IntroductionWelcome and mission statement| 00:00 | Hi and welcome to Reason version 4 Essential Training Guide.
| | 00:04 | My name is Bruce Williams. I am a recording
engineer based in Sydney, Australia.
| | 00:08 | Propellerheads have done it again. They have introduced some great
new toys into Reason version 4. We are going to have a look at
| | 00:15 | an app that takes a rack full of gear like that
| | 00:18 | and cramps it into a box like that.
It's really cool. Now I should warn you,
| | 00:23 | if you have not used any other audio software before this,
| | 00:28 | Reason is not for the faint of heart.
| | 00:32 | So you might want to try something a little easier
and then come back to Reason a little bit later on,
| | 00:37 | but for those of you who are ready,
| | 00:39 | let's do this.
| | Collapse this transcript |
| Using the exercise files| 00:00 | If you've bought a hard copy of this training title on DVD or
if you're a Premium subscriber to the Online Training Library,
| | 00:08 | you'll have access to the exercise files. And what these are
| | 00:13 | are various stages of Reason songs that I have worked
with throughout the course of this training module.
| | 00:21 | So you'll be able to follow along using
the same Reason files that I've used.
| | 00:27 | Now if you are a Monthly or Annual
subscriber to the Online Training Library,
| | 00:32 | you won't have access to these exercise files, but that doesn't
mean that you can't still follow along with what I'm doing
| | 00:38 | in each training movie.
| | Collapse this transcript |
| What's new in Reason 4? | 00:00 | Now before I get into this movie, let me just
say this, if you have never used Reason before,
| | 00:06 | you can probably skip out of this movie because
everything I am going to talk about here will be explained
| | 00:12 | in much more detail later in this training series.
| | 00:15 | This movie is really for anybody who has used
previous versions of Reason and just wants
| | 00:21 | to know, what's the funky new stuff in version 4.
| | 00:26 | As you can see, I have started this movie looking
at the Sequencer and the reason I have done that is
| | 00:31 | because the Sequencer itself has had a huge
graphic overhaul and I am going to say, I love it.
| | 00:38 | It's just a whole lot more user friendly now.
| | 00:41 | You can expand and collapse tracks with this little arrow key.
| | 00:45 | You will see that within a Sequencer track we can now have lanes.
| | 00:51 | So with this particularly Sequencer track for the Mixer, I
have got one Automation lane for the fade of the Channel 1
| | 01:00 | of the Mixer and another Automation lane
for the fade of the Channel 4 of the Mixer.
| | 01:06 | The blue line represents the static value of that parameter.
| | 01:10 | In other words, the value that that parameter
will hold when there is no Automation,
| | 01:14 | and then whenever I have put Automation in, then obviously
the value will change and follow that Automation.
| | 01:21 | All note and parameter data now falls inside these clips and
when you select a clip, you get these little black handles
| | 01:29 | so you can actually resize the clip
if you want to add more data to it.
| | 01:35 | Just undo that.
| | 01:36 | Automation is now vector based so if we
press Return to go into the Edit mode,
| | 01:44 | you can see that Automation now gets these
edit points, which appears as the circles,
| | 01:51 | and in between those circles you get a straight line.
| | 01:55 | Now how many of those dots you put in is up to you.
| | 01:58 | You can do that with the Pencil tool.
| | 02:01 | Like so and Reason will then thin out
any excessive Automation data that you put
| | 02:07 | in so it really just does what it needs
to do without having 500 dots in the clip.
| | 02:12 | We will cover this in more detail in later movie.
| | 02:16 | To get out of that you just hit the Return
key again and you'll back into Arrange view.
| | 02:20 | You will also notice that at the top of the Sequencer view,
there is Transport panel track and that track is always there.
| | 02:30 | The great thing about it is you can now automate
both tempo and wait for it, time signature.
| | 02:38 | Yes, so you can now have alternate
time signatures throughout your song.
| | 02:43 | You are going to love that.
| | 02:45 | There is also a new Tool palette, which we can
get to with the F8 key, toggle that on and off.
| | 02:51 | You will see that it is divided into three palettes; the
Groove palette, the Tools palette, and the Devices palette.
| | 02:58 | The Groove palette relates to one of the other new
features in version 4, which is the ReGroove Mixer.
| | 03:05 | This thing is so cool I've devoted an entire chapter to it.
| | 03:10 | Essentially this is a 32-channel Mixer but
it doesn't pass audio; it's a de-quantizer.
| | 03:18 | So once you have program something in may be in ReDrum
and it's all absolutely rigid and very computer like
| | 03:25 | and no human feel whatsoever, you can assign different
parts of your drum pattern to different channels of ReGroove
| | 03:34 | and apply differing amounts of
de-quantization to it. It is so cool.
| | 03:41 | And then of course there are the two new instrument devices,
one of which is Thor, which is a Polysonic Synthesizer.
| | 03:49 | This is thing is absolutely humongous. Doesn't
look that great until you show the programmer.
| | 03:55 | Check it out. It has got some nice sounds to it too.
| | 03:58 | Then of course, there's the RPG-8,
which of course is play on arpeggiate.
| | 04:03 | Because that's exactly what it does. It's an arpeggiator. So
you can feed note data into this by having it linked to a synth
| | 04:11 | or a sampler, and it will actually create a arpeggios for
you based on the note data coming from that synth or sampler.
| | 04:19 | So there you go.
| | 04:19 | There are the main new features in Reason version 4.
| | 04:23 | As I mentioned before, we will cover all of these in
more detail as we work our through the training series.
| | 04:29 | Enjoy!
| | Collapse this transcript |
|
|
1. Getting StartedWhat is Reason?| 00:00 | So what exactly is Reason? Well, it's a loop-based music creation
tool, that uses MIDI, Sequencing, Synthesis, and Sampling,
| | 00:10 | all in this really funky, sexy user interface.
At least I find it that way.
| | 00:15 | Some people I can imagine are a little bit daunted by the
way it looks. Don't worry, we are going to cover all of that
| | 00:22 | in the course of this training title.
| | 00:24 | So what exactly is Reason? Well, it's a loop-based music
creation tool. It uses MIDI, Sequencing, Synthesis, Sampling,
| | 00:33 | all that funky stuff. You can compose either
with a keyboard and a mouse, or you can play with
| | 00:39 | a real keyboard attached to your computer.
| | 00:42 | It uses an interface, which is laid out
like a rack of hardware in a real studio.
| | 00:49 | So if you are a studio engineer like me,
| | 00:51 | it makes natural sense.
| | 00:53 | If you have never been in a studio, then the whole
graphic user interface might be a little bit daunting.
| | 00:59 | Don't worry, we are going to cover that in the next movie. Who should
use this tool? Basically anyone who wants to create their own music.
| | 01:07 | One thing that Reason doesn't do is record real instruments
from like a microphone. So you just can't plug in your guitar and
| | 01:15 | stick a mike in front of the cabinet
and record that straight into Reason.
| | 01:19 | For that you need an audio editor.
| | 01:21 | But to work with Samples or MIDI and stuff
like that, all of that can be done in Reason.
| | 01:27 | Basically what I have loaded up here in the
Reason rack is a file called One of Everything.
| | 01:32 | This is just a compilation of every single device type that
is featured in Reason. We are going to cover all of these
| | 01:41 | in the upcoming movies. It's going to blow your socks off.
| | Collapse this transcript |
| Simple production enhancements| 00:00 | When you first launch Reason, it's going to open up
with this particular song called Demo Song loaded.
| | 00:07 | I actually find that that's great
the very first time you look at Reason,
| | 00:12 | but once you have sort of had a play and you actually want
to start creating music, it becomes a bit of an annoyance that
| | 00:18 | it continually opens up with this Demo Song.
| | 00:21 | So what we are going to do in this movie is just
| | 00:23 | change that so that doesn't happen every time.
| | 00:26 | If you're on the Windows platform, go to the Edit Menu,
and right at the bottom you will see Preferences.
| | 00:30 | If you are on the Mac, go to the Reason
option and select Preferences from there.
| | 00:36 | Here on the General tab you will see
Default Song. Just change that to Empty Rack.
| | 00:42 | That way, every time you open Reason in the future,
instead of it loading up with that Default Song,
| | 00:47 | it'll be just an Empty Rack, ready to get started.
| | 00:50 | If your computer is a little bit long in the tooth,
maybe doesn't quite have the horsepower you'd like it to,
| | 00:55 | you might want to uncheck this box
that says Use High Resolution Samples.
| | 01:00 | That will just use slightly lower res version so that your
computer can cope with things just that little bit easier.
| | 01:06 | You may also want to uncheck the box
that says Load Default Sound in New Devices.
| | 01:12 | So things like, if you load up a Thor Synthesizer,
| | 01:16 | if this box is checked,
| | 01:17 | then the Thor Synth will also be loaded with one particular
sound already loaded within the Thor Synth. If you don't want
| | 01:26 | that to happen, if you would rather just start with a clean
slate with every instrument you load, just untick that box.
| | 01:32 | That's all we are going to cover in the Preferences for now.
| | Collapse this transcript |
| Connecting your keyboard| 00:00 | If you do have a musical keyboard
and you want to use that with Reason,
| | 00:05 | you will need to set it up so that Reason knows that it's there.
| | 00:10 | Now, one thing I will say before we get into actually
attaching it to Reason is, make sure that you have attached
| | 00:16 | or installed any drivers for your
keyboard onto your computer first.
| | 00:21 | If after this movie, it's not working, make sure you check
out the website of the manufacturer of your keyboard,
| | 00:28 | make sure you have got the latest drivers, and then you might
want to check out some forums around, like the Reason Forums,
| | 00:34 | and just see if there is anyone else
having the same sorts of problems as you.
| | 00:37 | So how do we do it?
| | 00:38 | We go to the Preferences again and we select from
this dropdown, Keyboards and Control Surfaces.
| | 00:46 | Now, depending on your keyboard, you maybe able to auto
detect the keyboard; if it's plugged in and switched on,
| | 00:55 | then Reason maybe able to automatically detect it.
| | 00:59 | Try that first.
| | 01:00 | If that doesn't work, click on the Add button here.
| | 01:03 | That will bring up this dialog box here.
| | 01:06 | Now, if you have got a keyboard from one of
these manufacturers, then you can select it,
| | 01:10 | and it will then give you a list of
models from that particular manufacturer.
| | 01:15 | I am actually using an E-MU Keyboard, which is not
listed here, so I am just going to choose Other.
| | 01:19 | Then I get the option to choose between whether or not
I want to attach a Control Keyboard, a Control Surface,
| | 01:27 | a Standard MIDI Keyboard with no Controllable parameters, a
Multi Channel Keyboard, or a Multi Channel Control Surface.
| | 01:33 | In this instance, what I have is a Control Keyboard, and
so I am just going to put it in here as E-MU Xboard 49.
| | 01:42 | I have to choose a MIDI input, so I will
choose the E-MU Xboard 49, and click OK.
| | 01:52 | That will then be listed here as an attached
keyboard controller to be used with Reason.
| | 01:58 | Down here at the bottom you will see the Master Keyboard Input.
| | 02:02 | Now, by default that is set to Standard.
| | 02:05 | I recommend changing that to Separated.
| | 02:08 | What that will do is, when we are recording in the Arrange window
later on, this setting will allow us to look at the note data
| | 02:16 | of another track while we are recording
a performance on another track.
| | 02:23 | The Standard setting will only allow you to
view the track that you are currently recording.
| | 02:29 | So now we have got our keyboard set up.
| | 02:31 | We are ready to roll.
| | 02:32 | We have got the main thing happening,
and we can start making some music.
| | Collapse this transcript |
| GUI overview| 00:00 | OK, let's just have a quick look at
the graphic user interface of Reason.
| | 00:04 | As I said before, I am a studio engineer, so
to me all this stuff just makes perfect sense.
| | 00:09 | But if you are not, then it might look a little bit scary.
| | 00:12 | Essentially, what we have got up at the top here,
this gray panel. That is a graphic representation
| | 00:19 | of the physical audio hardware in you
system. So in other words, your sound card.
| | 00:24 | Below that I have loaded a couple of devices.
| | 00:27 | I have loaded a 14 channel Mixer, and depending on how you
want to say it, ReDrum or red-rum, which is a drum computer.
| | 00:35 | These are two examples of devices
that we can load into our Reason rack.
| | 00:41 | This is what I really like about the
graphic interface of this application.
| | 00:46 | These things looks like hardware devices
loaded into a rack in a studio environment.
| | 00:52 | Like I said, that's fine for a guy like me.
| | 00:54 | If you are not used to it, it might take you a little bit
| | 00:56 | of getting your head around, but it
will come pretty quickly, trust me.
| | 00:59 | So that's the rack.
| | 01:00 | Down the bottom here we have got some empty
rack space where we can load new devices.
| | 01:05 | The bottom section here is the Sequencer or the Arrange window.
| | 01:09 | Now, by default the Sequencer Arrange window
is attached at the bottom of the rack.
| | 01:17 | I actually prefer to separate this out into a separate window.
| | 01:21 | To do that, we click on this button
up here in the top right hand corner.
| | 01:26 | So that will separate the Sequencer out into its own window.
| | 01:31 | I am just going to resize that across there, and so now I can
use on the Windows platform, Alt+Tab to switch between the two,
| | 01:42 | or on the Mac platform, Command+Tilde, to switch between the two.
| | 01:47 | So the reason I like to do that is because in
both windows it gives me more screen real estate.
| | 01:54 | So as I add more devices to the rack and those devices end up
with tracks here in the Sequencer, I can see more of those tracks
| | 02:03 | in the Arrange window, in the Sequencer window, so as I add
more devices to the rack, and those devices get a track here
| | 02:10 | in the Sequencer window, I'll able to see more of those tracks.
| | 02:15 | Likewise, over in the rack, I will be
able to see more devices at one time,
| | 02:21 | instead of having to scroll up and down all of the time.
| | 02:24 | Then at the bottom we have got the Transport panel;
this is where we control the playback of Reason.
| | 02:30 | So we have got a Stop button, a Start button,
a Record button, all the usual things.
| | 02:35 | We can control our Tempo and Time Signature.
| | 02:38 | We can read out of where we are within our
song; both in Bass, Beats, 16th, and Ticks,
| | 02:43 | and in real time of Hours, Minutes, Seconds, and Milliseconds.
| | 02:48 | We can also switch our looping on and off,
and we will get to that in a later movie.
| | 02:52 | Then over here on the right hand
side, we have got the Tool Window.
| | 02:56 | This has three tabs to it.
| | 02:59 | The Devices tab, where we can actually see all of the
different types of devices that we can add to our rack.
| | 03:05 | We have then got the Tools tab, which
gives us some tools to alter our note data.
| | 03:13 | These things we actually use in the
Arrange window, not so much in the rack.
| | 03:19 | Then the third tab is the Groove tab, and this relates entirely
to the ReGroove Mixer, which is a new feature in version 4,
| | 03:28 | and we will be coming to that in a later movie as well.
| | Collapse this transcript |
| Working with the sequencer| 00:00 | In this movie we are going to look at the Arrange window.
| | 00:03 | Now, yes at the moment we are just looking
at the rack because I wanted you to see
| | 00:07 | that I have loaded up a 14 channel Mixer and a Malstr?m Synth.
| | 00:11 | So we jump across to the Arrange window and what I am
going to do is I am going to hit Record and I am going
| | 00:17 | to play in just a few bars of some notes on it.
| | 00:20 | Switch on my Metronome.
| | 00:22 | (Beat starts and music starts to play.)
| | 00:34 | Like I said never profess to be
the world's greatest keyboard player.
| | 00:36 | What we have got here is an event on a track
and that track is the Malstr?m Synth track.
| | 00:45 | Basically each device that we create within the
rack when we play some data from that device,
| | 00:52 | that device will end up with it's own track here in the
Arrange window and any notes that we play will be included
| | 01:00 | within an event clip, like what we are seeing here.
| | 01:04 | Now this clip is currently selected which is why it has a
thick black outline and these little black handles at each end.
| | 01:10 | If we deselect the clip, it looks like that.
| | 01:13 | What we can do with this clip is enter into Note Edit mode.
| | 01:21 | Now when the clip is selected, we can do that quite
easily just by hitting the Return key on our keyboard
| | 01:27 | and that's brings the scene here, where we
can start editing and modifying the Note data.
| | 01:31 | We are not going to do that right now,
that will come in a later chapter.
| | 01:35 | To get out of this and back into Arrange mode, I
find the quickest way on the Windows system Ctrl+A
| | 01:42 | on the Mac Command+A and there we are back out there.
| | 01:46 | Now with this particular clip we can change
it's length just by left clicking and dragging
| | 01:53 | and that will have no effect whatsoever on the Note
data that's actually inside that event or that clip.
| | 02:01 | Unless we make the clip shorter, then where there was no data, in
which case the notes that fell outside of the clip are now muted.
| | 02:10 | However they are still there, we can always
bring them back just by resizing the clip.
| | 02:15 | We can also copy this Note data if we wanted to have that
particular progression appear more than once in the song.
| | 02:24 | In windows we can hold down the Ctrl
button and left-click and drag the clip.
| | 02:29 | On the Mac hold down the Alt button and
left-click and drag and there we go.
| | 02:35 | We have created a duplicate of that clip with the same
notes, the same velocities, all that kind of stuff.
| | 02:42 | These are just the very basics of how the Arrange window works.
| | 02:45 | We are going to cover this in much more depth in Chapter 8.
| | 02:48 | But I wanted you to at least understand that this
is what we are working with in the Arrange window.
| | 02:53 | In the next movie we are going to start looking at the
rack itself and all those funky yet scary looking devices.
| | Collapse this transcript |
| Working with the rack| 00:00 | In this movie we are going to look at the rack.
| | 00:02 | Now as I have said before I am studio engineer,
so to me this stuff just makes perfect sense.
| | 00:08 | If you have never been inside a studio
this might look a little bit scary.
| | 00:12 | As previously mentioned, this gray bar up the top is a graphic
interpretation of the physical audio hardware in your computer.
| | 00:22 | In other words this represents your sound card.
| | 00:26 | That's always in the rack and at the bottom
of the rack we have got our transport panel.
| | 00:32 | In between we got this big blank space, baby;
it's just a big canvas waiting for us to paint on it.
| | 00:40 | The interesting thing about Reason, unlike any other
audio application that I have ever come across;
| | 00:46 | Reason doesn't by default have a m ixer installed.
| | 00:52 | Almost every other software I have ever
used naturally has a Mixer built in.
| | 00:57 | With Reason you need to create that first, because as
anyone who knows and if you have done anything with music,
| | 01:03 | you'll know that you need to be able to bring all of your
instruments and vocals or whatever it is that you working with,
| | 01:10 | into a Mixer so that you can balance levels
and stereo panning and all that stuff.
| | 01:15 | So you need a Mixer, that is absolutely the first thing you need.
| | 01:20 | So to do that we can either come to the Devices palette on
the Tools window and scroll down and find the 14:2 Mixer.
| | 01:29 | And we can just click and drag and drop that
into the rack like so, or Command+Z to undo.
| | 01:37 | Or I can just right click in the blank space, bring up this
pop up menu and go give me a 14:2 Mixer, and there we go.
| | 01:46 | One thing you will see on all devices that you can load
into the rack is this little tape scribble strip on the side
| | 01:54 | and you can left click on that once,
and you can rename that device.
| | 01:59 | So I am just going to call that Mix.
| | 02:03 | The next thing we want, let's say we wanted to put in some drums.
| | 02:07 | So we want a copy of ReDrum or Red
Rum depending on who you talk to.
| | 02:11 | Left click, drag, drop, there we go.
| | 02:14 | Now, by default its called Redrum 1,
so we are going to call that Drums.
| | 02:20 | Now this ReDrum module is connected to the Mixer.
| | 02:24 | Now how do I know that?
| | 02:26 | By looking at it from the front I can't tell.
| | 02:29 | I know what you are thinking; you are thinking what do you mean
looking at it from the front, how can I see it any other way?
| | 02:33 | Well that, my friend, is quite simple, the Tab key will flip your
rack around and let you see the back of the devices in your rack.
| | 02:44 | I really like this I think it's very
clever graphic user interface design.
| | 02:49 | So what I am now looking at is the back of 14:2
Mixer here and the back of ReDrum down here.
| | 02:56 | And what we can see is that the output of ReDrum is connected
to the Channel 1 inputs on the back of 14 channel Mixer.
| | 03:06 | If I create another device in the rack it will
automatically get routed to Input 2 on the Mixer.
| | 03:15 | We can see that the output of the Mixer is routed to the
physical output of our sound card which is exactly what we want.
| | 03:24 | So let's go ahead and add another device,
let's say just a SubTractor Analog Synth.
| | 03:31 | So now we have got a SubTractor Synth, let's call that Bass.
| | 03:38 | So we see that the output of our Bass Synth has automatically
been routed to the input of Channel 2 on our 14 channel Mixer
| | 03:48 | and if we flip the rack around again we can see that
the Scribble Script for Input 2 has been renamed
| | 03:55 | to Bass, just like we did for the actual Synth.
| | 04:00 | Now you can see that I am scrolling
up and down here with my mouse
| | 04:05 | and you probably are going to get
sick of doing that all of the time.
| | 04:08 | Well thankfully there is a great little
feature here, which is this little triangle
| | 04:13 | on the left hand side and that will appear for every device.
| | 04:17 | And what that allows us to do, is collapse down any device
that we really don't need to be looking at in a full view.
| | 04:26 | So that way I can flip my rack around and I can now
see both my Bass Synth and the Mixer and I can see
| | 04:34 | that whole patch cord running from the output of a Synth into
the Mixer, without ReDrum hogging all my screen real estate.
| | 04:42 | Another great feature is that you can left click and drag
and drop the position of any device within your rack.
| | 04:50 | Now the thing to understand is even though
I have repositioned these two devices,
| | 04:56 | I have not altered the actual patching of the audio signal.
| | 05:02 | All we have done is just change their location within the rack.
| | 05:05 | Now at the moment you might be thinking, why would I bother?
| | 05:09 | Well later on when we get into more advanced
patching scenarios, sometimes it can be handy
| | 05:16 | to have two particular devices side-by-side in the
rack, so that we can see how they relate to each other.
| | 05:23 | If you have got 50,000 other devices in between the two,
| | 05:26 | then it's almost impossible to see
those two devices on the one screen.
| | 05:30 | So being able to just left click and drag and drop makes it a
lot easier to reposition things to way they make sense visually.
| | 05:40 | In the next movie we will have a more in depth
look at the Transport Panel down the bottom here.
| | Collapse this transcript |
| Working with the Transport panel| 00:00 | In this movie we are going to have
another quick look at the Transport panel,
| | 00:04 | not in too great of depth because we will be covering this in
Chapter 6, but essentially what we have got is a set of keys here
| | 00:12 | which allow us to control the playback
of Reason just like a tape deck.
| | 00:17 | The big red one? Everybody knows
that one. That's the Record button.
| | 00:20 | Now you can click on it with your mouse but you can also activate
Record mode by using the asterisk (*) on the numeric keypad
| | 00:29 | of your keyboard. To the left of that, the Play button.
| | 00:32 | We can click on that with a mouse or we can use the
Spacebar, which will sort of act as a Play and Stop toggle
| | 00:40 | or we can use the Enter key on our numeric keypad.
| | 00:45 | Then we have got the Stop button.
| | 00:46 | Again you can click on it or you can use the
spacebar or the 0 key on your numeric keypad.
| | 00:54 | Then we have got Fast Forward and Rewind buttons.
| | 00:57 | To the left of the Transport buttons we have got our
indicators for how far we are through our project.
