard adjusts the
amount of vibrato.

ElectroMechanical 2.0
Reason ReFill Collection

The Hammond Model A

No vintage keyboard collection is complete without a Hammond,
the Don of all electric organs. Hammond organs used a tonewheel
system for generating their sound, and a set of drawbars for controlling tone and harmonics.
Multisampled here is the Hammond Model A from 1935, a
huge mass of wood and technology that was Hammonds first
release. The As were popular among the gospel musicians of
the 50s and 60s, so if youre into that sound or just into Hammonds give this one a try.
Three different drawbar settings were captured low, high and
full and if you crank up the modulation wheel a 122 Leslie (all
tubes of course) from 1946 awaits.

ElectroMechanical 2.0
Reason ReFill Collection

Hohner Clavinet D6
The Hohner Clavinet with its staccato sound and slightly nasal tone
is best described as: Funk. This string instrument was originally
designed to be an electric version of the 17th century Clavichord,
but after Stevie Wonder released Superstition, all hope of ever
using this Keyboard for chamber music was forever lost.
Our D6 was multisampled in eight velocity layers, with release
samples to boot! Four Mother patches are available, one for each
of the Clavinets microphone settings, representing the switches
labelled A, B, C and D on the original instrument. This gives you
four combos: AC, AD, BC and BD.
The mod wheel controls the tone color on all Mother patches.
Loads of possibilities, loads of authenticity.

Hohner Pianet T
The Hohner Pianet is a pretty low-key little instrument. Significantly
smaller than the average Rhodes or Hammond, the Pianet has no
volume control, no tonal controls and no mains connection. All you
do is plug it in and play away.
The soft, muffled tone sounds like a cross between a Wurly
and a jazz guitar and is created by plastic suction pads plucking
the reeds inside.
This Hohner Pianet T model was sampled in two velocity layers
with release samples that make this instrument sound very lifelike.

Credits: All material in this ReFill developed by and licensed from Chris Griffin,
New York USA (www.syntheticmess.com) and SampleTekk, Kumla Sweden
(www.sampletekk.com).
Photos by Brje Svensson, XL-Studio, except Hammond photo by Mark Vail,
author of Vintage Synthesizers and The Hammond Organ: Beauty in the B, Backbeat Books (www.backbeatbooks.com); photo courtesy of the Audities Foundation,
(www.audities.org). Design by 802.
Supervised and edited by Kristoffer Wallman, Propellerhead Software.