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What does 'Audiomatic Retro Transformer' suggest to you? Something harkening back to old skool technology? Analog warmth? Lo-fi? G. W. turns back the clock in this look at Reason 7's new device.

Hipstamatic is a very widely used and loved camera app for the iPhone, and other mobile devices abound. And, rightfully so! It does a wonderful job of making a good ol' modern photo and making seem a little frayed, worn, burned and... loved. Who would've thought that applying a hint of old technology to new technology would've brought back such nostalgia.

Being inspired by the mobile capture phenomenon, Propellerhead decided to make a new device that has the same behavior of Hipstamatic, but with audio. The end result is a device that lovingly brings back the nostalgia of various levels of recording qualities with such accuracy that you will definitely find yourself being taken back in time.

Using the Audiomatic Retro Transformer

One of the most beautiful features of the Audiomatic is its simplicity and ease of use. Getting that '˜Old School' feel takes no work whatsoever. Simply create the effect device like any other Reason effect and jump into it. Even though it's one of the most plug and play devices within Reason, don't let it fool you. The Transform, Dry/Wet, Volume and Gain play a much bigger role than you may think. And, those aren't even the main show on the Audiomatic!

The core feature of the Audiomatic are the 16 presets that are available to you right from the start. There are wonderfully sounding presets like Tape, Hi-Fi, and Bottom, for beefing up signals. And then there's the less utilitarian and more esoteric effects presets too, like PVC and Psyche and Eerie. All of these presets can be tweaked with the Transform knob. But, as I mentioned earlier, don't forget to play with the Gain, Volume and Dry/Wet knobs. The Gain in particular does a wonderful job of giving off a nice, analog style overdrive effect.

Best Usage

The Audiomatic Retro Transformer was actually intended for more than just tainting individual tracks, though it does do a wonderful job of this. Basses, Drums, Guitars, electric pianos and more will greatly benefit from this device. I even found Audiomatic to be a brilliant device for beefing up my bass synth patches. It adds a really warm bass undertone that I'm having a hard time living without now.

Furthermore, in addition to instruments and even parallel channel groups, the Audiomatic Retro Transformer is also intended for mastering final tracks. I'll happily report that it does a seriously good job of this. Tape, Hi-Fi and even Spread are wonderful for breathing some depth and nostalgic coolness to your tracks in a way that really wasn't easily available before in Reason. Seriously, you'd have to spend some serious time with Combinators to create even one of these presets with any accuracy.

Oh, and don't forget to try some CV modulation with the Transform function available on the back panel of Audiomatic. Presets like Eerie, Circuit and Cracked can be extremely interesting with a little modulation, or automation.

Closing Comments

While the Audiomatic Retro Transformer isn't a game changer for Reason, like the RV7000 was. As you can see, it's definitely not a device to be ignored. We all need that little '˜something missing' in a mix sometimes. But, this may end being a device that goes from being used sometimes to all the time. Try it out!

What is Lo-Fi

To understand what Lo-Fi is, we need to go back to the mid-60s and 70s. Tools that were used back in the days weren't that sophisticated. Simply because artists or record companies did not have the budget to get A-Quality equipment for their recordings and such. This often leads to an additional artifact of the sound itself. Artifacts that were created would be:
- Analog Noise generated by wrong wiring or bad resistors
- Tonal differences like the sound would be muffled (and not that crystal clear like what you would get for a Hi-Fi recording set)
- Tape distortion (because a lot of recording studios had to rely on old-school DAT-tapes or 8-Tracks)
- Humidity

And so on.

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As you might realize is that in the digital realm we usually do not have these type of issues. However, things got a lot different when the EMU SP-1200 came around. Since it is still a classic and it is often being used just because it has this 'lo-fi' quality to it.

What is the EMU SP-1200

The EMU SP-1200 (where a renewed model is being displayed above) is a drum machine that has a specific character to the sound. Some people call it 'that lo-fi character'. While in theory, it is a 12-bit render of the sound output. The SP-1200 is a sampler and is analog by output, but digital internal (because of samples). The output is rendered on 12-bit with a maximum frequency range of 26kHz. If you think about that and compare that with the digital realm we have today, most of the recordings are done on 24-bit with a maximum output of 48kHz. This means that we will need some form of bit-rate reduction to get a similar feeling from the sound output.

Tape recordings used to be Lo Fi

Low fidelity usually came from tape recordings. The most obvious route would be recording a part of a song (let's say an instrument) on an 8-track. This would, later on, get merged by multi-track recording it again. While tape usually wasn't the perfect method to record things. The downside with tape recordings and re-recording them is that it usually meant this would come with the obvious amount of clarity loss. While the problem was noticeable, there are some music artists that deliberately used this technique to create a warm, fuzzy feeling on top of the sound itself. This would later be known as the tape effect, or tape compression. Later in time, tape was used in different ways to create creative effects. From a digital realm the effects we know of would be chorus and flange. Because in theory this would be using two tape decks with the same recording but in the end one recording gets speed up / slowed down in a specific way (thus flange and chorus was born). It is important to know how this technique was originally developed since if we want to re-create it, we need to understand the source material. Hence I am bringing it up.

Here is an old school tape recorder.

Analog Synthesizer

We most likely know this one (at least, most of us do I think). Noisy synthesizers are synths that are created with transistors, resistors and some bad wiring that comes with it. The problem with analog synthesizers is that in time they loose their quality in the long run. This is due to condensation of the print. Rusty components. Loss in quality of the components etc. Ever used an old school transistor radio back in the 80s? I suggest you turn it on and compare it with your modern stereo set. I think you partially get the point I am trying to make. The case and point is though, due to these artifacts these synthesizers are often being u

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