| | 01:03 | At the moment my cursor is right at the beginning of the project.
| | 01:07 | So if I press Play,
| | 01:09 | (Music plays.)
| | 01:14 | we can see now that we are at 3 bars, 3 beats,
2 1/16th and 79 ticks into our project
| | 01:22 | and that equates to 5 seconds and 166 milliseconds.
| | 01:28 | Now that relationship is linked by the tempo of the song.
| | 01:33 | If we alter the tempo our position in bars and
beats won't move, but our position in time will.
| | 01:40 | So if I halve this Tempo to 60 beats per minute and hit Enter
then this time indication will correspondingly be doubled.
| | 01:53 | Command+Z to undo.
| | 01:55 | So we have got our Tempo there which we can alter.
| | 01:58 | We have also got our Time Signature.
| | 02:00 | If we want to set that to 3/4 I can just click on the 4, type
in 3, hit Enter and now my song is in 3/4 time. Undo that.
| | 02:09 | We then have got our Metronome, which we can activate by turning
on the Click and we can change the volume of the Metronome
| | 02:15 | with the Click level, just left click with your mouse and
move your mouse forwards and backwards to alter the level
| | 02:23 | and we can activate a Precount so that we
get one bar of metronome after we hit Record
| | 02:29 | but before Reason actually begins recording our performance. So
we get that one bar just to get up to speed with the Metronome.
| | 02:37 | To the left of that we have got our DSP Meter, which
shows us just how hard the CPU in our computer is working
| | 02:44 | to compute the mix of the song that we are playing back.
| | 02:48 | We have got New Dub and New Alt buttons, which
relate to how we record alternate performances.
| | 02:55 | We will be covering that in Chapter 6.
| | 02:58 | Then we have got our Loop on and off points.
| | 03:01 | Now for Loop to be active we do need to switch
that button on so its green as it is now
| | 03:06 | or I can deactivate it if I don't want Loop to occur.
| | 03:10 | We can alter those values just by left-
clicking in there and typing a new value
| | 03:15 | or we can use these toggle switches to alter a given value.
| | 03:21 | We can also have our cursor jump to a loop point by
clicking the L button to jump to the left Locater
| | 03:29 | or the R button to jump to the right Locater.
| | 03:32 | Then in the end here we have got
the button for the ReGroove Mixer.
| | 03:35 | We will be covering ReGroove in Chapter 11.
| | Collapse this transcript |
| Essential keyboard shortcuts| 00:00 | In this movie we are going to have a
look at just a small handful of some
| | 00:04 | of the really what I consider to be essential keyboard shortcuts.
| | 00:10 | You can find a much more fleshed out
elaborate list on your hard drive.
| | 00:16 | It's not only installed to CD, it's actually
installed to your system when you install Reason.
| | 00:22 | So if you go to the Application folder for Reason, you
will find a PDF document with a much more elaborate list
| | 00:29 | of keyboard shortcuts, but there are
just a few that I want to show you.
| | 00:32 | The first one within the rack when you get lots of devices
sometimes you might just want to fold all of them up in one go.
| | 00:41 | Now remember I said you could fold
a device with this little arrow key.
| | 00:45 | Well by using the Alt key in conjunction with that mouse
click we can fold all devices in one hit, just like that
| | 00:55 | and that works exactly the same way
in the Arrange window as well.
| | 00:59 | You can use the Alt and click on that little black
triangle and it will collapse all of the tracks up together
| | 01:05 | in one go and of course that works in reverse as well.
| | 01:08 | If they are all collapsed, Alt and Expand 1 will expand all
of them and the same in the rack to expand all of the devices.
| | 01:17 | The next one that I really think is
essential is round the back of the rack.
| | 01:21 | Remember we can get to that with the Tab
key and that's the keyboard shortcut L;
| | 01:27 | that will remove the cabling from the graphic user interface.
| | 01:32 | All of the connections still exist but the cables go away.
| | 01:36 | That just becomes handy so that you can actually see the
input jacks on the backs of devices because when you get a lot
| | 01:44 | of cables in there it can actually become quite messy.
| | 01:46 | So that's the L key.
| | 01:48 | Next one is in the Arrange window and that's the
keyboard shortcut F. What this will do is activate
| | 01:56 | or deactivate the following of the song.
| | 01:59 | I am just going to zoom in a little tighter.
| | 02:03 | So what happens is when I press Play,
| | 02:06 | (Music plays.)
| | 02:12 | because I'm in Follow mode the Arrange
window scrolled with the playhead
| | 02:14 | (Music plays.)
| | 02:18 | but if I press the F key again and now press Play again,
| | 02:29 | you can see that the playhead has now disappeared from view
| | 02:33 | but our view of the Arrange window has stayed in place.
| | 02:38 | So it's handy if you want to zoom in on a particular
part of your arrangement, but that's not actually
| | 02:45 | where the playhead is at that particular point in time.
| | 02:49 | The next one I have mentioned already Ctrl+E or
Command+E that allows us to switch between Edit view
| | 02:57 | and Arrange view and that works just like so.
| | 03:01 | Of course what you get to see will depend on which
track of your Arranger is currently selected.
| | 03:09 | Then of course there is the QWERTY key selection.
| | 03:11 | As I said Q to grab the Select tool, W to grab the
Pencil, E to grab the Eraser, R to grab the Razor,
| | 03:23 | T to grab the magnifying glass and Y to grab the Hand
tool. And finally four of them on the numeric keypad,
| | 03:32 | which relate to your Transport Controls down here,
| | 03:36 | the 0 key to stop and if you press it a second
time, it will go back to your loop start point.
| | 03:46 | And if you press it third time, it will take
you right back to the beginning of your song.
| | 03:51 | The Enter key on your numeric keypad will act as a Play
button. The asterisk(*) on your numeric keypad will act
| | 04:00 | as a Record shortcut and the Spacebar as a Play and Stop toggle.
| | 04:06 | Now I have put these up on screen for you.
| | 04:09 | Like I said, that's just a very condensed list which I
feel are keyboard shortcuts that are fairly essential just
| | 04:16 | to help speed up your productivity and your workflow.
| | 04:20 | As previously mentioned if you go to the
Application folder on your system you will be able
| | 04:26 | to find that complete list in a PDF document.
| | Collapse this transcript |
|
|
2. Working with InstrumentsAbout this chapter| 00:00 | Reason has a whole bunch of instruments and effects
and all sorts of funky stuff and what we're going to do
| | 00:07 | within this particular chapter of movies
| | 00:10 | is look at the seven devices within Reason which create sound.
| | 00:16 | So we've got three synthesizers,
| | 00:19 | two samplers,
| | 00:20 | and two rhythmic devices, which are Dr. REX and ReDrum.
| | 00:24 | So let's get into it.
| | Collapse this transcript |
| The ReDrum drum machine| 00:00 | So let's start with ReDrum or as some of the folks here at Lynda
call it red rum, which is quite funny because it's obviously a play
| | 00:07 | on 'The Shining,' the movie with Jack Nicholson.
| | 00:09 | So anyway, whichever way you want to refer to it
this is the drum machine which is built into Reason.
| | 00:15 | As you can see it has ten channels so we can load ten different
drum samples and by default Reason has loaded up this Disco Kit.
| | 00:26 | So the way this works is that what we've got
down here at the bottom is a step sequencer.
| | 00:33 | If you've never worked with the drum machine before the
way it works is that you select a particular drum sample,
| | 00:39 | in this case, I am going to go for this closed
hi-hat,
| | 00:39 | (Hi-hat/cymbal beat plays.)
| | 00:45 | and you see that I can sample each of those-
| | 00:48 | and when I say sample, I mean I can
actually audition the sample that's loaded
| | 00:53 | in each channel by pressing this Play button at the top.
| | 00:56 | (Hi-hat/cymbal beat plays.)
| | 00:58 | So I want a closed hi-hat to appear
on all of the eighths. Whoops. Like so.
| | 01:06 | And I can then just have to listen
to that by pressing the RUN button.
| | 01:11 | (Hi-hat/cymbal beat plays a little faster.)
| | 01:13 | Now, as you can see this is in a 16-step
sequence but we can alter the number of steps
| | 01:19 | if we want to, but for now we will leave it at 16.
| | 01:22 | If I wanted soft hits on every second one I could change
this default dynamic value here to Soft, and then,
| | 01:31 | click on each of those second ones and now
I will get alternating Medium and Soft hits.
| | 01:39 | (Hi-hat/cymbal beat plays.)
| | 01:42 | And I am not even want to have a hard
one for the very first beat.
| | 01:45 | (Hi-hat/cymbal beat plays.)
| | 01:50 | Like so.
| | 01:51 | Now what we've done at the moment is programmed one
| | 01:55 | of 32 different available patterns
within ReDrum, and this pattern is A1.
| | 02:01 | These patterns will become beneficial tools a little
bit later on once we've programmed some more stuff in.
| | 02:07 | So what I'm going to do is I'm going to Copy what I have
done so far by just right-clicking and going Copy Pattern
| | 02:15 | and then I am going to go to Pattern
A2, right-click again and Paste Pattern.
| | 02:21 | So now I have copied what I had in Pattern A1 into Pattern A2.
| | 02:25 | Now I am going to select the kick drum,
| | 02:28 | (Music/drumbeat plays.) It sounds like that.
| | 02:29 | I am going to throw that in on the one and the three.
| | 02:33 | Actually I want to just make those Medium.
| | 02:35 | And then I am going to grab a snare, and throw that in on the
two and four. And I might actually go back to that Closed Hat,
| | 02:45 | type that one off and go with an Open Hat for that last eighth.
| | 02:52 | So now what we have got- (Music plays)
| | 03:00 | sounds like that.
| | 03:01 | So you're starting to get the idea that we can build up different
patterns simply by choosing whereabouts within our 16 ticks
| | 03:10 | within a bar, we want particular
parts of the drum kit to up here.
| | 03:17 | How we then use that within the Sequencer goes like this.
| | 03:21 | We come across to our Sequencer and by default there
will be a ReDrum Sequencer Track with one lane,
| | 03:29 | but what won't to be there is a Pattern lane and to put
one in we just right-click and select Create Pattern lane.
| | 03:38 | Now we have got our Pattern lane, we can
then grab our Pencil Tool and we can draw
| | 03:44 | in a two-bar event and it will default to Pattern A1.
| | 03:50 | I can now say, well, I want my next pattern to be A2, and
so it's appearing up here on the Inspector Bar at the top
| | 03:58 | of the Sequencer Window and what I can do
now is draw in a two-bar block of Pattern A2.
| | 04:05 | Now, if I zoom in and I select my Select Tool by pressing
Q on the keyboard, you will see that when I have got one
| | 04:14 | of those pattern clips selected not I only do I get the handles
at each end so I can extend the length of that clip if I want to
| | 04:23 | but I also get a little dropdown right there beside where
it has the name of the pattern or the number of the pattern.
| | 04:29 | And from there I can also change which pattern
I want to occur during this four-bar event.
| | 04:36 | So if we have to listen to this now.
| | 04:38 | (Music plays.)
| | 04:51 | You can see that what we can do is by first of all sequencing
up some different patterns in the Pattern Editor here
| | 05:00 | in ReDrum, and then combining that
with drawing some pattern events
| | 05:06 | into our ReDrum Sequencer Track we can have the drumming
pattern change over time depending on what we want for a song.
| | 05:15 | We could let it go back and build up some new
sequences, new patterns and then add those
| | 05:22 | into our Sequencer Track as well, and that's ReDrum.
| | Collapse this transcript |
| The Dr. Rex loop player| 00:00 | The next device we are going to look at is Dr. REX.
| | 00:03 | Now Dr. REX is a loop player.
| | 00:06 | It's designed to load .rex files and they are files which have
being created in another piece of software called ReCycle.
| | 00:15 | We are not going to cover the actual creation of
that because that doesn't really relate to Reason
| | 00:21 | but Dr. REX is how we play back those
recycled files or rex files.
| | 00:27 | What happens is that the sample gets loaded into this window
here and we can see that the standard or default tempo
| | 00:36 | for this particular loop is 136 bits per minute.
| | 00:40 | We can have a listen to this loop
just by hitting the Preview button.
| | 00:43 | (Music plays.)
| | 00:47 | OK and we can see that there are vertical lines across the
elements of this particular loop and these are what are known
| | 00:56 | as slices and we can edit the properties of any one of those
slices simply by grabbing this knob and pushing our mouse
| | 01:07 | to move our selection through the entire loop and we can stop
on any one of those slices and then alter things like the Pitch
| | 01:19 | of that slice, the Pan of that slice
to make it move left or right.
| | 01:25 | We can alter its Level, in other words, how loud
it is and we can also mess around with its Decay.
| | 01:33 | Although, for the majority of the slices in a loop,
the decay is pretty short anyway because the nature
| | 01:39 | of percussive sounds is that they die very quickly.
| | 01:43 | So let's just have a listen to this loop again and type
note that I have raised the pitch of that first slice,
| | 01:49 | I am just going to rise it to a really extreme level to
make it stand out and I am going to shift it to the left
| | 01:56 | so you really hear how we have
modified just slice number one.
| | 02:01 | (Music plays.)
| | 02:10 | So you can hear that that very first slice is off to the
left-hand side and it's been pitched up by its semitones.
| | 02:18 | Likewise, I could pitch it down.
| | 02:20 | (Music plays.)
| | 02:22 | So you heard it right there at the front that
it was pitched much lower and off to the left.
| | 02:27 | So we can do all of this sort of funky stuff to
change how each slice within this loop plays back.
| | 02:35 | We can also filter the entire loop with a Low Pass
Filter or a Band Pass Filter or a High Pass Filter.
| | 02:42 | We will get into this in more detail in
coming movies as well but the idea is
| | 02:46 | that it changes the base and high frequency content of the loop.
| | 02:51 | (Music plays.)
| | 03:09 | So you get the idea.
| | 03:10 | We can do all sorts of tonal adjustment to our loop.
| | 03:14 | We can also activate a Low Frequency Oscillator and what that
will do is allow us to modify the way this loop plays back.
| | 03:24 | By default the Low Frequency Oscillator is
affecting this Oscillator Pitch up here.
| | 03:32 | This is all pretty heavy stuff.
| | 03:34 | We might just skim over this.
| | 03:36 | But just to give you an idea, let's just assign that to the Pan.
| | 03:39 | So what will happen now is that this Low Frequency Oscillator
will affect the left and right positioning of this entire loop
| | 03:49 | and the Amount Control here will affect just how
much the Low Frequency Oscillator affects the pan.
| | 03:56 | (Music plays.)
| | 04:07 | So if you are listening in stereo, you would
have heard that as I round up that amount value,
| | 04:11 | the audio started the pan left and right quite radically.
| | 04:17 | And then we've got an Amplitude Envelope where we can change
how quickly sounds attack and decay and sustain and release
| | 04:24 | and again that's something we will get into in more
detail as we get further into the training series.
| | Collapse this transcript |
| The Subtractor analog synth| 00:00 | The next device we are going to look at is the SubTractor
Analog Synth and it's called the Analog Synth simply
| | 00:06 | because it is designed to emulate the old analog synths
that we had back in the 60s, the 70s and the 80s.
| | 00:14 | Essentially what we've got is two
Oscillators up here in the middle at the top.
| | 00:19 | Oscillator 1 and Oscillator 2.
| | 00:21 | What they do is generate a waveform from scratch
and you will see that from this default patch
| | 00:28 | of the bass guitar the Oscillator 1 is a sawtooth waveform.
| | 00:33 | Oscillator 2 is also a sawtooth and it sounds like
| | 00:37 | (Music plays.) It sound like a bass guitar.
| | 00:42 | However, we have also got a Noise Generator.
| | 00:45 | So we can introduce all sorts of noise to a waveform as
well and then control the mix between the waveform coming
| | 00:54 | out of Oscillator 1 and the combined
mix of Oscillator 2 on the noise.
| | 01:01 | We do that via this Mix Control.
| | 01:03 | We can then run that mixed output through Filter
1 and Filter 2, and we can also run a whole signal
| | 01:11 | through two Low Frequency Oscillators, LFO 1 and LFO 2.
| | 01:17 | Now what these Low Frequency Oscillators do is allow
us to modulate different parameters or that waveform
| | 01:27 | at different speeds and to different degrees.
| | 01:30 | So we want to modulate the phase relationship
between Oscillator 1 and Oscillator 2 using LFO 1.
| | 01:38 | And we can choose the shape of that
modulation with this Waveform Selector here.
| | 01:44 | How does that sound?
| | 01:46 | Well, let's try it.
| | 01:48 | Crank up some Rate, give it an Amount.
| | 01:51 | (Music plays.)
| | 01:55 | I'm not really not hearing a lot.
| | 01:58 | Let's try some more Rate.
| | 01:59 | (Music plays.)
| | 02:03 | OK, so now we can hear that the phase between these two
Oscillators is being affected by this Low Frequency Oscillator.
| | 02:11 | LFO 2 does pretty much the same thing.
| | 02:13 | We can choose what parameter we want to be oscillated
and we can then dial in a Rate and Amount and so on.
| | 02:21 | And then LFO 2, a Low Frequency Oscillator
2 does pretty much the same sort of thing.
| | 02:26 | We can choose which parameter we want to modulate
and to what degree we want to modulate it.
| | 02:32 | We've also got envelopes that we can control for the
modulation, for the filtering and for the amplitude.
| | 02:41 | If you are not familiar with an ADSR Envelope,
it stands for Attack, Decay, Sustain and Release.
| | 02:50 | Attack is how quickly the note begins.
| | 02:53 | So it'd be close then I've got the Attack Slider all
the way to the bottom here, the note begins quite sharply,
| | 03:00 | (Plays one note of music.)
| | 03:01 | Like so. If I slow the Attack down the note will fade in.
| | 03:07 | (Plays one note of music.)
| | 03:08 | And if I reduce it even more...
| | 03:12 | (A note of music fades in very softly.)
| | 03:14 | you can hear how it takes longer
for the note to start to build up.
| | 03:18 | The Decay is how quickly the amplitude of the generated
sound starts to drop in volume after the attack has begun.
| | 03:31 | Sustain determines how long the note will hold for and the
Release value determines how quickly the note will fade
| | 03:39 | out when you take your hands off the keyboard.
| | 03:43 | So if I set the Release really short when I release the
key of the keyboard the note will stop quite abruptly.
| | 03:52 | (Plays a note of music.)
| | 03:53 | So you hear that it stops quite sharply.
| | 03:56 | If I slow that down...
| | 03:58 | (Plays a long note of music.)
| | 04:04 | you can hear that it takes quite
a long time for the note to decay.
| | 04:08 | Even though I took my hand off the key about ten
seconds before the note had actually faded out.
| | 04:15 | So that's an ADSR Envelope and that's pretty
much it for the SubTractor Synth for now.
| | 04:19 | In the next movie, we will look at the Malstr?m.
| | Collapse this transcript |
| The Malström synth| 00:00 | The next device we are going to look at is the Malstr?m Synth.
| | 00:03 | Now as you can see from the title
it's called a Graintable Synthesizer.
| | 00:09 | What does that exactly mean?
| | 00:12 | Well it's a combination of two different forms of
synthesis, Granular Synthesis and Wavetable Synthesis.
| | 00:21 | Now Granular Synthesis takes a sample of a piece of
audio, in this particular instance a female choir sample.
| | 00:30 | What it does is it slices up that original waveform into
really small chunks and when I say really small, I mean less
| | 00:39 | that a 100 milliseconds and then modifies
things like the ADSR curve for that granule
| | 00:47 | and it can also change the order in
which those granules are played back.
| | 00:53 | So it's kind of like splashing it up and then shuffling
all the slices around and then playing them back out.
| | 00:59 | So that's Granular Synthesis and then Wavetable Synthesis
is essentially what we saw in the Subtracter Synth
| | 01:06 | where we generate a waveform with an Oscillator and then
what we do in Malstr?m is combine those two sources of audio.
| | 01:15 | So what we have got is two Oscillators,
Oscillator A and Oscillator B,
| | 01:20 | and these little yellow buttons switch them On or Off.
| | 01:23 | So if you don't want both Oscillators
you just turn the second one off
| | 01:26 | and we can change the way the sound is modified
by playing with some of these parameters.
| | 01:33 | Let's just have a listen to the default values.
| | 01:36 | (Music plays.)
| | 01:40 | Now I could change, say the Motion.
| | 01:43 | (Music plays.)
| | 01:48 | And you can hear that there
is some weird stuff happening.
| | 01:50 | What's happening is that these two Oscillators
are fading out into these filter banks
| | 01:56 | but we can also modulate the output of these two Oscillators.
| | 02:02 | We have these two modulation curves, Mod A and Mod B, and we
can change the shape of the modulation curves and we can change
| | 02:10 | all these other parameters and come up with all sorts
of weird sounds. And you can see by the little patterns
| | 02:17 | on the front face here, we can choose
the way different outputs are routed to.
| | 02:24 | So where this yellow button is lit up that means that
the output of the Oscillator A is going to the Shaper.
| | 02:30 | But the Shaper is currently switched off.
| | 02:33 | We can switch it on, switch it off again.
| | 02:36 | The output of Oscillator A is not going to Filter B,
but we could make it do that by switching it on.
| | 02:43 | By clicking on it's palette button there.
| | 02:46 | Oscillator B, on the other hand, is going to
Filter B because it's already switched on there.
| | 02:52 | So as you can see we can do some pretty mad stuff just by
choosing where we send the output of different Oscillators,
| | 02:59 | How we mix them together,
| | 03:01 | routing one filter out into the Shaper or not routing it.
| | 03:05 | Whatever we choose to do, we can change the modulation
shapes, change the filtering, it's just a crazy, crazy synth.
| | 03:13 | You can come up with some really mad sounds out of the Malstr?m.
| | 03:16 | But if you think Malstr?m is crazy, wait till you hear
from the Nordic God of Thunder, Thor. Coming up next.
| | Collapse this transcript |
| The Thor polysonic synth| 00:00 | A quick word of warning before we get into this one.
| | 00:03 | Even I am going to try and keep it simple, this is probably
going to be fairly hardcore, particularly for the people
| | 00:10 | who are new to this idea of using synthesizers.
| | 00:14 | Thor is the new Polysonic Synth that
was introduced in Reason version 4
| | 00:20 | and it is the most appropriately named
device here. I'll tell you it is a beast.
| | 00:27 | You are probably looking at it and going
well it doesn't look that complicated.
| | 00:33 | Well no it doesn't but that's because
you are not looking at the Programmer.
| | 00:38 | Let's click this here.
| | 00:40 | What have we got here?
| | 00:42 | Well, let's run through it.
| | 00:44 | Down the left hand side here we have got three Oscillator slots.
| | 00:48 | Now at the moment there is only Oscillator loaded, but we can
load Oscillators into the second and third slots if we want them.
| | 00:57 | We can choose from up to six different types of Oscillator.
| | 01:03 | So let's choose a wavetable for the second one, and
let's maybe choose a Multi Oscillator for the third slot.
| | 01:10 | Now what happens is that the output of these first two
Oscillators comes into this Mixer here and we can control the mix
| | 01:20 | between Oscillator 1 and Oscillator
2 with this Balance knob right here.
| | 01:27 | So if we pull that all the way around to the left
we will only hear the output of Oscillator 1.
| | 01:35 | (Music plays.)
| | 01:39 | If I want to hear the output of Oscillator 2, I can
swing that all the way around and I just need to click
| | 01:45 | that button there on and so now we can here just Oscillator 2.
| | 01:50 | (Music plays.)
| | 01:54 | I can choose any balance between them just by selecting
some sort of middle ground with the Balance knob.
| | 02:01 | (Music plays.)
| | 02:05 | So we have got a mix of these two Oscillators.
| | 02:10 | The third Oscillator, if you follow the circuit diagram here, is
coming up into the Mixer and is controlled by this Fader here.
| | 02:20 | So we can adjust the balance of all three Oscillators with
this knob for 1 and 2 and then this Fader for the mixture
| | 02:30 | of 1 and 2 and this Fader for the output of 3.
| | 02:34 | So if we pull this Fader right the way down, activate
3, now we will only hear the output of Oscillator 3.
| | 02:43 | (Music plays.)
| | 02:46 | We can then bring some of 1 and 2 back into the mix as well.
| | 02:51 | (Music plays.)
| | 02:54 | So you kind of get the idea.
| | 02:56 | These little toggle buttons here that I played with before they
allow us to tell Thor which of these Oscillator slots we want
| | 03:06 | to fade into this Filter slot right here and at the
moment I've got all three of them going into it.
| | 03:13 | Now this is a Low Pass Ladder Filter but we can
also choose from the three other filter types.
| | 03:20 | So I might choose the Formant Filter.
| | 03:23 | (Music plays.)
| | 03:36 | So you kind of get the idea.
| | 03:38 | The signal then comes out of these filter slot into the Shaper.
| | 03:42 | So we can choose whatever type of shaping we want to occur and we
can then choose whether the output from the Shaper goes directly
| | 03:51 | to the Amplifier stage or whether we want to route
it in this direction around into the Filter 2 slot.
| | 04:00 | Now if we activate this filter slot with say a Comb
Filter, we then need to activate the output from that,
| | 04:08 | so that we complete that circuit, because this signal is going
down here into here, out of here and through this switch.
| | 04:16 | So without turning that switch on we wouldn't get a sound.
| | 04:19 | So now we have got a Comb Filter as well.
| | 04:22 | (Music plays.)
| | 04:26 | We've then got an LFO and some Envelopes that we play with
and then the output of this Amplifier comes into Filter 3,
| | 04:36 | which also feeds into a Delay module
and a Chorus module if we want them.
| | 04:43 | So we can add another filter if we want to.
| | 04:46 | (Music plays.)
| | 05:01 | We can choose how much Drive we want for that filter
| | 05:04 | (Music plays.)
| | 05:15 | and then we can activate a Chorus if we want some chorus.
| | 05:19 | (Music plays.)
| | 05:24 | We can also add some delay if we want to,
just crank up the Feedback so we can hear it.
| | 05:30 | (Music plays.)
| | 05:37 | Of course we have got another Low Frequency
Oscillator and it just goes on and on.
| | 05:42 | Down the bottom here we've got the Modulation
Matrix and a Step Sequencer for creating arpeggios.
| | 05:50 | That's just getting way too in-depth for now.
| | 05:53 | I've probably gone too hardcore already and if I have
my apologies, but Thor really is a humongous thing
| | 06:02 | and there is just no end of things you can
do with it and sounds that you can create.
| | 06:08 | If you haven't already, check out the Reason Factory Sound Bank
and have a listen to some of the patches that are available
| | 06:16 | for the Thor Synth. And to do that you can just click on the
Browse button here, go to the Reason Factory Sound Bank,
| | 06:24 | check out Thor patches and have a listen
to some of the sounds that are in there.
| | 06:28 | There is some really mad stuff.
| | 06:31 | In the next movie we'll have a look at the NN19 sampler.
| | Collapse this transcript |
| The NN19 sampler| 00:00 | Now we get to the last two devices
and these two are both samplers.
| | 00:06 | The first of these is the NN19 and for anyone who is
old enough you will recognize the corny significance
| | 00:13 | of the name of this sampler.
| | 00:15 | It's probably a little obscure a reference for the younger
folk, but back around 1983 or maybe 1984 a song came
| | 00:26 | up by a guy called Paul Hardcastle called '19.'
| | 00:30 | It was one of the first tracks to use a sampler on the vocal
track of the performance and so he had this stutter effect
| | 00:37 | where he was doing n-n-n-n 19, 19
and hence the name of this sampler.
| | 00:43 | So basically what we have got is the ability to map a sound
across the keyboard range and generally the samples that you get
| | 00:54 | in the Reason Factory Sound Bank are multi-voice samples
meaning that instead of just using one sample of a grand piano
| | 01:03 | and then mapping that across the whole keyboard, there are
samples of a grand piano taken from various parts of the keyboard
| | 01:12 | and they are all loaded into the patch and mapped
across different key zones within the sampler.
| | 01:20 | If you don't understand exactly what I am talking about,
it's taking one particular sound, which we might map to C3,
| | 01:28 | which is middle C on the keyboard (Plays a C note.)
and instead of only playing that sample at that pitch,
| | 01:37 | we map that particular sample to two or three semitones lower
| | 01:42 | as well as two or three semitones higher on
the keyboard, so that whenever we play a note
| | 01:48 | within that five note range we are referencing
that particular waveform as an original sample.
| | 01:56 | If I was to load say a voice track into the NN19, I could
then play that voice track on any key on the keyboard
| | 02:06 | and as I chose a key lower than middle C, the pitch of that
voice track would be dropped lower and if I played a key higher
| | 02:15 | than middle C, then the pitch of
that voice track would be raised.
| | 02:19 | So that's the essential principle of sampling.
| | 02:23 | We take a waveform and we allow our keyboard
to playback that sample at different pitches
| | 02:31 | and like every other device in Reason, it doesn't end there.
| | 02:36 | We can then take this particular sampled
sound and we can muck around with the pitch.
| | 02:42 | We can muck around with all sorts of things, we
can fade it through a low frequency Oscillator.
| | 02:47 | We can choose what we want that low
frequency Oscillator to actually affect.
| | 02:52 | We can then filter to the sound, change the
Attack, Decay, Sustain and Release of that filter
| | 02:59 | and then we can do exactly the same thing with the Amplitude.
| | 03:03 | So if we wanted the keys of the piano to
actually fade in, we could change the Attack time.
| | 03:10 | (Plays a piano note.) Not particularly
realistic, but you could do it nonetheless.
| | 03:16 | So that's the very short version of the NN19.
| | 03:19 | In the next movie the last one for
this chapter, look at the NNXT.
| | Collapse this transcript |
| The NNXT sampler| 00:00 | Here we are at the last of the sound generating
devices within Reason. This is the NN-XT Sampler.
| | 00:09 | Now, how does this differ from the NN-19?
| | 00:12 | The NN-19 is designed to play one set of instruments at a time.
| | 00:18 | The beauty of the NN-XT is that you can have multiple
instruments loaded within a patch and have them mapped
| | 00:27 | across either a) different key ranges of the keyboard
or b) mapped to different velocities. So that as you play
| | 00:38 | at different levels of intensity, different samples kick in.
| | 00:42 | To demonstrate that we are just going to open up the Remote
Editor and you will see this little Unfold button here,
| | 00:49 | it's a bit like Thor in that respect. There's this whole
world of information you just did not realize was there.
| | 00:56 | Now what I have got here is a Violin Section and if
we look down the left hand side of the editor here,
| | 01:03 | we can see that there are all of these different
violin samples at different keys in .aiff format.
| | 01:12 | Now, you might think that all of these samples
are going to play whenever I play the keyboard.
| | 01:19 | (Violin music plays.)
| | 01:29 | You get the idea.
| | 01:30 | In actual fact, not all of these
samples are playing at the same time.
| | 01:37 | If we come right down to this bottom set of samples here and
click on the left hand side, we can see from the information
| | 01:44 | across the bottom here that the low
velocity is 1 and the high velocity is 75.
| | 01:50 | What that means is that if I play at any velocity between
1 and 75 then this set of samples will be what I hear.
| | 02:02 | If I then come up to the second set of samples, we can
see that the velocity is mapped between 76 and 112.
| | 02:10 | So if I play in that velocity range, it will be these
samples that I will be hearing. And then up here at the top,
| | 02:18 | we have got a third set of samples which
are mapped only to high velocity values.
| | 02:25 | Now, I know what you are thinking, can I overlap them?
| | 02:29 | Oh yes, you absolutely can just by lowering, for
example, the low velocity for this third set of samples.
| | 02:38 | So now if I play at any velocity above 76, not only will I hear
this set of samples but I will also here this set of samples
| | 02:51 | up to a velocity of a 112. After which point, this set of
samples will stop playing and only the top section would play.
| | 03:00 | Like every other device that we have covered so far there
is a multitude of parameters that we can tweak; filters,
| | 03:08 | amplitude envelops, modulation envelopes, all the stuff
and the great thing about all of these parameters is
| | 03:15 | that they can be mapped differently for each
set of samples within the Remote Editor.
| | 03:24 | So we can have different Attack, Decay, Sustain
and Release values for these samples compared
| | 03:30 | with the same parameters for these samples here.
| | 03:34 | So just to show you that if I reduce the Amplitude, Decay,
Sustain and Release of this set of samples and now go back
| | 03:44 | up to the top set, we can see that those values are different
for this set of samples than they are for this set of samples.
| | 03:54 | Now this patch that I have got loaded only has violin
samples loaded in it but I could if I wanted create a patch
| | 04:03 | where I might have say, piano and string samples and I
could have them mapped to different parts of the keyboard
| | 04:11 | or like we've seen here, to different Velocity ranges.
| | 04:15 | So depending on either where I play the keyboard or how
loud I play so that will determine what sounds I hear
| | 04:23 | and that pretty much wraps up this chapter on the
different sound creation devices within Reason.
| | 04:33 | In the next chapter, we are going to start looking at putting
together just a basic track in the Sequencer using a variety
| | 04:41 | of these instruments just so you can get your head around how
we take what we've covered in this chapter and throw it together
| | 04:48 | in the Arrange window to actually build up a song.
| | 04:51 | I am looking forward to it.
| | Collapse this transcript |
|
|
3. Composing Your First SongCreating drum patterns in ReDrum| 00:00 | In this particular chapter, what we're
going to do is we are going to build
| | 00:03 | up a very basic song within Reason starting from scratch.
| | 00:07 | So, as previously mentioned, the first thing is we need a Mixer.
| | 00:11 | So I am creating a 14:2 Mixer and then I
am going to bring in ReDrum Drum Computer.
| | 00:18 | And I am not sure if I want the Disco Kit but I leave it
there for now, we are going to throw in some hi-hats.
| | 00:24 | I'M actually going to make this a 32-step
sequence and I am going to throw in an accent there
| | 00:32 | at the end and I am going to step this up to 32 steps.
| | 00:36 | Let's have a listen.
| | 00:37 | (Drumbeat plays.)
| | 00:43 | So there is my first pattern, which is now in A1.
| | 00:47 | What do I want to do is I want to copy all of that so I am going
Command+C and Command+V to paste that pattern into Pattern A2.
| | 00:57 | Now what I am going to do is go back to my first 16 steps,
I am going to throw in a kick on the one and on the three,
| | 01:05 | do the same in the second 16 steps, grab a snare
and throw that in on the one and on the three.
| | 01:19 | And in that first one, I am going to put a soft double snare hit.
| | 01:26 | So what we've got now is...
| | 01:28 | (Drumbeat plays.)
| | 01:35 | So, we've now got two bars of drums basically.
| | 01:39 | So that's our second pattern so now I am going to
copy that and I am going to paste that into Pattern A3.
| | 01:47 | So now I can start adding some extra elements.
| | 01:50 | So what else we have got here?
| | 01:52 | We've got a rimshot, so what I am going to
do is I am going to take all of my snare hits
| | 02:01 | out of this Pattern And instead I am going to put in a rimshot.
| | 02:08 | So now what I want to do is I want to take a copy
of Pattern A2, the one that had the snare in it,
| | 02:13 | so Command+C and I am going to paste that into Pattern A4.
| | 02:18 | So we can now see that we have got a snare drum, but what
I want to do is take the snare out of this second 16 steps
| | 02:29 | and instead get the high tom and
we'll go dut, dut and the middle tom.
| | 02:42 | Then I might just put in a couple of soft
ones there and then the low tom, like so.
| | 02:49 | Let's hear how that sounds.
| | 02:51 | (Drumbeat plays.)
| | 02:58 | So we've basically got another two
bars with a bit of a fill at the end of it.
| | 03:03 | So what we have got now is four different patterns, which we
have programmed into the first four Pattern slots in ReDrum.
| | 03:11 | What we need to do now is to jump into the Arrange window
and start laying these patterns into our arrangement
| | 03:19 | so that we can build up a basic drum track for
our song and we'll do that in the next movie.
| | Collapse this transcript |
| Drawing drum patterns into the Arrange window| 00:00 | So now that we have created a few patterns within ReDrum, what
we need to do is create a pattern track within the Arrange window
| | 00:09 | and to do that we right click in our ReDrum
track and select Create Pattern lane.
| | 00:16 | Now what I can do is to grab my Pencil tool or keyboard shortcut,
W and I can draw in an eight bar range there and we can see
| | 00:27 | that it's defaulted to Pattern A1, which is fine
because that's what we want our song to start with.
| | 00:33 | What I want to do now is draw another
eight bars and have that as Pattern 2.
| | 00:39 | Now because this dropdown up here was still saying A1
that meant that we drew another eight bars of Pattern A1
| | 00:48 | So what I can do is go queue from my Select tool and we can see
| | 00:53 | that I have now got this little dropdown
arrow beside the pattern number.
| | 00:57 | So I can click on that and change that to Pattern 2.
| | 01:02 | So if I bring my cursor up to the end of bar six and press
Play, what you will hear is the last two bars of Pattern A1
| | 01:09 | and then you will hear a change to Pattern A2.
| | 01:14 | (Music plays.)
| | 01:24 | So what I want to do now is zoom in a little
bit so I can see a bit more of what's going on.
| | 01:29 | Now I can do that a couple of ways. One is to use this slider
down the bottom here or use the plus and minus magnifying glasses
| | 01:38 | or I can use the keyboard shortcut, Command+Shift
and my wheel on my wheel mouse to do the same thing.
| | 01:48 | So what I want is to reduce this back to six bars in
length and again there is a couple of ways I can do it.
| | 01:56 | One is while I have got my Select tool, which I have
currently got, I can just left click and drag that back in.
| | 02:03 | If I undo that, I could alternatively in this Inspector up
here where I have got a length value of eight bars, no beats,
| | 02:12 | no 1/16ths, no ticks, I can just drop that back
to six and that has shortened that clip for me.
| | 02:20 | So, either of those methods are perfectly valid.
| | 02:24 | Now I grab my Pencil tool again and what
I want next is two bars of Pattern A4.
| | 02:28 | So what I am going to do is select the pattern
from here, and that way when I draw it,
| | 02:33 | it's already the pattern that I want which is A4.
| | 02:36 | What I want after that is eight bars of
Pattern A3 where we had the rimshots.
| | 02:42 | So I will just draw that out and if I watch the Inspector
up the top, I can see the length of it as I am drawing it.
| | 02:49 | So, I will go to eight bars, release
it and now I have got eight bars of A3,
| | 02:55 | and then I want to go straight back
to Pattern A2 for another eight bars.
| | 03:01 | So now we can hear Reason playing
through these different patterns.
| | 03:05 | (Music plays.)
| | 03:15 | And if we just jump up here to the end...
| | 03:16 | (Music plays.)
| | 03:29 | So now you get the idea that this is how we can work with
different patterns within a pattern based device like ReDrum
| | 03:32 | to create a changing mood over time by having
made up these patterns in ReDrum first of all
| | 03:41 | and then writing those patterns into
our arrangement in the Arrange window.
| | 03:47 | In the next movie, we will start looking at how we can bring in
Dr. REX to add a bit more color and texture to this composition.
| | Collapse this transcript |
| Adding loops from Dr. Rex| 00:00 | So now we have got some basic beats lined up
in our Arrange window, what we want to do is,
| | 00:05 | we want to add Dr. REX to the mix just
to kind of funk it up a little bit.
| | 00:10 | So we will go and find Dr. REX, drag him in.
| | 00:14 | Let's just have a listen to the default clip.
| | 00:16 | (Music plays.)
| | 00:21 | You know what? I reckon that's probably going to work.
| | 00:24 | So what I am going to do is I am just going to click twice on
the Stop button to relocate back to the beginning of the track
| | 00:31 | and what I am going to do is to jump across to my Arrange window
and what I need to do here is to set my locators to the range
| | 00:43 | where I'd like the Dr. REX loop to kick
in and I want that to start at Bar 9
| | 00:51 | where the hi-hats of ReDrum change to that first pattern.
| | 00:56 | So what I have done is move the left locator to that point,
and what I want to do is move the right locator to the end.
| | 01:05 | The reason I am doing that is because on the
front of Dr. REX, you'll see this button To Track.
| | 01:12 | What that will do is send this loop to the Dr. REX lane
here in the Arrange window but it will only lay those beats
| | 01:24 | in between the left and right locators,
which is why I made a point
| | 01:30 | of actually putting those locators
where I wanted the Dr. REX loop to be.
| | 01:35 | So we come back here, we click To Track and if we
jump back, we can now see that between Bars 9 and 32,
| | 01:44 | the Dr. REX pattern has been added to that track.
| | 01:48 | So if we play now...
| | 01:50 | (Music plays.)
| | 01:58 | If we jump over to the rack view, we'll be able
to see when we play that there are beats coming
| | 02:07 | from ReDrum through Channel 1 of our Mixer and beats
coming from Dr. REX through Channel 2 of our Mixer.
| | 02:14 | (Music plays.)
| | 02:19 | Just to differentiate them I will put ReDrum
a little bit to the left and Dr. REX to the right.
| | 02:26 | (Music plays.)
| | 02:31 | Now I wouldn't actually mix the song that way but that
at least gave you an idea of how those sounds were different.
| | 02:38 | So now we have got some basic beats laid up, I guess
the next thing would be to throw in a bit of bass.
| | 02:44 | We will do that in the next movie.
| | Collapse this transcript |
| Adding bass with the Subtractor synth| 00:00 | Now that we have got some beats in, time to add some
bass. So we are going to bring in a SubTractor synth
| | 00:05 | and I am just going to go to the Bass folder and grab BigBass.
| | 00:11 | What do I want to do is jump over into my arranger
| | 00:14 | and I have set my cursor two bars before the Dr. REX loop kicks in.
| | 00:20 | So now it is simply a case of hitting Record and playing in my bass line.
| | 00:25 | (Music plays.)
| | 01:18 | OK, like I said, I am not a great keyboard player, but
you get the idea. We record in the notes that we want
| | 01:24 | and they end up in this clip.
| | 01:26 | In the next movie,
| | 01:28 | we'll look at how we can start adding some synth lines to that.
| | Collapse this transcript |
| Adding a synth line with Malström| 00:00 | So we have now got some beats, we got some bass,
| | 00:03 | we want to bring in a bit of a synth line.
| | 00:05 | So what I am going to do is I am
going to bring in some Malstr?m here,
| | 00:08 | I am going to go to the Pads
| | 00:12 | and then I'm going to go with Coals of Fire and I'm just going
to jump over into my Arrange window so I can see what I'm doing,
| | 00:20 | jump back here to the beginning of bar seven
| | 00:23 | and hit Record.
| | 00:26 | (Music plays.)
| | 01:20 | So you get the idea. Now we have laid in a synth pad.
| | 01:24 | What we're going to do in the next movie is we're going to create
another synth line but we're not going to play it all the way through.
| | 01:31 | You'll see what I mean in a minute.
| | Collapse this transcript |
| Adding an arpeggiated synth line| 00:00 | So we have got our pad, now we want to bring in
another synth line and we are going to get something
| | 00:06 | that is a little bit arpeggiated and we are
not going to play it all the way through.
| | 00:11 | So we will go for something like this and just
going to slow down the release time a little bit,
| | 00:20 | jump across here, key me up to the seventh bar and hit Record.
| | 00:25 | (Music plays.)
| | 00:47 | So what I have done is I've played in a few notes there.
| | 00:50 | Now let's suppose I want to create
more copies of this information.
| | 00:55 | Ideally, what I want to do is to trim the ends of this particular
event to an even number, in other words, to the end of a bar.
| | 01:07 | So what I am going to do is grab the end of
that, trim it into the beginning of Bar 9
| | 01:12 | and I am going to trim this one back to the end of Bar 16.
| | 01:17 | So what I can do now, now that I have trimmed this back to
exactly eight bars in length as we can see in the Inspector
| | 01:23 | at the top, is to create a duplicate of this particular
event and if you remember to do that we use the Control key,
| | 01:32 | left-click and drag in Windows or the Alt
key with left-click and drag on the Mac.
| | 01:39 | So now we have got two instances of that same note data.
| | 01:44 | So we can just jump back here.
| | 01:46 | (Music plays.)
| | 02:06 | OK, so you get the idea that now that we've worked
out that we can trim our events to an even number
| | 02:13 | of bars we can then copy and paste them wherever we need to
within our track so that we can have parts of a line
| | 02:21 | that come in at certain points of the song,
but then drop out at other points of the song.
| | 02:25 | In the next movie, we'll bring in Thor just
because we want to hear Thor in the mix.
| | Collapse this transcript |
| Adding a trance beat with Thor| 00:00 | So we love Thor, lets get it into the Mix.
| | 00:02 | What I am going to do, is go and grab from
the Rhythmic folder, Trance Seq for sequence,
| | 00:13 | and jump across into my Sequencer here and hit Record.
| | 00:19 | (Music plays.)
| | 01:14 | Well I think that's enough fun.
Let's bring in the Samplers.
| | Collapse this transcript |
| Adding an organ for punch| 00:00 | OK, so we want to bring in a Digital Sampler. So we're
to bring in the NN-19 and I'm just going to load up
| | 00:07 | the B3 sample. And because my arrangement is getting a little bit busy,
| | 00:13 | I'm just going to...
| | 00:15 | scoot down here to wear that A3 ReDrum pattern was.
I'm going to cut out the Trans Sequence from Thor.
| | 00:22 | So I'm going to go off for Razor Blade,
| | 00:25 | then I am going to slice into that track there,
| | 00:29 | select that clip,
| | 00:30 | and delete it. So now Thor will not be playing anything
through that section. And that will allow me to drop in some B3.
| | 00:39 | So I'll bring my cursor back, hit Record.
| | 00:41 | (Music plays.)
| | 01:01 | So that's pretty much all I want to throw in for the B3
and the last thing we want to add is our NN-XT Sampler,
| | 01:07 | just so that we've used all of the instrument devices
within Reason, and we'll do that in the next movie.
| | Collapse this transcript |
| Adding a sound effect for fill| 00:00 | Just so that we can say that we used every sound generating device
within Reason in this song, we are going to drag in the NN-XT
| | 00:07 | and for this one I am actually going to go for something
a little bit different. I am going into the Percussions set
| | 00:13 | and grab the Bells.
| | 00:16 | Then I jump across into my Arranger
| | 00:19 | and again I might just put it in the
middle section there. So I hit Record.
| | 00:24 | (Music plays.)
| | 00:43 | And it really doesn't need to be anything more complex than that.
| | 00:46 | So there we go, we have got a basic
song that we have thrown together.
| | 00:50 | We've got some bits and pieces all throughout our Arrange window.
| | 00:54 | What we haven't looked at, at this point in time,
is automating any of the parameters or altering the Mix.
| | 01:03 | We're going to do that in the next movie.
| | Collapse this transcript |
| Automating the mix| 00:00 | OK, now we've got our sonic masterpiece, we actually want
to start creating a mix with a little bit of Automation.
| | 00:06 | Me, personally,
| | 00:07 | I prefer to start with everything out
of the mix except for the rhythm parts.
| | 00:13 | That's just me.
| | 00:14 | Everyone has a different way of working,
| | 00:16 | that's perfectly fine.
| | 00:18 | So I have got my Drums and my Drum Loop from Dr. REX and
| | 00:24 | I just want to have a listen to those, first of all.
| | 00:27 | (Music plays, starting with an extended drumbeat.)
| | 00:45 | Now what I might want to do with
that is actually pan the Drum Loop
| | 00:50 | a little bit left and a little bit right and have that
automated over time. So what I'm going to do is create
| | 00:57 | an Automation lane for the Channel 2 pan part.
| | 01:02 | We can do it one of two ways. We can
right-click and select Edit Automation or,
| | 01:06 | what I think is even easier and quicker than that,
| | 01:09 | is to hold down the Alt key or the Option
key on the Mac and click on the Parameter.
| | 01:15 | That will create an Automation Track in the Arrange window
and it will put this little green box around that parameter to
| | 01:23 | tell us, "Hey, this parameter has been automated."
| | 01:27 | So we jump across to our Arrange window
| | 01:30 | and we can see down here we have now got a track for
the Mixer and there is an event lane for the Channel 2 pan.
| | 01:39 | So what we want to do is grab our Pencil Tool
and draw in a two bar event on that lane.
| | 01:47 | We press Enter to go into Edit Mode for that event and
| | 01:52 | I am just going to zoom in here
| | 01:54 | so that I can see exactly what's there.
| | 01:57 | The blue line running through the middle is what's
known as the static value for that particular parameter.
| | 02:04 | In other words, that's the value that that
parameter will reflect whenever there is no Automation.
| | 02:11 | So in this case it's dead in the middle because
that's the static value for the Pan, Dead Center.
| | 02:17 | What I want to do is just have
| | 02:20 | the pan part go a little bit to the right,
| | 02:23 | a little bit to the left and then
| | 02:25 | back to the middle at the end of those two bars.
| | 02:29 | So I click Enter to come out of that,
pop back into my Rack view,
| | 02:35 | and I am just going to bring my Locater back to the
beginning of Bar 9 and I will show you a quick shortcut.
| | 02:42 | See where it says Bar 12?
| | 02:44 | Left-click and drag downwards, and that will
| | 02:48 | bring our cursor back in time. So we are now at Bar 8, first beat,
| | 02:53 | 3 sixteenths, 34 ticks. So now when I press Play, we'll be
able to see this pan knob, pan to the right and the left and-
| | 03:03 | well left and right, whichever way it goes and
we'll also hear that loop panning from left to right.
| | 03:10 | (Music plays.)
| | 03:18 | And after those two bars, as you saw, the pan went
back to the middle because that is the static value
| | 03:25 | for that parameter. However, we don't want it to stay still,
| | 03:28 | we want it to keep on panning right
throughout the length of the song.
| | 03:33 | So we jump back into the Arrange window,
| | 03:38 | we zoom out, we go Q for our Select Tool
| | 03:41 | and then Control+left-click and drag on Windows or Option+
left-click and drag on the Mac to duplicate those events.
| | 03:50 | And we keep on doing that until we've copied it enough times
| | 03:54 | to take us right through the length of the song.
| | 03:59 | So now we can play through and that
| | 04:02 | Channel 2 pan parameter will continue to pan
left and right as per these Automation events.
| | 04:10 | (Music plays.)
| | 04:15 | I'm just going to jump into the Rack view.
| | 04:18 | So now we can go through and start listening to the other
tracks that we have got in our Mix and setting up our Mix
| | 04:25 | the way we want it.
| | 04:26 | (Music plays.)
| | 05:08 | OK, it's not a particularly brilliant mix at this point in time.
| | 05:12 | But let's assume that that's exactly the way we
wanted the mix to be and we now wanted to create
| | 05:19 | a .wav or .aiff mixed version of our song.
| | 05:23 | That is what we're going to cover in the next movie.
| | Collapse this transcript |
| Exporting the sound mix| 00:00 | OK, so we have decided that the sonic
masterpiece that we have constructed and the mix
| | 00:04 | that we have constructed is exactly the
way we want and now we want to mix this
| | 00:09 | out in to a finished stereo .wav file or .aiff file.
| | 00:14 | There is one thing we need to do before we do that
and that's to jump across into the Arrange window
| | 00:20 | and to zoom out until we can see the E Locator.
| | 00:26 | Now E signifies the end of the exported track.
| | 00:32 | So we don't need it to be way down here, so we can just drag that
back up to about there and we 'll zoom in and what I am going
| | 00:44 | to do is I am just going to jump back to here and play the
end of the song and see just how long the tail of the song is
| | 00:54 | because a couple of those instruments had
sort of reverbs and delays and what not,
| | 00:58 | so I am just going to check to see where they end.
| | 01:01 | (Music plays.)
| | 01:09 | OK, so by about bar 34-and-a-half it's all over.
| | 01:14 | So what I am going to do is drag this E locator up to bar 35.
| | 01:20 | That's way I know I have got all
of the audio included in the song,
| | 01:25 | but I haven't got too much excessive silence right at the end.
| | 01:29 | So now it's a simple case of going to my file
menu and going Export Song as Audio File.
| | 01:36 | That would bring up my dialog box saying, "What do you want
to call it? And I'll call it masterpiece because it is.
| | 01:45 | We then have to decide where we want to save it.
For me, I am just going to throw it on the Desktop
| | 01:50 | and I have to tell it what format I want to save it as.
| | 01:56 | So I can save it as an .aiff or I can save it as a .wav.
| | 02:00 | I will leave it as .aiff.
| | 02:03 | Click on save and now Reason asks me, "What sample rate
and what bit resolution do you want for the output file?"
| | 02:14 | Now it defaults to 44.1k and 16-bit because
it assumes that you are probably going to want
| | 02:20 | to burn your masterpiece on to a CD at some point.
| | 02:23 | So I will leave it at 44.1k 16-bit, we should always
apply dither because we were working at 24-bit
| | 02:32 | when we arranged the song we should always apply
dither at any time that we reduce bit resolution.
| | 02:39 | I have spoken about this in some of my other titles
for lynda.com, things like my Audition 3 title.
| | 02:46 | The whole thing about bit resolution is that
whenever you reduce you should always add dither.
| | 02:52 | The idea of dither is that it is a special kind of noise
that is very low amplitude, that's frequency shifted away
| | 03:01 | from where the human auditory system is
most sensitive so that we won't hear it,
| | 03:06 | and it's designed to cover up what
are known as truncation errors.
| | 03:10 | If you want more information on that and you're an Online
Training Library subscriber, go and check out the movie
| | 03:18 | that I did about dither in my Audition 3 title.
| | 03:22 | If you are not an OTL subscriber and you bought the hard copy
of this title, then may be you just want to do a Google search
| | 03:29 | on dither and it will give you a bit more
information, but basically we wont some dither added.
| | 03:34 | Now it's just a case of hitting the Export button
and Reason will work its way through the file.
| | 03:40 | It has actually done so quick it didn't even bring up
the dialog box to say how many bars were remaining.
| | 03:46 | But when you have got a really big mix you will
see a dialog pop up that will say bars remaining
| | 03:52 | and it's actually counting down the
numbers as it mixes off the track.
| | 03:56 | So I could now minimize that and there it
is, masterpiece.aif sitting on my desktop.
| | 04:03 | And that's how we export our finished mix.
| | Collapse this transcript |
|
|
4. Patches and ReFillsUnderstanding patches| 00:00 | So what exactly is a patch?
| | 00:03 | Well it's pretty simple really; it's just a
configuration for any device within Reason.
| | 00:12 | So, let's say we had, for example, a SubTractor Analog Synth.
| | 00:17 | All of the settings that you can adjust on this SubTractor
synth - every knob, every fader, every toggle switch,
| | 00:27 | all these things in the positions that they are currently in,
represent a set of settings that make up one particular sound
| | 00:37 | and we can go and tweak whatever settings we want, within a
device, change shapes of waveforms, change filter resonances,
| | 00:50 | any of these things we can modify,
and then save those as a patch.
| | 00:55 | So what I am gong to do, here I am gong
to go to the Patches and Refills folder
| | 00:58 | and I'm just going to save this as base guitar tweaked.zyp.
| | 01:06 | Now in this particular instance, .zyp is the file
extension for a patch for the SubTractor synth.
| | 01:17 | If I were saving a patch for some other instrument or device
within Reason, then that patch would have a file extension
| | 01:27 | that was only relevant to the particular
device that, that patch was saved for.
| | 01:34 | The reason that they all have a different file extension is
so that you can't try and load something like a ReDrum patch
| | 01:41 | into the SubTractor synth, because let's face it,
SubTractor's not going to understand how to deal
| | 01:48 | with ten different drum samples all at one time.
| | 01:50 | Likewise, you could not save, say a
SubTractor patch and then open it in ReDrum,
| | 01:59 | because ReDrum would just look it and
go "What's a Low Frequency Oscillator?
| | 02:04 | I don't understand that."
| | 02:05 | So each different instrument and device within Reason has
its own patch format with its own three-letter extension.
| | 02:16 | So basically that's it, you know, it's just the case of tweaking
parameters, generating a sound that you like that works for you,
| | 02:24 | and then saving that as a patch and as you saw,
if I just drag in ReDrum here, I might go through
| | 02:32 | and tweak this default Disco Kit
by changing one particular sample.
| | 02:37 | I might say, well, I don't really like that open high
hat sound, so I want to go and find a different one.
| | 02:43 | I might change it to that one instead,
so now I've modified this patch.
| | 02:49 | OK, let me change one of the ten samples within this ReDrum patch
but I've changed it nonetheless, so it is simply a case of going
| | 02:57 | to the patch section of this particular instrument, hitting
the Save button and naming it according to whatever you want
| | 03:07 | and we can see here .drp. So that's a ReDrum patch and
that's pretty much it. That's understanding patches.
| | Collapse this transcript |
| Understanding ReFills| 00:00 | So what exactly is a refill then?
| | 00:02 | Well, in the last movie we looked at patches,
what they were, how you create them, and so on.
| | 00:09 | Now, over the course of putting together an entire song
you going to use a whole bunch of different instruments
| | 00:17 | and some of those patches that you used will
probably be slightly modified from default patches.
| | 00:24 | You might have just initialized the device and gone and created
an entire patch from scratch and hopefully you saved all
| | 00:32 | of those patches into one particular location.
| | 00:36 | Now, as well as being able to save patches, when
we create a song we might use certain samples,
| | 00:44 | from .wav files and .aiff files and so on.
| | 00:48 | All of those assets are required in order to then open up
the song that you created and what we do if we want to share
| | 00:58 | that song with the rest of the world or
certainly the components that made up that song?
| | 01:03 | What we do is we create what's known as a refill and
a refill- it's kind of analogous to like a zip file
| | 01:12 | where you take a whole bunch of other files, in this case some
.wav samples or .aiff samples and some Subtracter synth patches
| | 01:21 | and some Thor synth patches and all of these other patches
that we have saved for different devices and we put them all
| | 01:28 | into one big box, and that is what we call a refill.
| | 01:32 | Whenever you bring a device into Reason and you open up the
Patch Browser, what you will see over here on the left hand side
| | 01:40 | where it says Locations you will see these two entries here
the Reason Factory Sound Bank and Orchestra Sound Bank.
| | 01:47 | Now they are both refills. They are both installed
by default when you install Reason on your system.
| | 01:56 | So those two come with the application, but you can also browse
on the web and find other users who have uploaded refills
| | 02:05 | that they have constructed and you can then download
those and then point reason to them via this Patch Browser
| | 02:12 | and then access any patches or samples that the
person who created that refill put into that refill.
| | 02:22 | So, essentially, that is it.
| | 02:23 | If you want to create your own refills though,
you will need to be a registered user of Reason
| | 02:30 | and go to the Propellerheads web site and I will just bring
it up here, so that you can see what I am talking about.
| | 02:35 | There is a page here that explains all about refills, there
is a download section where you can download some more,
| | 02:42 | and there is a section here on how can I make refills.
| | 02:45 | And to do that you need the Refill Packer and you can get
that from the download page on the Propellerhead web site,
| | 02:51 | but like I said you will need to be a
registered user in order to download it,
| | 02:56 | but once you got the Refill Packer you'll then be able to go and
create your own refills that you can then share with other users.
| | Collapse this transcript |
|
|
5. The Sequencer Part 1: Arrange ModeThe View mode| 00:00 | In this chapter, we going to look at the Arrange
view of the Sequencer and for this movie,
| | 00:05 | I am using the Tutorial Song which
you can find in the Reason folder.
| | 00:09 | Now, as you can see, I have separated the Sequencer off from
the rack so I can now use Command and Tilde on the Mac to switch
| | 00:19 | between the two or if you are on Windows, Alt and Tab.
| | 00:23 | Now, what we are seeing here is what's known as Arrange view.
| | 00:27 | It's kind of like a big global overview. We will step right
back so we can see the big picture of our complete composition.
| | 00:36 | We can see that there is a ReDrum, a Dr. REX,
an NN-XT sampler, and a SubTractor synth.
| | 00:42 | And we can see that there are little clips all over the
place on different tracks for the different devices.
| | 00:49 | So that's our arrangement for this whole song.
| | 00:53 | We can also jump into Edit mode where we can
actually see the note data for a particular clip.
| | 00:58 | As I have mentioned before, to do that we can select a
clip and press Command+E on the Mac or Ctrl+E on Windows
| | 01:08 | and that will take us into a view
where we're actually inside the event
| | 01:12 | where we can edit the note data that's inside that event.
| | 01:16 | Now to get out of that there is a couple of different
things we can do. One is to just press Enter which takes us
| | 01:23 | out to this view, which is kind of half
way in between Edit view and Arrange view.
| | 01:28 | Now this particular view has its uses and
we will come to that in another chapter.
| | 01:33 | What I find to be the most simple way to switch between
Edit view and Arrange view, if you are a keyboard freak
| | 01:39 | like me then Command+E on the Mac or Ctrl+E on
Windows or if you are much happier using your mouse,
| | 01:47 | this button up here on the top left-hand corner will do exactly
the same thing- switch you between Edit view and Arrange view.
| | 01:55 | Now one thing that you might notice within Arrange
view is there's always different colors on the clips.
| | 02:02 | Now, is there some secret to all of that?
| | 02:05 | No, not really.
| | 02:07 | All you do is right click on a clip and come down here to
Clip Color and you can change any clip to any of these colors
| | 02:15 | and that's really just to help you to identify
different elements of your arrangement
| | 02:22 | from this large global view that we are currently looking at.
| | 02:26 | If you have used patterns within ReDrum then you might
change all instances of Pattern A1 to a particular color
| | 02:35 | and then all instances of Pattern A2 to another color and that
might help you in this sort of global Arrange view to see exactly
| | 02:44 | where you've used one particular pattern versus
another pattern for your ReDrum instrument.
| | 02:51 | Without having to zoom right in close to see what
pattern it was, the color will just give it away.
| | 02:57 | So that's the whole mystery, which is
really no mystery at all behind the colors.
| | 03:02 | In the next movie, we'll start to look at some of the different
graphic elements of the Sequencer window in Arrange view.
| | Collapse this transcript |
| Sequencer elements| 00:00 | Let's have a look at all of the different elements of
the graphic user interface of the Sequencer window.
| | 00:06 | As previously mentioned, up here in the top left, we have got
the Switch to Edit Mode or Switch to Arrange Mode toggle button
| | 00:14 | and as previously mentioned, we can use
Command+E on the Mac or Ctrl+E on Windows
| | 00:20 | to achieve the same functionality with the keyboard.
| | 00:23 | To the right of that we have got our tools, which as previously
mentioned, we can use the qwerty keys to switch between.
| | 00:29 | To the right of that we have got our Snap to value.
| | 00:33 | So if we set this to Bar, it means that the modification of
the length of any clip or note data will snap to a bar value.
| | 00:47 | In other words, equal to one bar in length or two
bars in length or three bars in length or whatever.
| | 00:53 | If we set it to 1/2, then we can
change things in 1/2 bar increments.
| | 01:00 | To the right of that we have got the Snap button and we
can switch that on and off with the keyboard shortcut of S.
| | 01:06 | If we don't have Snap activated, we will
be able to drag the length of an event
| | 01:12 | or some note data to any arbitrary value that we like.
| | 01:16 | But having Snap activated will mean that it will always snap
to whatever value we have got selected on this dropdown list.
| | 01:25 | To the right of that we have got the
Inspector. This is a new feature in version 4.
| | 01:30 | If we have got a clip highlighted in
the Arrange window then what we will see
| | 01:34 | in the Inspector is the relevant
information for that particular clip.
| | 01:40 | In this case, it starts right at the beginning of
bar seven and it's equal to two bars in length.
| | 01:46 | Down here on the left hand side, we have got our device tracks.
| | 01:50 | Now most but not all, but most devices
and instruments that we can load
| | 01:56 | into our rack will also be given a Sequencer
track at the time that they're created.
| | 02:04 | Some instruments and devices don't get a track by default,
but we can add those things later on if we need to.
| | 02:12 | We have also got Mute and Solo for a particular device or track,
| | 02:17 | and we can also add new lanes to a
track manually with this plus key.
| | 02:22 | We will get to that in the next chapter.
| | 02:26 | On the right hand side here, we have got our Arrange view.
That's a big picture view of our complete composition.
| | 02:36 | We have got our left and right locators, which
allow us to set in and out points for looping
| | 02:41 | and we have got all of our clips here which contain note data.
| | 02:45 | And then down the bottom, we have got our Transport Panel.
| | 02:50 | You will also notice that there is our zoom
slider here which allows us to zoom in and out.
| | 02:57 | It has also got minus and plus magnifying
glasses to do exactly the same sort of thing,
| | 03:02 | although I find the slider much quicker and, of
course, we have got our horizontal scroll bar as well.
| | 03:11 | We can also zoom the height of the tracks within the Arrange
window with these magnifying glasses on the right-hand side.
| | 03:18 | So if want to make the tracks higher, we'll click on the plus
key. If we want to make them smaller, click on the minus key.
| | 03:24 | We have then got this button in the top right-hand corner
which will re-dock our Sequencer to inside our rack.
| | 03:34 | Like I said, personally I prefer to have them separated.
| | 03:38 | So that's the layout of the Sequencer.
| | 03:41 | In the next movie, we will start looking at
working with device tracks in the Sequencer view.
| | Collapse this transcript |
| Working with a track| 00:00 | This was previously mentioned what we have got on the
left-hand side of our Sequencer, are device tracks.
| | 00:07 | These can be moved just by left-clicking on the dotted section
of the left-hand side there and simply dragging and you will see
| | 00:15 | that there is this red drop zone that highlights in
between devices to show you where you will be dropping
| | 00:21 | that track if you release the mouse button, like so.
| | 00:25 | Likewise, if we want to delete a track we can just right-click
on it and we can choose to either delete the track by itself
| | 00:33 | or delete the track and the device
that that the track represents as well.
| | 00:39 | So if we choose Track and Device, not only will we
remove all of this note data for this NN-XT Sampler,
| | 00:46 | but we will also remove the NN-XT Sampler from the rack, like so.
| | 00:54 | Just go Command+Z to Undo.
| | 00:56 | As I showed you in the previous movie, we can change the color
of a clip simply by right clicking on it and going to Clip Color
| | 01:03 | and then changing the color to whatever we want.
| | 01:06 | Well, you can do pretty much the
same thing with the track itself.
| | 01:11 | So we can go right-click, select Track Color
and we can change the color of that track.
| | 01:18 | Now why would you want to do that?
| | 01:20 | Well, you might have two or three different ReDrums
or Dr. REX Loop Players within a composition.
| | 01:27 | You might also have half a dozen different Synths on
different devices and therefore on different tracks.
| | 01:35 | So you start building up a really complex composition
and suddenly it can become quite a nightmare trying
| | 01:41 | to keep track of it all here on the left-hand side.
| | 01:44 | So color coding particular device types or particular
instrument parts might become quite a handy way
| | 01:53 | of keeping track of where things are in your Sequencer.
| | 01:56 | We can also fold these tracks down if they are taking up too
much screen real estate, just by clicking on the black triangle.
| | 02:04 | And as previously mentioned we can use the Option Key on
the Mac or the Alt Key on Windows to collapse all tracks
| | 02:13 | at the same time or expand all tracks at the same time.
| | 02:18 | If you just want to do one or two
independently, knock yourself out.
| | 02:23 | You will also see that each track has the name
of the instrument that is connected to it.
| | 02:28 | Now, if we were to go and rename those devices within the
rack, let's say I took the ReDrum and renamed it Drums,
| | 02:38 | we will see that over here in the Sequencer
the track gets renamed with that name as well.
| | 02:45 | So if you are in the habit of renaming your devices
to reflect the type of instrument you are playing,
| | 02:52 | which becomes a bit more relevant with the Synths, then those
names will be reflected on this little tab for each device track.
| | 03:00 | And you probably already noticed that we get a thumbnail
image of the device on the track, which is really handy
| | 03:06 | because visually it's quite a lot easier to see
that oh, yeah that's a Dr. REX Player right there.
| | 03:13 | You may have also noticed that as we click on the
device thumbnail, a little keyboard appears below it.
| | 03:21 | You may have also noticed that as we click on the thumbnail
of a device in another track not only do we get that keyboard,
| | 03:29 | but this red record ready-light follows this as well.
| | 03:32 | What that saying is that, OK you have
clicked on that device I am assuming
| | 03:37 | that you want keyboard control of that particular device.
| | 03:42 | Now this will happen even if you don't
have an external keyboard controller.
| | 03:47 | If you do have a keyboard, then that's one
way step that you have go to do manually
| | 03:51 | because this device is now accepting input
from your external controlled surface.
| | 03:57 | Then we have got a Mute and Solo button for each device track.
| | 04:01 | So you don't have to jump back into the rack and mute the
Mixer Channel, you can just mute the device from here.
| | 04:08 | You will also notice that there is a
Record Enable Parameter Automation button.
| | 04:13 | If we click that button we would then be able to hit Record on
the Transport Panel and actually tweak parameters on the front
| | 04:23 | of that device and those changes
will then become an Automation lane.
| | 04:30 | For example, let's suppose I chose to Record
Enable Parameter Automation for ReDrum.
| | 04:36 | Let's just jump over to ReDrum and what I
am going to do is I am going to hit Record
| | 04:41 | and then I am going to change the pitch of the kick drum.
| | 04:46 | (Music plays.)
| | 04:53 | So if we now jump back to our Sequencer,
we can see that a new lane has been added
| | 04:59 | to the drum track and it's called Drum 1 Pitch.
| | 05:03 | And we can see that there is Automation there which
shows the way that I tweaked that particular value.
| | 05:12 | Just going to zoom-in here so you can see it and there we go.
| | 05:17 | Those were the changes that I made with my
mouse on the front of ReDrum as it was playing.
| | 05:24 | I can turn off that parameter, Automation,
if I want to just by clicking that On button.
| | 05:30 | So then when I play it back through that
section that Automation will not occur.
| | 05:36 | We have been able to keep the clip,
but we don't actually get it to playback
| | 05:41 | and then we can reactivate it just by switching it back on.
| | 05:45 | Again, if I want to get rid of that whole Automation track I
can just click this X button and because there is Automation
| | 05:53 | on the track I will get this warning pop-up saying,
"A re you really sure you want to get rid of that?"
| | 05:59 | If you want to delete the lane without
the warning, hold down Command.
| | 06:03 | So if I hold down the Command Key right now
| | 06:05 | and then press continue I will never get
this warning again, but I will leave that on.
| | 06:12 | Within each lane we have also got a Record Enable button,
so we can record new note data to this lane if we want to.
| | 06:23 | We have then got this little dropdown here which I haven't
mentioned yet and I deliberately ignore that and I am going
| | 06:29 | to continue to ignore it for now because it relates
to ReGroove which we'll get to in the later chapter.
| | 06:34 | Then I have got the Mute button so that we can
mute any performance data on that lane only.
| | 06:40 | So we are not muting all of ReDrum, we are only
muting any events which are on that particular lane.
| | 06:48 | Beside that we have got a little Peak Program meter,
which will flash whenever there is no data on that lane.
| | 06:55 | So if you watch this little bar here.
| | 06:58 | (Music plays.)
| | 07:02 | You can see that it deflects only when there is no data
present and that's pretty much it for working with the tracks.
| | 07:09 | In the next movie, we will look at the Snap values.
| | Collapse this transcript |
| The Snap to Grid function| 00:00 | In this movie we are going to look at the Snap to Grid value.
| | 00:03 | Now what I have done is I have thrown in a 14 xhannel
Mixer on a Subtractive Synth and rather than play this
| | 00:10 | on the keyboard I am actually just going to do it manually.
| | 00:12 | So I am going W for write with Pencil
tool, draw in a full bar event
| | 00:18 | on the Subtractive track, press Return
so that I am into Edit mode.
| | 00:24 | I am just going to draw some notes.
| | 00:26 | Now you will notice that I have got Snap
turned on because the magnet icon is gray
| | 00:31 | and we are currently set to a Snap value of 1/8.
| | 00:35 | Now what that means is that whenever we draw a note
it's going to begin with a length of 1/8th of a bar.
| | 00:43 | So I could draw in four of those within a b ar.
| | 00:47 | (Music plays.)
| | 00:50 | I'll just turn the Click track off for you.
| | 00:52 | (Music plays.)
| | 00:57 | However, we are not just limited to drawing notes
that are equal to 1/8th of a bar in length.
| | 01:04 | We can click and continue to drag and we can drag
that note out to whatever length we want.
| | 01:12 | (Music plays.)
| | 01:14 | Like so. If we want to change the default value, it is
a simple case of clicking on this pop-up menu and saying,
| | 01:21 | I want all my notes to be at least 1 bar or increments thereof.
| | 01:26 | So now whenever we click a new note, it will always
be at least a bar in length and again we can click
| | 01:34 | and drag to make it as long as we like,
| | 01:38 | (Music plays.)
| | 01:44 | Like so. That's pretty much all there is to snapping.
| | 01:49 | If you want values that are not equal to any of these settings,
then just turn off the Snap value and then you will be able
| | 01:56 | to draw a note in to exactly any length that you like, like so.
| | Collapse this transcript |
| Time display| 00:00 | So let's have a look at the time
display options within the Sequencer.
| | 00:05 | What we have got across the top is a ruler, which
shows us what bar number we are up to with that cursor.
| | 00:11 | In other words, how far through the song we are in terms of bars.
| | 00:16 | We can also see that it shows our time
signature there right at the beginning as 4/4.
| | 00:21 | Down in the Transport Panel we can see that
our Tempo is set to 120 beats per minute.
| | 00:26 | Again our time signature is 4/4.
| | 00:29 | We can see our current cursor position,
in bars, beats, 1/16ths and ticks as well
| | 00:35 | as in real time of hours, minutes, seconds and milliseconds.
| | 00:40 | Now if I move my cursor to the beginning of Bar 5, we can see
that we are the beginning of Bar 5 in the bar, beats, 1/16ths
| | 00:48 | and ticks indicator and we are at
exactly 8 seconds into our track.
| | 00:53 | But that assumes a Tempo of a 120 beats per minute.
| | 00:58 | If I change the Tempo simply by clicking in there and
typing in 80 and Return, we can see we are still on Bar 5,
| | 01:07 | but we are now at 12 seconds into our composition,
because we have changed the number of bars
| | 01:13 | and beats that we are hearing per
minute from 120 beats down to 80 beats.
| | 01:18 | We have also got our left and right indicators which we
can left click and drag to anywhere in our song to set in
| | 01:25 | and out loop points, so that if we switch Looping on or off
with this little toggle switch down here on the Transport Panel.
| | 01:34 | If we have that active, then Reason will play into the loop from
prior to the loop where the cursor currently is but when it hits
| | 01:45 | that right hand loop indicator, it will then jump back seamlessly
to the left indicator which is the beginning of our loop sequence
| | 01:54 | and it will continue playing in between those
two points until such times as we press Stop.
| | 02:01 | We can also change the position of those left and right
loop points by left-clicking on the Bar number down here
| | 02:08 | in the Transport Panel and we can use these toggle switches
or we can left-click with our mouse and move our mouse up
| | 02:17 | or down in order to move back in increments of one bar.
| | 02:22 | We could even change it by beats, by clicking on the
Beat value and pushing or pulling our mouse away from us
| | 02:29 | to change in beat values rather than bar values.
| | 02:33 | The same goes for the right hand side.
| | 02:36 | We can left-click and drag to change the
value of the right hand indicator as well.
| | 02:43 | We have also got these L and R buttons here to the right of the
loop points and they allow us to jump our cursor immediately
| | 02:53 | to the left locater or to the right locater
and that's pretty much it for the time display.
| | Collapse this transcript |
| Using loop points| 00:00 | Now we've looked at the Loop function once or twice in previous
movies, but we are going to have another look at it again now.
| | 00:06 | Just a refresher, for Loop to be active it
must be switched on on the Transport Panel.
| | 00:11 | If this green light is off, then looping will not occur.
| | 00:16 | The cursor will play or record straight
through the left hand indicator straight
| | 00:21 | through the right hand indicator and
just continue on, on its merry way.
| | 00:25 | If we want it to loop, we need to switch it on there
and then what will happen is whenever the cursor gets
| | 00:31 | to the right locater, it will jump seamlessly
back to wherever the left locater is set.
| | 00:38 | So let's set the right locater at the end of Bar
4 and the left locater at the beginning of Bar 3.
| | 00:45 | Now watch what happens when I record.
| | 00:49 | (Music plays.)
| | 01:17 | Now hopefully you understood that what happened there
was I recorded the first time and then I allowed Reason
| | 01:24 | to playback a couple of loop cycles where I did nothing.
| | 01:29 | But then when I played more keys that note
data got added to this clip in conjunction
| | 01:36 | with the note data that was there from the previous take.
| | 01:39 | So, just be aware that you can add more note data to
your existing note data by recording in Loop mode.
| | 01:48 | There is however a much tidier way of doing that and
that's to actually use the New Dub or the New Alt modes
| | 01:55 | of recording and we will get to that in Chapter 8.
| | Collapse this transcript |
| Working with clips| 00:00 | Now, as mentioned previously, all note data gets enclosed
within what we call a clip, which is one of these boxes
| | 00:08 | that sits in our Track view in the Sequencer.
| | 00:12 | These things can be copied and pasted by using Command+C on the
Mac, or Ctrl+C under Windows, and we can then jump down in time
| | 00:21 | and press Command+V or Ctrl+V to paste them back in.
| | 00:26 | We can also join multiple clips together.
| | 00:31 | To do that, we simply left click and drag across however many
we want to join together, so that they're all selected like that.
| | 00:38 | Then on the Mac, Command+J or on Windows, Ctrl+J,
and that will consolidate all of the note data
| | 00:46 | across all of those selected clips into one big clip.
| | 00:51 | Now, that can be quite a handy feature if you want
to copy an entire phrase, in this case, 4 bars,
| | 00:59 | repetitively throughout the song. Because now
we can Option-click or Ctrl-click under Windows
| | 01:06 | to duplicate that entire phrase down in time.
| | 01:12 | If at some point we decide, you know what, I really want to
split that up so that I can edit that data of just that last bar.
| | 01:20 | What we can do is grab the Razor Blade Tool off
the Toolbar here or with the keyboard shortcut R,
| | 01:27 | and we can now move our Razor Blade to anywhere
in time and split that clip up into two clips.
| | 01:34 | So now we can select just that portion, go into
Edit mode, and we can now edit just those notes
| | 01:43 | without affecting anything that was in the rest of that clip.
| | 01:48 | You can jump back out of there.
| | 01:50 | It may also become handy at some point throughout the
construction of your song to actually name a clip.
| | 01:58 | This might be a synth lead line that you have
done for the chorus, and you think, well,
| | 02:02 | it would be really handy if I could name that, so
that I know just by looking at it exactly what it is.
| | 02:08 | Well, pretty simple.
| | 02:09 | Right click on the clip and select Add Labels To Clips.
| | 02:14 | Type in Chorus Synth or whatever, and there you go.
| | 02:19 | It's now really easy to see exactly what that particular
part of your performance is without have to go and play it.
| | 02:27 | Now, I mentioned before that note data can extend beyond the
boundaries of the clip, but what happens if we resize the clip
| | 02:40 | so that the note begins outside of the clip?
What happens then? Will we hear it back?
| | 02:48 | What do you reckon?
| | 02:49 | (Music plays.)
| | 02:52 | Absolutely not.
| | 02:53 | Those events that began outside of that clip are now muted,
but interestingly, if we go into Edit mode, we can see that,
| | 03:03 | that note data is still there. It still exists,
| | 03:07 | it's just been muted because those notes
begin outside of the boundaries of this clip.
| | 03:14 | So that's a handy thing to know.
| | 03:16 | It means that that data will stay there
even if we moved other data into place.
| | 03:22 | Although those notes are muted, they are still there.
| | 03:27 | So if we ever wanted to bring them back into
our composition, we could actually do that.
| | Collapse this transcript |
| Match values| 00:00 | We have seen in the past that when we select
a clip in the Sequencer, the Inspector pops up
| | 00:06 | and tells us the Position of that
clip and the Length of that clip.
| | 00:10 | Now, what happens if we choose multiple clips?
| | 00:13 | What do we see then?
| | 00:14 | What we will see is the Position of the very first clip in the
Timeline, and we will see the Length of that particular clip.
| | 00:25 | Now, you will also notice here, there is this red equal sign.
| | 00:30 | What that allows us to do is to match
the value of whatever is here.
| | 00:36 | So If I was to press that button, both of these clips
would be positioned at one bar, one beat, 1/16th,
| | 00:44 | no ticks, in other words, at the start of the song.
| | 00:47 | Like so. So what's happened is the clip that
was further downstream has been shifted up
| | 00:54 | and placed over the top of the preexisting data.
| | 00:59 | Let's Undo that.
| | 01:01 | Alternatively, if I was to extend the length of
this clip, so that the last note was fully enclosed,
| | 01:10 | so now we have one clip here which is 1 bar in
length, and one clip here which is 2 bars in length.
| | 01:16 | We will see that when we highlight both bars, we
also get an equal sign down here, which is saying,
| | 01:24 | "Do you want to match the length value of all of these clips
to the value of the first clip, which is 1 bar in length?"
| | 01:34 | So if we press equals, the second clip
gets truncated to 2 bars in length.
| | 01:41 | Now, what's interesting is I can go into this value, type 2, and
then press equal. Now, this second clip is already 2 bars in length.
| | 01:54 | The first clip however is not.
| | 01:57 | So what will happen is that the first clip
will get extended to 2 bars in length.
| | 02:03 | Like so. So as you can see, this Inspector allows us to
alter the Length and/or Position values of multiple clips
| | 02:15 | so that we can either move them all to the same start
position, or alter their boundaries to a common length.
| | 02:23 | It doesn't have to be a length of one of the existing clips.
| | 02:27 | For example, I could say, I want all
of these to be 1 bar and 2 beats long.
| | 02:37 | There we go.
| | 02:38 | Now, I didn't have to press equal, because
both of them were already the same length.
| | 02:43 | If I adjust one of those and then select them, now we have
got an equal sign, because they are currently different lengths.
| | 02:54 | So now I could say, I want them all to be
3 bars and 2 beats long, and there we go.
| | Collapse this transcript |
| Inserting and removing bars| 00:00 | It's conceivable that at some point during the
construction of your song, you may decide, gee,
| | 00:06 | I would really like to add an extra 4 bars right at this
point in the song, but I have already got stuff before,
| | 00:13 | and I have already got stuff after it, how do you do that?
| | 00:16 | Well, it's a simple case of moving the left locator
to where you want to begin to insert some time.
| | 00:26 | Then it's a case of moving the right indicator
to a point, so that the time in between the left
| | 00:33 | and right locators is equal to the
amount of time you wish to insert.
| | 00:38 | So if I want to insert 4 bars, I would move
the right indicator to 5 bars and 2 beats.
| | 00:45 | So now the difference between my loop in
point and my loop out point is 4 bars.
| | 00:51 | Now, it's a simple case of right-click on the
ruler and go Insert Bars Between Locators.
| | 00:59 | What that will do is split this particular
clip here and shift all of that stuff which is
| | 01:07 | to the right of the left locator downstream by 4 bars.
| | 01:11 | So essentially this new clip, which will be created as the right
hand half of this clip, will begin just outside the right marker.
| | 01:22 | Let's see if that works in theory.
| | 01:25 | There we go.
| | 01:25 | So now we have got 4 bars inserted into our
composition, so that we can add more performance
| | 01:33 | to the song without destroying what we already had.
| | 01:36 | We just moved it downstream to the right.
| | 01:39 | The reverse of that process is exactly the same.
| | 01:43 | If we decided that, you know what, everything between Bar 5
and Bar 7, I really don't want. Then we just move our locators
| | 01:52 | to those extremes, right click in the ruler and go Remove
Bars Between Locators, and any clips and note data which falls
| | 02:01 | within that range will be removed, and everything to the
right will be dragged upstream by that value of two bars.
| | 02:11 | Like so. That's how we insert extra time
into our song and remove time from our song.
| | Collapse this transcript |
|
|
6. The Transport PanelOverview| 00:00 | In this chapter we are going to spend just a couple of minutes
working our way through the Transport panel, and in the process
| | 00:07 | we are going to start building up another
song. So we'll cover everything in detail.
| | Collapse this transcript |
| Tempo, time signature, and song position| 00:00 | What I have started with is throwing in
a 14:2 Mixer and a ReDrum Drum Computer.
| | 00:05 | I have programmed in some patterns and I
have laid some patterns into the Pattern lane
| | 00:12 | of the ReDrum track in the Sequencer.
| | 00:14 | So what we want to do here is see how we can change the
tempo of our song and how that will affect what we hear.
| | 00:22 | A faster tempo simply means that the song plays quicker,
| | 00:26 | and a slower tempo means that the song plays slower.
| | 00:29 | Have a listen.
| | 00:30 | (Music plays, alternately slower and faster.)
| | 00:47 | So as you can see, as we change the tempo, so that changes
the rate at which our song will play back, and that will
| | 00:55 | go for any other instruments that we add into
the mix later on in the course of this exercise.
| | 01:01 | We can even automate the tempo of our song
| | 01:04 | over time within the Reason song.
| | 01:08 | How do we do that?
| | 01:10 | Up here at the top,
| | 01:11 | we've got our Transport Track. If you right-click
on that and select Parameter Automation,
| | 01:18 | you will see that there are two things
that we can automate for the Transport panel,
| | 01:22 | the Time Signature and the Tempo.
| | 01:25 | So we click on Tempo
| | 01:27 | and we click on OK.
| | 01:29 | Now, it's a simple case of grabbing our Pencil Tool,
| | 01:33 | drawing in an event.
| | 01:35 | Hit Return to go into Edit Mode.
| | 01:38 | Zoom in a little bit,
| | 01:40 | and now we can draw a Tempo change
| | 01:45 | just like we draw any other Parameter Automation.
| | 01:49 | Let's have a listen.
| | 01:50 | (Music plays.)
| | 02:01 | So as you can see, we can do any kind of Tempo change that we like,
| | 02:07 | over any period of time that we like and
just like everything else, we can automate it,
| | 02:12 | and we can then duplicate that particular event
| | 02:17 | should we so desire. I mean, if we really wanted
a drummer that sounded that badly out of tone,
| | 02:22 | yeah, you can do it.
| | 02:24 | Then of course,
| | 02:25 | we can also automate the Time Signature of our song.
| | 02:30 | So we might start in 4/4 time,
| | 02:35 | but we might then want to have a second ReDrum.
| | 02:40 | Let's put one in, shall we?
| | 02:42 | We'll put in a second ReDrum Drum Computer.
| | 02:46 | I'm going to knock this back to 6 clicks,
| | 02:51 | and I am just going to put in a pattern like that.
| | 03:02 | Okay, now that's a bit extreme because we have got the Tempo
wound up to crazy speed. Let's try that. (Drumbeat plays.)
| | 03:11 | So now that's in 3/4.
| | 03:14 | What we could do, if we wanted to,
| | 03:17 | is to just come back here away-
actually, let's just get rid of all that
| | 03:21 | crazy Tempo Automation because that's just silly.
| | 03:26 | So what we want to do is put in here, let's say 4 bars,
| | 03:31 | and what we are going to do is to change that value to 3/4.
| | 03:38 | So you can see here on the ruler that our standard value is 4/4,
| | 03:43 | here where we've got Automation, it drops back
to 3/4 time, and then it goes back to 4/4 time.
| | 03:50 | Now, I don't want this ReDrum 1
| | 03:54 | playing its pattern during the 3/4 time section,
| | 03:59 | because all of that stuff that I
programmed into that ReDrum is in 4/4.
| | 04:04 | So I am going to grab my Razor Blade Tool
| | 04:06 | and Cut,
| | 04:08 | Select,
| | 04:10 | Delete,
| | 04:11 | and then on ReDrum 2, I am going to
right-click and go Create Pattern lane.
| | 04:16 | Grab my pencil,
| | 04:18 | draw in 4 bars of- that's defaulted to 8/3 because
that was the last pattern I drew in with ReDrum 1.
| | 04:25 | So 4 bars of Pattern A1.
| | 04:28 | So now if I play this, we'll hear ReDrum 1
| | 04:33 | in 4/4 Time, up to this point,
| | 04:36 | and then ReDrum 2 will kick-in in 3/4 time for 4 bars,
| | 04:40 | and then we'll go back to ReDrum 1 in 4/4 Time.
| | 04:44 | (Music plays.)
| | 04:59 | So it was actually 8 bars, not 4 bars, but you get the idea.
| | 05:03 | So we can automate Time Signature, as well as Tempo.
| | Collapse this transcript |
| Working with locators and loops| 00:00 | Now before we move onto the locators, I am going to get rid
of this stuff because I really don't want that in my song.
| | 00:07 | Right-click and I am going to delete
the second ReDrum and the device.
| | 00:12 | So moving around inside our song, as
previously mentioned, we can use the Period key,
| | 00:20 | that's the full stop on the numeric
keypad to jump back, to the head our song.
| | 00:26 | Another couple of keyboard shortcuts that I haven't
mentioned up until now but I will mention now,
| | 00:31 | are the 4 and 5 keys on your numeric keypad, which
will jump forward one bar or back one bar at a time,
| | 00:41 | and you can hold them down in order to have it
jump back in a faster fashion if you so desire.
| | 00:49 | As also previously mentioned, we can jump to any point
in the song by directly entering values with the keyboard
| | 00:58 | on the Time Display down here on the Transport Panel.
| | 01:02 | So if I wanted to go to Bar 40, I could just
click in the Bars value, type in 40, hit Enter,
| | 01:09 | and there I am, located to Bar 40 straight away.
| | 01:14 | Likewise, I can do the same thing with the Time value,
where I might want to go to no minutes and 18 seconds,
| | 01:22 | and so that's located me to the beginning of Bar 10.
| | 01:26 | As also previously mentioned, our left and right locators
can be assigned with keyboard shortcuts, where the Option key
| | 01:35 | and left-click on the Mac, or Alt+Left-click under Windows, and
Command+Left click on the Mac, or Control+Left-click on Windows,
| | 01:46 | will move the left and right locators respectively.
| | 01:50 | Again, we can also change that by clicking
and dragging with our mouse in the Loop Start
| | 01:56 | and End boxes down here in the Transport Panel as well.
| | 02:00 | Now, in order for me to show you the New Dub and New Alt
buttons, I am just going to throw in a SubTractor Synth,
| | 02:09 | and let's just go and grab something like Bright Nite.
| | 02:18 | So when I add a pad to this. So what I
can do is I can start recording some notes.
| | 02:24 | (Music plays.)
| | 02:36 | OK. So I have put in a couple of notes.
| | 02:39 | Now, I might be really happy with those notes, or I might think,
no, it's not what I wanted. I want to rerecord that performance.
| | 02:49 | If I decide, I am happy with those notes, but I want to add
some more, then my best course of action is the new Dub button.
| | 02:58 | What that will do is create a new note
lane within this instrument track.
| | 03:06 | So now I can jump back to the head of my file,
I can hit Record, I will get my Precount,
| | 03:12 | because I have still got Precount switched on.
| | 03:14 | I will hear the notes that I have already recorded, but
I will be able to record some new notes along with it.
| | 03:23 | Let's see how that works.
| | 03:24 | (Music plays.)
| | 03:36 | Now, let's say that I did that and I went yeah,
look, it's OK, but I think I want to do it again.
| | 03:45 | And I don't want to hear those notes as I am doing it
again, but I do still want to hear my original ones.
| | 03:52 | That's where the New Alt button comes in. Because
it's saying, I want to do a new alternate take.
| | 03:58 | So what happens is it also creates a new note lane
for us, but it automatically mutes the previous take.
| | 04:08 | We can see here that the Mute button is lit up for lane 2.
| | 04:12 | So I can now jump back to the head of
my file and have another crack at it.
| | 04:19 | (Music plays.)
| | 04:29 | As you would have noticed, this performance here
in the middle didn't play because it was muted.
| | 04:37 | So that's the New Dub and New Alt buttons.
| | Collapse this transcript |
| Metronome and Precount features| 00:00 | Well, if you have been following this series in sequential order,
| | 00:03 | you probably don't need to know anything
about the Metronome or the Precount by now.
| | 00:08 | If of course you have just jumped to this
movie out of the blue, let me explain.
| | 00:13 | The Metronome basically allows us to get a rhythmic count
in audio form that we can hear, that we can play along with,
| | 00:22 | if we don't have anything else by which to guide
our timing. However, that count is not recorded.
| | 00:30 | So if I was to mute this ReDrum track, jump back to the
head of my track, and I want to do a new alternate take.
| | 00:39 | So if I was to press Play now, and assuming that I also mute
the keyboard, because ReDrum is muted, we won't hear anything.
| | 00:48 | To prove that, I will press Play.
| | 00:53 | So if I wanted to perform another track, but I wanted
something to count along with me to guide my timing,
| | 01:02 | what I can do is turn on the Click, and that
Click will count along 4 beats to the bar
| | 01:08 | at 120 beats per minute,
for as long as I am playing or recording.
| | 01:14 | I can adjust the volume of that Click
with the Click Level knob here.
| | 01:20 | So I am just going to turn the Click on, press Record.
| | 01:24 | (Metronome starts ticking and then music plays.)
| | 01:33 | It's that simple.
| | 01:34 | When I press Stop, the Click stops.
| | 01:37 | Now, if I then unmute my ReDrum take, I will hear both the
Metronome and ReDrum. That's really of no benefit to me.
| | 01:47 | So I could now turn the Click off, and
I would hear ReDrum and my Synth Line.
| | 01:52 | (Music plays.)
| | 02:01 | So you get the idea.
| | 02:03 | The Precount, if you haven't been following
along, and you have just jumped into this movie,
| | 02:08 | what that does is give me a 4-count, prior to actually recording.
| | 02:14 | So let's say I move my cursor to the beginning of Bar
5, and I want to start recording actually from Bar 5.
| | 02:22 | Well, the thing is, I don't have a perfect
sense of timing so I really need some guidance
| | 02:28 | on what 120 beats per minute is going
to be like in terms of timing.
| | 02:34 | So by turning on Precount, I will get a count
of 4 before the recording actually begins.
| | 02:41 | So if I hit Record here, you will hear a
4-count before the cursor actually begins moving
| | 02:49 | and a new clip starts to be recorded from Bar 5.
| | 02:53 | (Metronome starts ticking and then music plays.)
| | 03:02 | So that's how the Precount works.
| | 03:04 | That's pretty much it.
| | Collapse this transcript |
| Quantize during recording| 00:00 | As you have seen if you have been following along, I don't
exactly have rock solid timing when it comes to my playing.
| | 00:06 | So what can we do about that?
| | 00:09 | Well that's where quantizing comes into play.
| | 00:11 | If you have never heard the term what quantizing is, it's making
sure that notes fall exactly on the beat that they are meant
| | 00:21 | to be on and Reason allows us to activate Quantize during
Recording via this button at the bottom of the Transport Panel.
| | 00:31 | So what that will do is as I am recording, it will note
the natural human timing errors that I have in my playing
| | 00:42 | and actually correct them in real time as we record.
| | 00:46 | So what I will do is just start recording.
| | 00:50 | (Metronome ticks and music starts to play.)
| | 00:58 | Now if we were to analyze what I just played with a microscope
we would have found that there were some timing errors.
| | 01:06 | However if we go into Edit mode and we zoom right
in close and even if we just grab the Select Tool,
| | 01:15 | we can see that these particular notes now start at exactly beat
increments as we can see from the Inspector up the top here.
| | 01:30 | Now if I had not had Quantize during Recording active,
I can guarantee that these notes would not have started
| | 01:38 | on a zero tick value and just to prove that, just in
case you think I am infallible, I will prove it to you.
| | 01:46 | I will turn off Quantize during Recording
and I will do the same thing again.
| | 01:51 | (Metronome ticks and music starts to play.)
| | 02:00 | OK. So now if we zoom in and we grab our Select Tool, we can
see that here we have a value, which is not equal to zero ticks.
| | 02:13 | So my timing was not perfect by any stretch of the imagination.
| | 02:18 | So that just shows you how the Quantize during Record
button can get our performance locked to the grid.
| | Collapse this transcript |
| Recording automation as performance controllers| 00:00 | What you may have noticed as I have performed some of these
little runs on the keyboard, when I come into Edit Note mode,
| | 00:09 | down the bottom here you can see not only Velocity, but also
Aftertouch and that is what's known as a performance parameter
| | 00:18 | or performance controller and if I come out of Note Edit
mode, we can actually see these little vertical lines here
| | 00:28 | which represent the Performance Controller
data and it's tied to the clip.
| | 00:37 | Down here on the Transport bar is another option, Automation
as Performance Control or as a Performance Controller.
| | 00:47 | And what that means is that, OK I want to record some Automation
data, which would normally gets it's own Automation lane
| | 00:57 | within the device track, but instead of that being the
case I actually want the Automation to appear linked
| | 01:07 | to the clip just like performance controller Automation.
| | 01:12 | Let me demonstrate that. If I jump back here to Bar
5, we hop across here what I need to do is make sure
| | 01:21 | that I am Record-enabled on the SubTractor Synth.
| | 01:24 | So what I am going to do is I am going to hit Record
and then I am going tweak one or two parameters.
| | 01:30 | Now because I don't have Automation as Performance Controller
activated whatever I tweak on the SubTractor will end
| | 01:39 | up as a separate Automation lane within
the SubTractor track in our Sequencer.
| | 01:48 | So here it goes.
| | 01:49 | (Music plays.)
| | 01:57 | So if we now jump over to our Sequencer,
we can see that there is now an Automation track
| | 02:04 | for the Low Frequency Oscillator 2
LFO2 Rate and one for the LFO2 Amount.
| | 02:11 | What we want to do is instead of having that Automation data
appear as clips on their own Automation lane is we want
| | 02:21 | that sort of stuff embedded within the clip where the note data
lives. So to do that I am just going to jump back to the head
| | 02:31 | of the file, going to jump back into my rack, I am going to
switch on Automation as Performance Controller and we can now see
| | 02:40 | that those parameters, they have
been automated by the green boxes.
| | 02:44 | I am going to hit Record...
| | 02:45 | (Music plays.)
| | 02:51 | and tweak a little bit of those values
and jump back and we can see that instead
| | 02:57 | of that Automation having been written into clips like these
on the Automation track, they have actually been written
| | 03:05 | into that clip as Performance Controller data and what that
means is that we can now move that stuff around in time
| | 03:15 | and the note data as well as the Automation
for those parameters goes with it.
| | Collapse this transcript |
| DSP and audio out clip| 00:00 | As I have mentioned a couple of times already through
this training title what we have got on the left hand side
| | 00:05 | of the Transport Panel here is a DSP Meter and what that does
is show us just how hard our CPU is having to work in order
| | 00:16 | to create a mix of the song that we are playing back,
| | 00:19 | because the more instruments, we add the
more mathematically complex the mix becomes.
| | 00:26 | Obviously as we add Automation, it becomes more complex.
| | 00:30 | Once we start adding effects particularly things like Reverbs
with long reverb titles, they become very mathematically intense.
| | 00:38 | Likewise if we load up a sampler and it's got lots of different
WAV files or AIFF files that it has to play back out of memory
| | 00:46 | in real time then those things add to the
mathematical complexity of the entire mix.
| | 00:53 | Believe it or not, this machine is so well spec'd, I've been
and hunted around in the demo songs that come with Reason
| | 01:01 | and even loading the biggest nastiest song I could find, I
couldn't get a reading on this meter because this machine has got
| | 01:09 | like 4 gigs of RAM, I don't know,
something, so that didn't work for me.
| | 01:13 | But the idea is that if your machine is starting to run
out of horsepower and reaching it's limits and it's ability
| | 01:20 | to actually create the mix in real
time, it will display on this meter.
| | 01:25 | The other part of this is the Audio Out Clip.
| | 01:28 | Now what I have done is I have thrown a Maximizer in between
the 14 channel Mixer and the input to the sound card.
| | 01:38 | Now the moment I have got Soft Clip active, which means that
this will not allow the output signal to exceed 0dB full scale.
| | 01:48 | So we will see that when we play this, the drum track
that is playing out of ReDrum won't be able to clip.
| | 01:55 | (Drumbeat plays.)
| | 02:00 | But if I turn off the Soft Clip, it will
be possible to exceed 0dB full scale
| | 02:08 | and this Audio Out Clip light will come on...
| | 02:11 | (Drumbeat plays.)
| | 02:14 | as you can see.
| | 02:15 | So what's that telling you is your levels coming into
the sound card are too high and although that might work
| | 02:24 | for high bit resolution, particularly if
it's floating point, when you render the song
| | 02:29 | out to a 16-bit file, the audio will be clipped.
| | 02:34 | So what it's saying is you really need to back off your levels.
| | 02:37 | So that's the DSP meter and the Audio Out Clip Indicator.
| | Collapse this transcript |
|
|
7. AutomationTrack data automation| 00:00 | Now well I have mentioned it once or twice in
passing throughout the course of this series,
| | 00:04 | it's possible that you have jumped straight into this
chapter to learn about how to automate a parameter.
| | 00:09 | As I have mentioned there are a few different ways to do it.
| | 00:13 | What I have done here is I have introduced an RV7000
Advanced Reverb into this particular hardware setup,
| | 00:22 | and if we flip the rack around we can see that this Reverb
is taking its input from the Auxiliary 1 Send from the Mixer
| | 00:29 | and that the Return- I just turn the cables Off.
| | 00:33 | The Output is returning back into
Auxiliary 1 and 2 Return on the Mixer.
| | 00:41 | What that means is that we can now control what audio gets sent
| | 00:45 | into this Reverb via the Auxiliary 1 knob
on each channel of our 14 channel Mixer.
| | 00:53 | Now in this particular project all I have got is
ReDrum which is fading into Channel 1 of the Mixer.
| | 01:00 | So if I want to send some of the ReDrum signal
into this Reverb unit what I need to do is to turn
| | 01:08 | up the Auxiliary 1 Send on Channel 1 of the Mixer.
| | 01:12 | Now I can do it as a static setting,
but what if I want to automate it?
| | 01:17 | How can I do that?
| | 01:19 | Well, the first way is to right-click on the parameter
that we want to automate and select Edit Automation.
| | 01:26 | That will put a little green box around that parameter
which tells us that this parameter has now been automated.
| | 01:34 | Although, at this stage it hasn't because we haven't
entered any physical data for that parameter.
| | 01:40 | An alternate way to do it.
| | 01:41 | I am just going to go Command+Z to undo that. Because what
I find to be the quickest simplest way is to just hold
| | 01:47 | down the Option key on the Mac or the Alt key
under Windows and then just click on the parameter
| | 01:54 | and that will achieve exactly the same result.
| | 01:57 | To me that's just the quickest way, but if
you prefer to right-click on the parameter
| | 02:01 | and select Edit Automation that's perfectly valid as well.
| | 02:05 | So let's jump across into the Sequencer.
| | 02:08 | We can now see that Mixer 1 has been given a track in the
Sequencer and there is a lane for the Channel 1 Auxiliary 1 Send.
| | 02:18 | But at the moment there is no Automation data on that channel.
| | 02:22 | We can see the blue line which is the static value.
| | 02:25 | So what I am going to do is I am going to
grab my Pencil Tool and I am just going
| | 02:29 | to draw in a four bar clip between bars 21 and 25.
| | 02:36 | I am going to press Return to go into that
and I am just going to zoom in a little bit,
| | 02:42 | and now I am just going to draw with
my Pencil an up-and-down ramp like so.
| | 02:52 | Now I am going to jump back here with my
Cursor, I'll jump back over into the rack
| | 02:57 | so that we can actually see this happen and press Play.
| | 03:00 | (Music plays.)
| | 03:14 | So as you can see, over the course of those four bars, this
Auxiliary 1 knob came up a little way and then faded out again,
| | 03:23 | which reflected the envelope that we'd drawn
here in the Automation lane in the Sequencer.
| | 03:29 | So that's one way of writing Automation in.
| | 03:32 | So that's one way of creating Automation.
| | 03:35 | Another way now that we have got an Automation lane for
our parameter is to jump back into the rack, press Record
| | 03:44 | (Music plays.)
| | 03:52 | and actually ride the parameter in
real time while the project is playing.
| | 03:58 | If we now jump back into the Sequencer and we can see
that we have now got this second clip of Automation
| | 04:04 | for the Channel 1 Auxiliary 1 Send and that represents
what we did when we grabbed the Auxiliary 1 Send
| | 04:12 | and actually adjusted it up and down
in real time while we were recording.
| | 04:17 | Those are the two main ways of applying Automation,
and what I have just shown you can be done on just
| | 04:25 | about every parameter on almost every device within Reason.
| | 04:30 | If for example, you wanted to change the length of the Decay
of this Reverb, we could do it in exactly the same way.
| | 04:37 | Hold down the Option key on the Mac or the Alt
key on Windows, left-click on that parameter
| | 04:43 | and now we have created an Automation track for that parameter.
| | 04:49 | So if we now jump over into the Sequencer we can see the
RV7000 and we have got an Automation track for the Decay value.
| | 04:58 | So we can now grab our Pencil, draw in an another four bar clip.
| | 05:05 | Hit Return and we can now modify the length of the Reverb
over the course of those four bars and jump back here,
| | 05:17 | flip back over to the rack so that we can see this in real time.
| | 05:23 | (Music plays.)
| | 05:35 | And that's pretty much all there
is to writing Automation within Reason.
| | Collapse this transcript |
| Devices with no sequencer track| 00:00 | Now something you may have noticed if you have been experimenting
with Reason for yourself is that there are certain devices,
| | 00:07 | which when you add them to the rack they
don't by default get a track in the Sequencer.
| | 00:15 | However, there are still devices which can
be automated, things like the Reverb here.
| | 00:21 | So let's just explore that a little bit further.
| | 00:25 | Let's create another effect.
| | 00:26 | Let's try something like a DDL-1 Digital Delay Line.
| | 00:30 | Now we have created it here in the rack, but you will
notice that in the Sequencer there is no track for it.
| | 00:39 | So what can we do to create a Sequencer track?
| | 00:43 | Well, I found the easiest thing is just to force an Automation
lane for one of the parameters on that particular device.
| | 00:52 | And as I said in the previous movie, the easiest way to do
that is just to hold down the Option or Alt key and left-click
| | 01:00 | on the parameter you want to automate and that will force
the creation of a track for that device in the Sequencer
| | 01:07 | and give you an Automation lane for that particular parameter.
| | 01:12 | You will then find that you can right-click on the
device track, bringing up the Parameter Automation menu
| | 01:19 | and that will give you this box which will show you all of
the parameters within that device which can be automated.
| | 01:27 | Now by default it will show you the most
frequent ones only, but you can uncheck that box
| | 01:33 | and then see any other parameters which can also be automated.
| | 01:37 | In the case of the DDL-1, it was showing us everything anyway,
but from this dialog we can tick any of the other parameters
| | 01:47 | that we might like to automate and then click on OK and all of
those lanes will be created for us which then allows us to go
| | 01:56 | through with our Pencil and start writing in blocks
where we can put some Automation data if we so desire.
| | Collapse this transcript |
| Recording pattern changes| 00:00 | Now earlier in this training title I explained about how
there are pattern-based devices within Reason like ReDrum,
| | 00:08 | where you can program up different patterns
and then have those patterns change over time.
| | 00:14 | And as you can see here I have got different patterns
coming in a different points throughout the song,
| | 00:20 | so that I get a different drumming
pattern occurring throughout the song.
| | 00:24 | The reason now the way of doing it because
the way I show you was with the Pencil
| | 00:28 | and selecting which pattern you wanted via this dropdown.
| | 00:33 | Let's look at another way of doing that.
| | 00:35 | So we select all of that, hit Delete,
and what we will do is we will first
| | 00:41 | of all make sure that we have Record-enabled outtrack.
| | 00:45 | Now we jump over to the rack and what we can do is hit Record
| | 00:49 | and we will actually manually select the
patterns as we are playing in real time.
| | 00:57 | (Music plays.)
| | 01:14 | Now what you may have noticed there is that even though
I clicked on a different pattern within the middle of the bar,
| | 01:23 | ReDrum doesn't actually start playing that
next pattern until the next down beat.
| | 01:29 | It's very nice feature that.
| | 01:32 | So we jump back into the Sequencer and we can see that
what we have got here is an empty clip on the firstlane
| | 01:42 | of the ReDrum track which we really don't need
because we didn't play anything manually from ReDrum.
| | 01:49 | But we did get all of our pattern changes
recorded in exactly the way we wanted them.
| | 01:56 | So that's just another way to record in pattern changes
for any of the pattern-based devices within Reason.
| | Collapse this transcript |
|
|
8. Adding EffectsAuto-routing devices| 00:00 | We have seen once or twice throughout this training series that
when you create a new device within the rack, Reason will try
| | 00:08 | and intuitively route that device
to where it thinks it should go.
| | 00:14 | Let's have a look at something rather interesting.
| | 00:16 | If I select this ReDrum module and I then right click in the
empty space and say that I want to create an Advanced Reverb,
| | 00:28 | sure enough the reverb gets created but let's just flip
the rack around and see exactly where it routed to.
| | 00:36 | Oh, it's getting its input from ReDrum.
| | 00:41 | So if we expand ReDrum we can see that what happened was
that Reason said well because you have selected ReDrum,
| | 00:49 | I am assuming you want to take the output of ReDrum, feed
it into the reverb and then take the output of the reverb
| | 00:58 | and sent that to where ReDrum was originally patched which
in this case was the inputs of Channel 1 on the Mixer.
| | 01:06 | Reverbs are the effect that you normally use as I send.
| | 01:11 | You don't usually route an entire signal through them.
| | 01:15 | Normally you hook a reverb up to an Auxiliary Send and you
then use an Auxiliary Send knob, like we saw in the last movie,
| | 01:24 | to just feed a little bit of your signal into that reverb device.
| | 01:29 | So how do we change that behavior?
| | 01:34 | Well, let's start by deleting the RV 7000 and we can see
| | 01:39 | that Reason has now automatically rerouted the
output of ReDrum back to Channel 1 of the Mixer.
| | 01:46 | There are two things we could do if we wanted to create a
reverb and we wanted it routed to Auxiliary 1 of that Mixer.
| | 01:54 | One is to actually select the Mixer and then right-click,
select the Create menu and then select our RV 7000.
| | 02:06 | Because what we have done is we have said to
Reason, "My primary focus here is the Mixer".
| | 02:12 | So now when it creates the RV 7000 it automatically hooks
it up to the first available Auxiliary Send and Return.
| | 02:21 | That's great.
| | 02:22 | That's makes a little bit more sense.
| | 02:24 | Sometimes though you might want to create a
device and just not want it routed to anything.
| | 02:31 | You might think to yourself I just want to create this
device and I'll worry about how I want to wire it up.
| | 02:38 | Well, that's pretty easy as well.
| | 02:40 | Let's get rid of that RV 7000 again and what we do is we right
click in our blank rack space, go down to the device that we want
| | 02:51 | to add to our rack, but before we select it we hold down the
Shift Key and then click on the device that we want to add.
| | 03:02 | And holding down the Shift Key says to Reason, "Don't
patch this to anything I will handle it from myself.
| | 03:10 | Thank you very much".
| | 03:12 | So that's pretty much what you need to know
about automatically patching new devices.
| | Collapse this transcript |
| Using reverbs| 00:00 | Something we haven't really looked at
| | 00:02 | to this point in this particular training title
| | 00:06 | is the different effects that are available within Reason.
We have covered the different instrument devices
| | 00:13 | but we haven't looked to the effects yet. So in this particular
movie, I am just going to point out the two reverb units
| | 00:20 | that you've got available to you within the Reason rack.
| | 00:23 | One of those is the RV 7000, which is an Advanced Reverb,
| | 00:28 | and then its little brother is the RV-7.
| | 00:31 | The way these are designed to be used is that if you
just need something for a little bit of color that's
| | 00:36 | not going to be too prominent in the mix,
go with the RV-7 because it's less CPU intensive.
| | 00:43 | If you have got a fairly major reverb, that's going to be
quite prominent in the mix or it's just going to give that
| | 00:49 | nice gloss to your finished mix,
maybe then you go for the RV 7000.
| | 00:55 | Use a few more cycles of your CPU but it
will give you a slightly better reverb.
| | 01:00 | One thing to know about the RV 7000 is this little triangle here,
| | 01:04 | that will reveal the Programmer,
| | 01:07 | and that's where you can really make some major modifications
to the style of the reverb. I am not going to go into all of
| | 01:13 | these parameters.
| | 01:15 | I'm not going to go into what all of these parameters
do but just know that the Programmer is there
| | 01:20 | if you really want to get heavy handed
with modifying the style of the reverb.
| | 01:25 | Now before I move on to the next movie, there is a couple of things I
want to show you about the way we connect up different effect devices.
| | 01:33 | If we flip the Rack around with the Tab key,
| | 01:36 | you can see here- I just going to collapse that ReDrum.
| | 01:40 | You can see that what I have done here
is connected the input to the RV 7000
| | 01:47 | from Auxiliary 1 on the Mixer.
| | 01:50 | And then I have taken the output of the RV 7000 and
sent it back to the return of Auxiliary 1 on the Mixer.
| | 01:58 | I know it's looking a little bit crowded here at the moment
| | 02:01 | but the Tool Tip pops up to tell you
exactly where the routing is going.
| | 02:05 | Then for the RV-7, I have connected that to Auxiliary 2 on the Mixer.
| | 02:11 | So what that means for us is that
| | 02:14 | on the Mixer, we can use the Auxiliary
1 port on all 14 channels to send
| | 02:22 | any signals that's routed into of
any of those channels, to the RV 7000.
| | 02:28 | Similarly we can use the Auxiliary 2 Send
| | 02:32 | to send any signals to the RV-7.
| | 02:35 | Now what I do want to point out here, is
that if we flip the Rack around again,
| | 02:41 | and we expand ReDrum,
| | 02:44 | you'll see- and I'm just going to hide the cables- that on ReDrum,
| | 02:48 | there are two Auxiliary Sends which go out and if we
wait for the Tool Tip, we can see that they're connected
| | 02:55 | to Auxiliary 1 Chain Left on the Mixer,
| | 03:00 | and Auxiliary 2 Chain Left on the Mixer, which are
these two points here. Now what that means is that
| | 03:10 | anything which is connected to Auxiliary 1 on the Mixer
| | 03:16 | can also be fed from Auxiliary 1 and 2 Sends on ReDrum.
| | 03:22 | Now what do we mean exactly by that?
| | 03:25 | Well, let's just flip this around again.
| | 03:27 | On each of the ReDrum Channels you'll see
that there is a Send 1 and Send 2 value.
| | 03:34 | So if I was to play this drum Pattern And crank up Auxiliary
1 on the Mixer, every drum sound coming out of ReDrum,
| | 03:44 | which is going into this Fader on Mixer 1,
would then go to the RV-7000. Let's have a listen.
| | 03:51 | (Music plays.)
| | 04:02 | What if we only wanted the reverb to be on the snare?
| | 04:06 | Well that's where the Chaining comes into practice,
| | 04:09 | because what this Chaining does
| | 04:11 | between the Send 1 and 2 outputs on ReDrum
| | 04:15 | and the Chaining Auxiliaries on the Mixer, is allow us to
use the individual Channels Sends within ReDrum, so that
| | 04:24 | if we just want to Send the snare, which is Channel 2 on ReDrum,
| | 04:29 | to the RV-7000,
| | 04:31 | we can now use this Send value on ReDrum
rather than the Send value on the Mixer.
| | 04:38 | (Music plays.)
| | 04:47 | So that's just something to be aware of that Chaining Auxiliary thing
| | 04:52 | will allow you to use Sends 1 and 2 from ReDrum exactly
the same way as you would use Sends 1 and 2 on the Mixer.
| | 05:02 | Now of course that will only work if you have actually got some effects
| | 05:07 | connected to Auxiliaries 1 and 2 on the Mixer,
but it's just a handy little tip to be aware of.
| | Collapse this transcript |
| Scream 4 distortion| 00:00 | The next effect we are going to look at is the Scream 4 Distortion
| | 00:04 | or Scream for Distortion, if you want to say it that way.
| | 00:08 | When we drag Scream 4 into the rack and we flip the rack
around, one thing you will notice is that, unlike the reverbs,
| | 00:15 | this has not been patched up as an Auxiliary Send.
| | 00:19 | The reason for that is because the Scream 4 Distortion
Unit is designed to be used as an inline effect.
| | 00:26 | In other words, you send 100% of your signal into it,
| | 00:29 | not just a small proportion of your signal
into it, like you would do with a reverb.
| | 00:34 | So what's happened is that Reason has rerouted the outputs
of ReDrum, which were originally going to the inputs of
| | 00:42 | Channel 1 on the Mixer.
| | 00:44 | Now it's routed them to the input of the Scream 4 Distortion
Unit, and then taken the output of the Scream 4 Distortion Unit
| | 00:52 | and sent that back to the input of Channel 1 on the Mixer.
| | 00:58 | So what is Scream 4 Distortion?
| | 01:00 | Essentially it is a Distortion Unit.
| | 01:03 | So you can send any
| | 01:05 | instrument from within your mix into this particular device and
have your choice of overdrives, distortion, files, tubes, type,
| | 01:13 | etcetera, etcetera.
| | 01:14 | Let's just have a quick listen to some of the effects.
| | 01:17 | (Music plays.)
| | 01:44 | So you get the idea.
| | 01:45 | You can mangle your sound anyway you
like with the Scream 4 Distortion Unit.
| | Collapse this transcript |
| The BV512 vocoder| 00:00 | The next effect device we are going to have
a look at is the BV512 Digital Vocoder.
| | 00:05 | Now, what I am going to do is, as I drag this in, I am going
to hold down the Shift key, because I don't want Reason
| | 00:12 | to automatically route this particular device up.
| | 00:16 | What I want to do is first of all just play
you this little motif that I have sequenced
| | 00:21 | up in this Malstr?m synth with the drum track.
| | 00:25 | (Music plays.)
| | 00:32 | OK, so it's nothing special but you can hear that
what we've got there is a drum track and a synth line.
| | 00:38 | What I am going to do now is flip the rack around
just so you can see what's currently routed with.
| | 00:44 | The output of Malstr?m is going to
the input of Channel 2 on the Mixer.
| | 00:50 | What we want to do is disconnect that and
route that to the carrier input on the Vocoder.
| | 00:58 | What we then want to do is disconnect the output of ReDrum from
the Mixer and connect that to the modulator input on the Vocoder
| | 01:10 | and then we are going to take the output of
the Vocoder and feed that into the Mixer.
| | 01:19 | So what we are doing is we are going to use
one waveform to modulate another waveform.
| | 01:27 | Let's have a listen.
| | 01:28 | (Music plays.)
| | 01:36 | So what we've got is the shape of the drum
track waveform modulating the synth line.
| | 01:45 | So we are hearing the synth but we are hearing that
waveform shaped like the attack, decay, sustain and release
| | 01:52 | of the drum sound and we are going to go through into all sorts
of parameters on the BV512 to change the nature of that sound.
| | 02:02 | (Music plays.)
| | 02:12 | You'll also notice that you can use the
BV512 as an equalizer if you want to.
| | 02:16 | I am not going to go into it in any more depth right now but just
wanted you to know that that's what you can do with the BV512.
| | Collapse this transcript |
| DDL-1 delays | 00:00 | In this movie we are going to have a very
quick look at the DDL, Digital Delay Line.
| | 00:05 | Essentially, this is just a simple delay unit.
| | 00:09 | What I have done is I have slowed the
drum pattern down to a 1/8th resolution,
| | 00:13 | and taken out the hi-hat, so all we have got is kick and snare.
| | 00:19 | We can see that the output again of ReDrum has been
routed into the Digital Delay Line and the output
| | 00:25 | of the Digital Delay Line now routed
to the input of Channel 1 on the Mixer.
| | 00:31 | So everything coming out of ReDrum is going
to get processed by the Digital Delay Line.
| | 00:37 | Now, on this we can choose to look at milliseconds or
steps. I prefer milliseconds myself, but depends on whether
| | 00:44 | or not you want your Digital Delay to
be in sync with the tempo of your track.
| | 00:50 | (Music plays.)
| | 01:06 | Now, that's using a fairly long delay.
| | 01:08 | If we shorten that right down, we can
get some very interesting effects.
| | 01:14 | (Music plays.)
| | 01:21 | What you can really have some fun with
is automating this value over time.
| | 01:26 | (Music plays.)
| | 01:41 | Now, as I said, the way this was routed automatically was as
an inline effect, but we might choose not to do it that way.
| | 01:49 | What we could do is take the output of
ReDrum back to the channel of the Mixer,
| | 01:54 | and then connect the DDL as an Auxiliary Send and Return.
| | 02:01 | Now, we can choose just how much of this delay we
actually want by dialing in the Auxiliary Send.
| | 02:11 | (Music plays.)
| | 02:32 | So you get the idea. You can have a lot of fun with that.
| | Collapse this transcript |
| Foldback distortion| 00:00 | The next effect we are going to have a
look at is the D-11 Foldback Distortion.
| | 00:05 | This is a very simple device. Again, it's another Distortion
Unit, a bit like the Scream 4 Distortion, except this one is,
| | 00:13 | as I said, much simpler.
| | 00:16 | As you can see, there is a Foldback control here. What it's
saying here is that you can reshape the top of the waveform
| | 00:23 | to just be slightly reduced and a little bit sharper.
| | 00:28 | Then as we wind this around, the top
of the waveform will become clipped,
| | 00:34 | and then as we wind it all the way around,
| | 00:37 | it'll actually invert the top of the waveform into quite a
nasty crunchy sound. Then it's just a simple case of dialing in
| | 00:46 | how much of that particular style of Distortion you want
to add to whatever it is that you are feeding into it.
| | 00:53 | Now again, Reason has set this up as an Inline Effect,
| | 00:56 | which is probably the way you would want to use it.
| | 00:59 | There wouldn't be much point in using this as a Send.
| | 01:02 | So let's have a listen.
| | 01:04 | (Music plays.)
| | 01:26 | That's all there is to it. Like I said,
it's a fairly simple Distortion Unit.
| | Collapse this transcript |
| The ECF-42 Envelope Controlled Filter| 00:00 | The next effect we are going to have a look at
is the Envelope Controlled Filter, the ECF42.
| | 00:05 | Again, this gets connected as an Inline
Effect. However, to make the most of the ECF42,
| | 00:13 | you really need to have something connected to
one of the CV inputs on the back of the device.
| | 00:19 | Now, I know up until this point we haven't
really looked at what the CV inputs are for.
| | 00:24 | CV is short for Control Voltage, and what
it means is we use a voltage supplied
| | 00:31 | by one device to modulate a parameter on another device.
| | 00:37 | To demonstrate this, what I am going to do is bring in
a Malstr?m Graintable Synth, and I am not actually going
| | 00:42 | to sequence any actual note data for the synth.
| | 00:47 | I am just going to hide the cables.
| | 00:48 | What I am going to do is I am going to the
Modulation Output of Modulator A on the Malstr?m,
| | 00:55 | and I am going to feed that into the
Frequency Controlled Voltage on the ECF42.
| | 01:00 | Now what that means is that the modulation
coming out of Modulator A on the Malstr?m,
| | 01:09 | and here is Mod A. So it's a simple sine wave.
| | 01:13 | That modulation is going to be applied to the
frequency setting on the front of the ECF42.
| | 01:22 | Now, the ECF42's input is actually coming from ReDrum,
and the output is going to Channel 1 of the Mixer.
| | 01:31 | So what it means is that anything coming out of ReDrum is going
to get filtered, and the frequency that is affected is going
| | 01:40 | to be modulated by this sine wave coming
out of Modulator A of the Malstr?m.
| | 01:46 | Let's have a listen.
| | 01:47 | (Music plays.)
| | 01:57 | Now, at the moment that's in a Low-Pass Mode, but
we could change it to a Band-Pass if we wanted to.
| | 02:03 | (Music plays.)
| | 02:09 | Again, we could alter the rate of the modulation on
Malstr?m to make that swept filter sound happen faster.
| | 02:19 | (Music plays.)
| | 02:38 | Like so. Alternatively, we could choose to route the output
of Modulator A to the resonance instead of the frequency.
| | 02:49 | So now this sine wave is going to modulate this
Resonance parameter rather than the Frequency parameter.
| | 02:58 | (Music plays.)
| | 03:16 | So that's a brief introduction to the ECF42.
| | 03:20 | I guess my best advice is, go forth and
experiment, there is no right and wrong rules
| | 03:24 | with any of this stuff, so just play with it.
| | Collapse this transcript |
| The CF-101 Chorus/Flanger| 00:00 | The next device we are going to look at is the CF-101 Chorus/Flanger.
| | 00:04 | This shouldn't be a surprise to anybody.
| | 00:07 | Again, it's connected as a Inline Effect, although you
could choose to wire it up as an Auxiliary, if you chose,
| | 00:14 | and basically it applies Chorus and/or Flange to whatever you add to it,
| | 00:19 | or send in to it.
| | 00:21 | Basically, it adds Chorus or Flange effects
to whatever signal you send through it.
| | 00:26 | (Music plays.)
| | 00:55 | That's pretty much all there is to it.
| | 00:58 | It's a standard Chorus/Flanger.
| | Collapse this transcript |
| The PH-90 Phaser| 00:00 | The next device we are going to look at is the PH-90 Phaser.
Very similar to a Chorus and Flanger in the nature of the sound
| | 00:07 | that it generates. Again it has been
hooked up by default as an Inline Effect,
| | 00:11 | but again it could also be hooked up as an insert
if you wanted to. And what does it sound like?
| | 00:18 | (Music plays.)
| | 00:46 | Pretty standard Phaser.
| | Collapse this transcript |
| UN-16 Unison| 00:00 | The next effect we are going to look at
is the UN-16, which is a Unison device.
| | 00:05 | This is designed to
| | 00:07 | basically just fatten up a sound that's a little bit
weak on its own. And the way it works is it will generate,
| | 00:14 | either four extra instances of the input waveform, or eight,
| | 00:19 | or sixteen copies.
| | 00:21 | And it will slightly detune them,
| | 00:24 | slightly delay them and pan them left
and right across the stereo landscape.
| | 00:30 | So basically it will just take a sound and thicken it up and
how much it thickens it up will depend on the Dry and Wet value.
| | 00:37 | Dry being the input, Wet being the effected output.
So if you have this all the way to Dry,
| | 00:44 | it essentially adds nothing to your signal,
as you bring up that value so it adds more.
| | 00:49 | Let's have a listen.
| | 00:51 | (Music plays.)
| | 01:10 | That's pretty much all there is to it.
| | 01:11 | Like I said if you have got a synth line or
something like that and it is just not quite big
| | 01:17 | and in your face enough, little bit of the
Unison might just be what the doctor ordered.
| | Collapse this transcript |
| The COMP-01 Compressor| 00:00 | The next effect device we are going to
look at is the Comp-01 Compressor/Limiter.
| | 00:05 | This is just a very basic compressor and it's an Auto
Make Up Gain Compressor at that, which means that
| | 00:13 | by whatever degree it has compressed the input signal
| | 00:17 | in terms of DB or Gain Reduction,
| | 00:20 | it will than add that many DB at the output stage.
So you never get the feeling that after compression
| | 00:28 | the sound is quieter because it's
automatically made up the Gain that it reduced.
| | 00:34 | Let's have a listen.
| | 00:35 | (Music plays.)
| | 00:51 | Like I said,
| | 00:52 | pretty cheap and nasty but it does the job.
| | 00:54 | It will compress whatever you send into it
| | 00:56 | and then raise the Gain by the same amount that it reduced
the Gain of the input. So that you will get what appears to be
| | 01:03 | a constant output level.
| | Collapse this transcript |
| PEQ-2 Parametric EQ| 00:00 | The next effect device we are going to look at is the PEQ2.
Two Band Parametric Equalizer. Now the way this works is
| | 00:08 | we have got two Parametric bands of EQ. Now a
Parametric EQ means that we can change the frequency
| | 00:17 | that we are affecting with the Rotary knob. Unlike a
Graphic EQ where we have sliders for specific frequencies
| | 00:26 | and you can't choose a frequency in between two of those sliders.
| | 00:30 | With a Parametric EQ you can get to exactly the
frequency you want by adjusting the Frequency knob.
| | 00:37 | Now, by default only Band A is active on the PEQ2.
| | 00:43 | To activate the second band we need
to turn it on with this button here.
| | 00:47 | So let's have a listen.
| | 00:48 | (Music plays.)
| | 01:32 | Now if you decide that you actually need more than two bands
of Parametric EQ, you could always just drag another one in
| | 01:40 | and Reason will by default chain them together for
you and then send of the output of the second one
| | 01:48 | to wherever the output of the first one was going previously,
which in this case is the input of Channel 1 on the Mixer.
| | 01:55 | So now you have got four bands of EQ to tweak to your heart's content.
| | Collapse this transcript |
| The MClass mastering suite | 00:00 | Last movie in this chapter, we are
going to look at the MClass effects.
| | 00:05 | Now, these are designed to be mastering class effects, hence
the name, which means they do a slightly better job than some
| | 00:13 | of the effects we have looked at before,
like the Equalizer and the Compressor.
| | 00:17 | But the tradeoff of course is that they are most CPU intensive.
| | 00:21 | Now, what I have done for this particular movie is opened
up the little track that I created back in Chapter 3.
| | 00:29 | What I have done is I have set the Imager, the
Compressor, and the Maximizer into Bypass Mode,
| | 00:35 | so that for now the signal will pass straight through.
| | 00:40 | So the EQ. It's essentially a five band equalizer.
| | 00:43 | We have got a low-cut at 30 hertz, so that will reduce anything
below 30 hertz. So we get rid any really low end rumble.
| | 00:52 | What we have got then is two parametric bands
in the middle: a low-shelf and a high-shelf.
| | 00:59 | So basically we can switch all of these bands
in, and then we can start tweaking the EQ.
| | 01:05 | (Music plays.)
| | 01:32 | So you get the idea. You can tweak that to whatever shape
you want to create the kind of sonic textures that you want
| | 01:39 | in your final mix, because that's the way these
particular effects are designed to be used.
| | 01:45 | These are supposed to be just used on the stereo final mix.
| | 01:50 | You can use them elsewhere in your composition if you
want to, but like I said, they are more CPU intensive,
| | 01:56 | so they are designed to be just used across the master output.
| | 02:00 | The next one is the Stereo Imager.
| | 02:02 | Now, if we switch this on, and I will switch the EQ to Bypass,
what this is designed to do is allow us to either narrow
| | 02:10 | or widen both the low frequency and the high
frequency sections of our mix independently.
| | 02:19 | Using the crossover frequency, we can change what's decided to be
low-band and what's deemed to be high-band, let's have a listen.
| | 02:29 | (Music plays.)
| | 02:53 | So you can hear that as we wind this around to the wide value,
the high frequencies get pushed further out into the left
| | 03:00 | and right speakers, and the center image seems to diminish.
| | 03:04 | As we come back to original, we get our standard stereo
placement, and then as we bring it down towards mono,
| | 03:11 | everything collapses towards the middle of the stereo image.
| | 03:14 | So that's how the Stereo Imager works.
| | 03:17 | Then we've got the Compressor.
| | 03:18 | Same deal as any other compressor.
| | 03:21 | We set a threshold above which we want compression to take place.
| | 03:25 | Followed by a ratio which says, how much do you
want to compress everything above the threshold?
| | 03:34 | The attack time, which says, how fast do you want me to
compress the dynamics of anything which exceeds the threshold?
| | 03:42 | The release time says, how soon do you want
me to let go of it after I have compressed it?
| | 03:48 | So let's have a listen to the Compressor, switch it on.
| | 03:51 | (Music plays.)
| | 04:09 | I could spend hours talking to you about compression and how to
set it well, but we don't have hours, so I am going to leave it
| | 04:16 | to you to decide how much compression you think your mix needs.
| | 04:20 | The final stage is the Maximizer.
| | 04:23 | This is designed to work like a Peak Limiter, except
what I find really odd about this particular device is
| | 04:31 | that it doesn't actually peak limit to 0 DB
full scale, unless you activate the soft clip.
| | 04:38 | I'm not sure why Propellerheads have designed it that way,
but essentially what this is designed to do is to take your mix
| | 04:45 | and just add some peak limiting to it so that you can get
it loud and fat. Up to you how much you want to use this.
| | 04:52 | (Music plays.)
| | 05:05 | Now, like I said, because I have got Soft Clip activated,
that wouldn't allow the level to exceed 0 DB full scale.
| | 05:12 | For the purposes of this movie, I am not going to demonstrate
without the Soft Clip, because that will just make the audio
| | 05:18 | that you get to hear on this training movie
sound really yucky, so let's not go there.
| | 05:25 | So that's the mastering class effects.
| | 05:28 | Now, the most common use for these
is in what's called a Combinator.
| | 05:35 | The Combinator that deserves its own chapter, coming up next.
| | Collapse this transcript |
|
|
9. The CombinatorUsing Combinator for mastering| 00:00 | So what exactly is a Combinator when it's at home?
| | 00:04 | Well, think of it like a great big cardboard box with an
input jack on one side and an output jack on the other,
| | 00:14 | and you can then take any type of audio processing device
that you like and chuck it into that box and it gets connected
| | 00:23 | up to the input and the output patches
on either side of the cardboard box.
| | 00:28 | It's just like one big container and
we can throw a whole series of devices
| | 00:34 | into this cardboard box and have them all hooked up together.
| | 00:38 | But at the same time we can then send a signal through
the Combinator as though the Combinator was one device.
| | 00:45 | Let's have a look at the back of it.
| | 00:46 | What we can see here if I just hide the cables
is Combinator Input and Combinator Output.
| | 00:54 | Well, OK, well, it doesn't show us a heck of a lot.
| | 00:56 | What we need to do is click on this button
here Show Devices and if we swing round
| | 01:01 | to the front we will see there is a Show
Devices button on the front as well.
| | 01:05 | So when we show the devices we can see what devices have been
loaded into the Combinator, and in this case as I suggested
| | 01:14 | at the end of the last movie, what we have got
here are the four mastering class of fix units.
| | 01:21 | But they are not the only things
that we could put into a Combinator.
| | 01:25 | We can put Synths, we can put Reverb units, we can put anything
we like into a Combinator and use the Combinator as one device.
| | 01:34 | Even though it might have 20 devices inside it.
| | 01:38 | Let's jump back round to the back again.
| | 01:40 | So what we can see here is that the signal comes
out of our Mixer into the Combinator Input,
| | 01:48 | and if I just hide the cables again,
just below that we can see To Devices.
| | 01:54 | So what that means is as signal comes into the Combinator here
and then as like this internal patching that says from the input
| | 02:04 | of the Combinator to the first device inside the
Combinator which in this case is the MClass EQ.
| | 02:12 | Turn the cables on and there we go.
| | 02:15 | From the To Devices jacks down here to the Audio Input of
the MClass EQ and then from the Output of that to the Input
| | 02:26 | of the Stereo Imager, out of the Imager into the Compressor.
| | 02:29 | Out of the Compressor into the Maximizer and then out of the
Maximizer and back to these jacks, which I called From Devices.
| | 02:40 | In other words, the last device in our big cardboard
box coded Combinator we come from there to this jack
| | 02:49 | and this jack is internally hardwired to the
Combinator Output, and that output then goes
| | 02:57 | in this instance, to the physical inputs of our sound card.
| | 03:03 | So basically this Mastering Class Combinator acts as a final
stage in between the Mixer and the Input of our sound card.
| | 03:15 | Now that's just one way of using a Combinator.
| | 03:20 | In the next movie, I will show you another way entirely.
| | Collapse this transcript |
| Using Combinator as an instrument| 00:00 | At the end of the last movie, I said I show you a
different way to use the Combinator in this movie.
| | 00:05 | Well, what I have done is just loaded up one of
the patches from the Reason Factory Sound Bank.
| | 00:10 | What you can see here is we have got a 6 channel
Micromix, an RV-7 Digital Reverb, a Digital Sampler,
| | 00:18 | an Envelope Controlled Filter, a Unison and a Malstr?m Synth,
| | 00:22 | and we could expand all of those with
the Alt key, if you remember correctly.
| | 00:28 | And so now we can see all the devices
that are inside that Combinator device
| | 00:34 | and we can turn the rack around and follow the signal path.
| | 00:39 | Now what you will notice is that nothing
is attached to the Input of this Combinator
| | 00:45 | because this particular Combinator patch is not designed to be
used as an effect, it's actually an instrument in its own ride.
| | 00:55 | In the sense that we have got a Sampler and a Malstr?m
which will generate sound and then we've got all
| | 01:01 | of these different affix devices and collectively they are
all going into this 6 channel Line Mixer and the Output
| | 01:09 | of that is going to the From Devices jacks
which then go to the Combi Output jacks
| | 01:15 | which then go to the Input of our main 14 channel Mixer.
| | 01:20 | So how does it sound?
| | 01:23 | (Music plays.)
| | 01:36 | We could just browse through the Combinator patches
on the Reason Factory Sound Bank if we wanted to.
| | 01:44 | You can see that there are plenty of Combinator patches
to choose from in all different sorts of arrangements.
| | 01:52 | If you want something like an organ part, come in here and have
a look and browse through some of these and see what you find.
| | 01:59 | (Organ music plays.)
| | 02:10 | As you can see, there is no end of
stuff that you can do with a Combinator,
| | 02:15 | but what I haven't shown you yet is the Combinator Programmer.
| | 02:21 | That's a complete head-trip.
| | 02:23 | We'll get to that in the next movie.
| | Collapse this transcript |
| The Combinator programmer| 00:00 | I promise that in this movie I'll do
your head in. You are going to love this.
| | 00:04 | What I have done is created a Combinator and in it I have put
a 6 Channel Line Mixer, two Thor Synths and an RV7000 Reverb.
| | 00:16 | Now let's just jump around the back of the rack
and have a look at how I have got them wired up.
| | 00:20 | The output of the two Thor Synths are respectively
going to Channels 1 and 2 of the Mixer.
| | 00:29 | The RV700 Reverb is being fed from
the Auxiliary Send of the Mixer.
| | 00:35 | But the output is not returning to the Return on the Mixer.
| | 00:40 | I am actually sending it to the input of one of
the channels of the Mixer, in this case Channel 3.
| | 00:47 | So what's really important is that I don't
turn up the Auxiliary Send for Channel 3
| | 00:52 | because that would create a feedback loop which we don't want.
| | 00:57 | You will also notice that I have panned each
Thor Synth hard left and hard right respectively
| | 01:05 | and I have used completely different patches in the two Synths
so that we have got different voices on the left and right.
| | 01:14 | But because the Combinator is seen by Reason as one device,
what I play in the track will actually be fed to both Synths.
| | 01:26 | So if we have a listen to my rather
poor rendition of Johan Sebastian Bach.
| | 01:32 | (Music plays.)
| | 01:43 | So what we can hear is a different Synth
playing in the left and the right channels.
| | 01:49 | So I promised you the Programmer. What does it do?
| | 01:53 | Well, there is too much here for me to cover it all.
| | 01:57 | We could probably do an entire training
title just on the Combinator.
| | 02:02 | So I am just going to show a couple of neat little tricks.
| | 02:05 | What happens is a low left hand side here we have
got a list of the devices which are in our Combinator
| | 02:11 | and as you can see we have got a Line
Mixer, two Thor Synths and a RV700 Reverb.
| | 02:18 | Over here on the right hand side we have got the Modulation
Routing Mixer and you can see there are Rotaries and Buttons
| | 02:27 | and I have actually changed that second
slot. It originally said at Rotary 2.
| | 02:31 | Now these entries here that are under the
Source column relate to the four Rotary knobs
| | 02:39 | and the four Buttons on the front of the Combinator.
| | 02:43 | So we can assign a target to one of those controls.
| | 02:48 | So what I am going to do is select the Line Mixer on
the left hand side and in the Target slot I am going
| | 02:55 | to choose Channel 1 pan and what happens is we get a
minimum and a maximum value for that particular parameter.
| | 03:03 | So what it means is that the Rotary 1 control, this
one up here is now controlling the Channel 1 pan
| | 03:12 | of our Line Mixer, which is this knob right here.
| | 03:17 | So you will see that as I swivel this Rotary
controller on the front of the Combinator you will see
| | 03:23 | that the pan for Channel 1 also gets affected, like so.
| | 03:30 | See how I am adjusting the Rotary control on the Combinator that
the pan on Channel 1 of the Line Mixer is moving synchronously
| | 03:40 | with my movements of the Rotary controller on the Combinator.
| | 03:44 | OK, well that's all well and good but
it's got to get better than that, right?
| | 03:48 | Yup, absolutely.
| | 03:50 | I can assign multiple targets to the same source.
| | 03:55 | So what I am going to do is change that slot to Rotary 1
as well and now I am going to choose the Channel 2 pan.
| | 04:03 | So now with this one knob I can control the pan
of both Channel 1 and Channel 2 of the Line Mixer.
| | 04:13 | OK, that's starting to get funky but the trouble is they
are both panning to the same direction at the same time.
| | 04:20 | That's not really much good to me.
| | 04:21 | I want them to be in inverted.
| | 04:24 | Well that's where the Min and Max values come into it.
| | 04:28 | Let's just change that to +63 and the Maximum to -64.
| | 04:38 | So now our parameters are inverted.
| | 04:43 | So now we have actually inverted what happens to each Pan knob.
| | 04:49 | So if I now play,
| | 04:51 | (Music plays.)
| | 04:59 | you can see how this Rotary knob allows us
to invert which voice is heard on which Channel.
| | 05:06 | But that's not the end of it, as you can imagine you
can go through and assign all different sorts of things
| | 05:13 | to different Rotary controllers or to the
buttons and don't think that the first four have
| | 05:19 | to be rotary and then next four have to be buttons.
| | 05:21 | You can choose anyone from any slot.
| | 05:25 | You can also choose to have the Mod Wheel
on the front of the Combinator control,
| | 05:31 | something else like maybe a- let's save the Return level of
the Reverb, because Channel 3 level is our Reverb return.
| | 05:42 | Now at the moment I haven't got either of
the Thor Synths going into the Reverbs.
| | 05:46 | I will just turn these Auxiliaries up and now as I play I could
use the Mod Wheel to alter the Return level of the Reverb.
| | 05:57 | See the Level knob for Channel 3 on the Line Mixer? It's moving
in sync with the Mod Wheel. So let's play it and have a listen.
| | 06:06 | (Music plays.)
| | 06:17 | And like everything else in Reason we could go through
and Alt+Click on anyone of these parameters and voila!
| | 06:27 | We now have ourselves an Automation track and we could then
go through and write in any sort of Automation that we wanted
| | 06:38 | and have that parameter change over time with Automation.
| | 06:44 | (Music plays.)
| | 06:53 | You get the idea. So that's just a
brief introduction to the Combinator.
| | 06:57 | Believe me there is so much here you will just
get lost, but you can have a lot of fun with that.
| | Collapse this transcript |
|
|
10. The Sequencer Part 2: Edit ModeOpening a clip in Edit mode| 00:00 | Now as previously mentioned once we have
recorded some note data into the Sequencer,
| | 00:05 | in order to be able to edit that note
data, we need to get inside the clip
| | 00:11 | which contains that note data.
| | 00:14 | Now when a clip is not selected
| | 00:16 | it'll look like this with a thin black outline.
| | 00:20 | To select it, we simply left-click on it once using the Select tool.
| | 00:25 | Now to get into Note Edit mode, we can do one of three things.
| | 00:30 | We can click on the Switch to Edit Mode button,
| | 00:34 | we can double click with our mouse,
| | 00:37 | or we can just press Return on the keyboard.
| | 00:41 | All of three of those methods will get us into this Edit Note mode.
| | Collapse this transcript |
| Edit mode overview| 00:00 | In the last movie we saw about how to get
into Note Edit mode within the Sequencer.
| | 00:06 | Now that we are here,
| | 00:07 | what exactly have we got?
| | 00:09 | Well, up here the top we have got like an overview of the event
that we currently editing with it's little selection handles
| | 00:17 | at either end, so we can resize the event if we need to.
| | 00:21 | We also get a macro view of the notes that we've played or more
specifically of the notes that are in this particular event.
| | 00:30 | We can see those notes down here as well
| | 00:33 | against a keyboard so that we can see what pitch each note is at.
| | 00:38 | Down at the bottom, we have got a Velocity map.
| | 00:41 | That shows us how loud we have played each note.
| | 00:45 | If you've got a touch sensitive keyboard, you'll notice that
| | 00:49 | every note will be a different velocity.
| | 00:51 | Obviously if you are very even handed then they should
all be pretty close together. I am obviously am not.
| | 00:58 | Those velocity values are measured between 0 and 127 and
if you have got a keyboard which is not touch-sensitive,
| | 01:06 | you'll find that all your velocity values will be set to 100.
| | 01:10 | You'll also notice that the color of
the notes changes depending on velocity.
| | 01:17 | The higher the velocity, the darker the red, and the lower the velocity,
| | 01:22 | the lighter the red. Almost back to a white when you are
at really low in velocities. If I just grab my Pencil tool here,
| | 01:30 | you'll see that as I drop that velocity down,
| | 01:33 | the color of the note goes almost to white.
| | 01:36 | It's sort of a real pale yellow
| | 01:40 | and as you rise it up, so it gets darker and darker
| | 01:43 | and you'll notice that the velocity
information here also changes color as well.
| | 01:50 | So that's the basics of Note Edit mode.
| | Collapse this transcript |
| Working with notes| 00:00 | So let's suppose we have recorded some notes in,
| | 00:03 | but we want to change them a little bit.
It's pretty easy. We just grab the Select Tool,
| | 00:08 | grab the note that we want and it might be a case
that we want to move it because it was a little bit late.
| | 00:13 | Simply left-click and drag.
| | 00:16 | Now if you have got the Snap turned on,
| | 00:20 | then you will find that the note
will only snap to certain increments.
| | 00:26 | In this case, 16th.
| | 00:28 | If you want to move it arbitrarily, turn the
Snap off either with the magnet icon on the Toolbar
| | 00:34 | or with the S key on your keyboard and then you'll
be able to move that note anyway you like in time.
| | 00:41 | You can also move it to a different pitch if
you happen to bump the wrong note on the keyboard.
| | 00:47 | What if you wanted the note to be longer though?
| | 00:49 | Again, pretty easy, just grab the little black triangle at the end
| | 00:53 | and drag it out to as long as you want that note to be.
| | 01:00 | (Piano music plays.)
| | 01:07 | So as you heard that G note got held
| | 01:10 | as opposed to (Piano music plays)
| | 01:15 | like so.
| | 01:17 | Now you can do the same thing
| | 01:19 | to multiple notes in one go. Simply
left-click and drag around the notes
| | 01:25 | to grab all of them,
| | 01:26 | and then we can move them all in time
| | 01:31 | but by the same degree.
| | 01:33 | We can also extend the length of them equally like so.
| | 01:41 | In the next movie, we will look at editing the velocity.
| | Collapse this transcript |
| Editing velocity| 00:00 | So we have seen how we can edit the note data.
| | 00:03 | What about the Velocity?
| | 00:05 | What I have got here is my stock standard 4-4 drum loop.
| | 00:09 | Let's have a listen.
| | 00:09 | (Music plays.)
| | 00:14 | You get the idea.
| | 00:15 | Now there is probably not a drummer in the
world who would play with such evenness.
| | 00:21 | I know there are some good ones but I doubt
that any of them would be that consistent.
| | 00:26 | So let's say we want to alter that up a little
bit just to give it a little more humanity.
| | 00:31 | What we can do is grab our Pencil Tool and we can draw across
all of these Velocity columns to change the Velocity over time.
| | 00:43 | So let's have a listen to that.
| | 00:44 | (Music plays.)
| | 00:53 | Hopefully you could hear how
the Velocity or the Amplitude got less
| | 00:57 | through the dip and then it got louder up here.
| | 01:01 | Now sometimes we might want to do that, but let's
say we didn't want to do it to every single note.
| | 01:08 | Maybe we just want to do affect the snare how could we do that?
| | 01:12 | Well, press Q on your keyboard to select the Select Tool,
click-and-drag across the snare notes, press W for your Pencil.
| | 01:21 | Now, before you go madly drawing hold down the Shift key.
| | 01:27 | Now we can draw across our range and you will see that
the only notes which have been affected were the notes
| | 01:36 | that were actually selected up here in the previous step.
| | 01:41 | So I am just going to Undo that and I am going
to do it again but a little more radically
| | 01:47 | so that we can hear exactly what's happening.
| | 01:50 | Listen to the volume of the snare.
| | 01:53 | (Music plays.)
| | 02:01 | So as you can see and hear
the snare gets louder over time.
| | 02:07 | Now that's so well and good, but what if we wanted
to do say a snare roll with a Velocity ramp?
| | 02:14 | Well, what we can do is start out by drawing a two-bar event
and let's just bring that along there, assuming a touch,
| | 02:24 | we will set our resolution to 16ths, and what we will do
with our Pencil is draw in 16ths on all of these squares
| | 02:41 | and to save me having to do it all a second time
I am just going to copy the first data. (Laughs.) There we go.
| | 02:48 | OK, so now we have got out snare on the 16ths, how
can we create a nice smooth Velocity ramp here?
| | 02:58 | Well, what we do is we grab our Pencil Tool and we hold down the
Alt key on Windows or the Option key on the Mac and then we draw,
| | 03:09 | and you will see that what we get is a straight line.
| | 03:14 | So now if we move out right Locater out to there
and just move that Cursor back and play into this.
| | 03:22 | (Music plays.)
| | 03:28 | You might have wanted to do it on 32nd notes
rather than just 16ths, but you get the idea.
| | 03:33 | By using the Pencil Tool in conjunction with your Alt key or
Option key you can draw a straight line across the Velocity range
| | 03:43 | and have all of your events gradually
increased or of course, if you really,
| | 03:48 | really wanted to decrease by a consistent amount over time.
| | Collapse this transcript |
| Editing notes in the Inspector| 00:00 | Now I have mentioned briefly in this title already about
the Inspector, which is a new feature of version 4 of Reason.
| | 00:07 | It's this section up here.
| | 00:09 | When we choose a note in Note Edit Mode we get to
see not only the beginning position of that note,
| | 00:16 | in other words the point in time at which that note begins
and its length, but also its pitch and its velocity.
| | 00:25 | Now we can select multiple notes as well.
| | 00:28 | If we do, the Position Indicator will indicate
the position of the note which begins first.
| | 00:35 | So in this case, it's this G3 note, which is held the half of bar.
| | 00:40 | The length that is shown will also be the note length
of the first note to up here, again the G3 note.
| | 00:49 | The pitch will also be the first note shown as well the Velocity.
| | 00:55 | Now we can see that the position and length
values now show a red equal sign (=).
| | 01:02 | If we click on the equal sign for the position
then the second note will be moved back in time
| | 01:10 | so that its start position is equal
to the first note, like so. Undo.
| | 01:19 | If we press the Match values or the equal sign for
the length then the second note will be lengthened
| | 01:28 | so that it is the same duration as the first note, like so. Undo.
| | 01:36 | So this is a really handy way.
| | 01:38 | If we have got a whole bunch of notes and we need to get them
to all be the same length or move them so that they begin
| | 01:44 | at the same point in time rather than sitting
there and trying to do this to construct a chord,
| | 01:51 | what we could just as easily do is just go
match the start position, and there it is.
| | 01:59 | Now this could also work in our favor when it comes to Velocity.
| | 02:04 | Let's assume that these were all different velocities.
| | 02:08 | We will now see that there is an equal sign
beside the Velocity value because the first note
| | 02:16 | in our selection has a different velocity to the other two.
| | 02:20 | So we can now match all three notes to the same
velocity as the first note which in this case is 72.
| | 02:27 | So we press Equals and we can see down here
that the velocities are now all matched.
| | 02:33 | Now when we are out of Note Edit View and back
in our Global View, we also get the Inspector
| | 02:40 | but what we see now is just position and length, and exactly the
same things will apply in terms of changing position and length.
| | 02:55 | So if I was to modify this clip like so and then select both
we will see that the Length field now has a Match values
| | 03:04 | or equal sign (=) beside it, saying that we can change the length
of the second clip to equal the length of the first clip like so.
| | 03:14 | We could also match the values for the position but that
would overlap those two clips right at the beginning
| | 03:20 | of the song like so which is not much good to us.
| | 03:24 | And that's pretty much it for the Inspector.
| | Collapse this transcript |
|
|
11. The Tool WindowThe Devices palette| 00:00 | Now as mentioned previously, the Tool Window, which
floats over here on the right-hand side, is a new edition to
| | 00:07 | version 4 of Reason.
| | 00:09 | Essentially what we have got here is
the option to view Instrument devices,
| | 00:14 | Effect devices
| | 00:16 | and More devices.
| | 00:18 | So if we only want to see the Instrument devices,
| | 00:21 | we can just untick the other two boxes
| | 00:23 | and then all we'll see are the actual instruments.
| | 00:28 | And then to create them,
| | 00:29 | we can left-click and drag and just drop them into our Rack
| | 00:34 | or we can come down to bottom and click on the Create
button and that will do exactly the same thing.
| | 00:42 | We can also see other device types,
| | 00:45 | which are neither Instruments nor Effects by only ticking the More box.
| | 00:50 | Now up the top here, we have got the Create Instrument button.
| | 00:55 | Now interestingly, what this does is load the Patch Browser
| | 01:00 | but rather than show you just one type of patch, it defaults to showing
| | 01:06 | All Instrument Patches. So this is handy if you're looking for
a particular type of sound, but you don't really care whether
| | 01:16 | it's a synth sound or it's going to be a sampler or whatever.
| | 01:20 | So you might be looking for something in
particular like a Horn Section, for example.
| | 01:25 | Well it just so happens that this uses the NN-XT sampler,
we can tell that because of the SXT extension.
| | 01:33 | Now the great thing about this Patch Browser is that if
you've got a keyboard attached, you can sample these patches
| | 01:40 | live in real time.
| | 01:43 | (Sound of synthesized horn instrument playing.)
| | 01:46 | So you can check it out before you commit to it and
go, "Oh hang on! A Jazz Trumpet that might be better".
| | 01:53 | (Sound of synthesized horn instrument playing.)
| | 01:56 | You go, "Yeah, that's what I want," and
then you can just go ahead click on OK
| | 02:01 | and in the Rack we see that
| | 02:03 | Reason has loaded an NN-XT sampler for us with the Jazz Trumpet
| | 02:08 | already loaded as its patch, ready to roll.
| | 02:12 | And that's it for the Device tab on the Tool Window.
| | Collapse this transcript |
| Quantize| 00:00 | Over the next eight movies in this chapter, we are going to
look at the different tools that are available on the Tools tab
| | 00:07 | of the Tool Window. Now the first of these is the
Quantize Tool. So for this I have thrown in a Thor Synth
| | 00:14 | and I have just played four held notes
| | 00:18 | each around about one bar in length.
| | 00:20 | Now as we can see from the Inspector
| | 00:24 | my timing, while close, is not perfect.
| | 00:28 | It's just a little bit early.
| | 00:31 | Now that's where the Quantize feature comes in
quite handy, because we can select those three notes
| | 00:38 | and we can say, we want these nodes quantized
| | 00:42 | to any particular value-
| | 00:45 | I'll just leave them on 16ths because I'm
within a 16th of the beginning of the bar.
| | 00:50 | I can choose whether I want complete and total quantization
to exactly the grid or whether I just want to
| | 01:00 | get somewhere a little bit closer than what I'm at, and I can
also put in a certain randomization factor of so many ticks
| | 01:07 | if that's what I want. But for the purposes
of demonstration, I am going to go rigidly
| | 01:13 | to the 16th at 100%.
| | 01:16 | So I click on OK and now, we can see that
each of these notes starts at exactly
| | 01:23 | the beginning of the bar.
| | Collapse this transcript |
| Pitch| 00:00 | The next tool is the Pitch or Transpose Tool.
| | 00:04 | Now with this we can pick one note or we can pick a whole
range of notes and we can transpose all of those notes up by,
| | 00:14 | let's say four semitones. Just by typing in 4 and clicking Apply,
| | 00:19 | and there we go. All those notes
have been moved up by four semitones.
| | 00:24 | If we want to move them down,
we simply type in a negative value,
| | 00:28 | type in -8, they will get moved down eight semitones.
| | 00:33 | We can also choose to randomize the pitch
of these notes within a certain range.
| | 00:41 | So I might choose to randomize them all.
| | 00:44 | Let's leave that at C2 and C3.
| | 00:47 | So essentially these three notes
| | 00:49 | will get randomly distributed somewhere between C3 and C2.
| | 00:57 | Like so.
| | 00:59 | Very handy little tool to have.
| | 01:02 | If you have played something that's in a particular key,
| | 01:05 | this can be a great way to experiment
with developing, say a lead solo.
| | 01:12 | Not perfect by any stretch of the imagination, but it can
at least get you thinking along a track that you might not
| | 01:18 | otherwise have thought about.
| | Collapse this transcript |
| Note velocity| 00:00 | The next tool in our Tool menu is the Note Velocity.
| | 00:04 | This is pretty funky.
| | 00:06 | We can select a bunch of notes and we can add a
particular number of volume increments to those notes.
| | 00:16 | So here we are going to add 20 increments
to just these notes that we have selected,
| | 00:22 | like so.
| | 00:25 | Alternatively, we could say, fix the
value of the notes that I have selected
| | 00:31 | to a value of 45.
| | 00:35 | And there they are,
| | 00:36 | they have all been given a velocity of 45.
| | 00:39 | Alternatively we could say, pick these notes and scale them down
| | 00:45 | to 75% of their current value. So in other words,
| | 00:50 | keep the volume difference between them proportionate,
| | 00:55 | but scale them all back,
| | 00:58 | like so.
| | 00:59 | Then we can choose a random value for the velocity.
| | 01:04 | Now we might select all these notes.
| | 01:07 | Now depending on-
| | 01:09 | actually first of all let me fix all of those to a set volume, OK.
| | 01:16 | Let's bump these up a little bit so that
it makes more sense for the demonstration.
| | 01:21 | If I randomize these to a low value of say 5%,
| | 01:26 | then the difference won't be very great.
| | 01:29 | Like so. But if I choose a higher value like 90%,
| | 01:35 | then we can see that the velocity has
been changed by quite a radical amount.
| | 01:42 | I actually like using this particularly on ReDrum
and Dr. REX loops just to vary the intensity of things,
| | 01:50 | because when you bring in a Dr. REX loop, as you can see,
| | 01:55 | the velocity is constant the whole way.
| | 01:58 | So what I do is go
| | 02:00 | Command+A or Ctrl+A on Windows to select all of
the notes and then just randomize it by say 60%.
| | 02:08 | And that just brings in a little more human feel to your drum
loops because they are not constantly at the same volume.
| | Collapse this transcript |
| Note length| 00:00 | This next tool is the Note Lengths Tool. And you can probably
work this out by now. You are starting to see a pattern, right?
| | 00:09 | So let's grab a bunch of notes.
| | 00:12 | Now as we can see from the Inspector, they're not all beginning
at the same position, because we've got a Match Values button there
| | 00:19 | and they're not all the same length because we
have got a Match Values or equal sign (=) button
| | 00:24 | beside the Length Value as well.
| | 00:27 | We can see that because this note here, this G3, goes for half a bar
| | 00:32 | where all the other notes are eighths.
| | 00:35 | So what we can do is we can add a particular
value to all of the notes that we have selected.
| | 00:42 | So we might say, just add 2/16ths.
| | 00:46 | Make that zero, click on Apply,
| | 00:49 | and there we go.
| | 00:51 | Undo.
| | 00:52 | Alternatively, we could subtract a certain
value from all of the selected notes,
| | 00:59 | like so.
| | 01:01 | Or we could say fix all of these notes to the same value in time.
| | 01:09 | So fix them all to 2/16ths,
| | 01:13 | like so.
| | 01:14 | Beautiful!
| | Collapse this transcript |
| Legato| 00:00 | The next tool is the Legato Tool.
| | 00:03 | Where this comes in handy is where we've got
notes of the same pitch. We can choose Side By Side,
| | 00:09 | meaning make them all the same length
| | 00:13 | so that when one note finishes, the next note starts,
| | 00:17 | like so.
| | 00:18 | Undo.
| | 00:20 | Or we could have them overlap if we wanted to, like so.
| | 00:29 | Alternatively, we could say, make sure that there is a gap
| | 00:33 | of at least 1/16th, like so.
| | 00:38 | Very, very handy!
| | Collapse this transcript |
| Scale tempo| 00:00 | The next tool is the Scale Tempo Tool.
| | 00:04 | With this we could select a few notes and say,
| | 00:08 | double their tempo.
| | 00:10 | Now that will halve the length of each note.
| | 00:15 | But it will also move notes back in time.
| | 00:21 | Or halve the tempo, which will
actually double the length of each note.
| | 00:28 | Alternatively, we can scale by a certain percentage,
| | 00:32 | like so, very neat!
| | Collapse this transcript |
| Altering notes| 00:00 | The next tool we have got is the Alter Notes Tool.
| | 00:05 | I really like this one and I'll show you why.
| | 00:08 | I'm just going to play the Dr. REX Loop that I have got here.
| | 00:12 | (Music/drumbeat plays.)
| | 00:21 | I'll show you why I really like this Alter Notes.
| | 00:24 | What I like to do is to grab the Select Tool
| | 00:28 | and select all of the slices in a Dr. REX loop
| | 00:32 | to make up one quarter of that four bar
progression, so in other words the last bar,
| | 00:37 | and then apply Alter Notes to those
particular hits within the Drum Loop.
| | 00:45 | I find this is a really great way of
coming up with an instant drum fill.
| | 00:52 | (Music/drumbeat plays.)
| | 01:01 | And so there you go. You've got this great little variation
to your loop which can just become an instant drum fill.
| | 01:08 | Obviously, yeah, sometimes you might have to experiment
with a couple of different settings on that,
| | 01:12 | but I find it works pretty well.
| | Collapse this transcript |
| Automation cleanup| 00:00 | And the last tool is the Automation Cleanup.
| | 00:04 | Now for this what I have done is put some Automation on the
filter frequency of Dr. REX. So we will have a listen to it.
| | 00:10 | (Music plays.)
| | 00:19 | So let's go on and have a look at that Automation.
| | 00:22 | What we can do is press Command+A or Ctrl+A under Windows
to select all of the Automation nodes within that clip.
| | 00:30 | We can choose Normal,
| | 00:32 | we can choose Minimum, Heavy or Maximum.
| | 00:35 | Let's go with Maximum and see what happens, click on Apply,
| | 00:39 | and what Reason has done is looked for any Automation nodes
| | 00:44 | which really aren't making a difference
by their presence and it strips them out.
| | 00:50 | So basically what Reason is doing
| | 00:52 | is looking for any Automation nodes which really aren't
adding anything by being there and strips them out.
| | 01:01 | Pretty simple really.
| | Collapse this transcript |
| And one more thing to remember| 00:00 | One last thing. In the last eight movies what I've been showing you
is all of these tools and how they work when we're in Note Edit Mode.
| | 00:10 | What I would also like to add to that
| | 00:12 | is that when we come out of Note Edit Mode,
| | 00:15 | like this, and we are looking at the clip
| | 00:18 | we can also apply any of these settings to the clip
| | 00:24 | without having to go into the Note Edit Mode and
select all of the notes contained within that event.
| | 00:30 | So for example, Note Velocity, Randomize 30%
| | 00:35 | and you can see down here that the Velocity has been randomized
for all of the notes which are inside that particular clip.
| | Collapse this transcript |
| Introducing the Groove palette| 00:00 | Now the final tab on the Tool Window is the Groove palette.
| | 00:05 | Now I will try and explain some of this, but really to
explain this in full we need to get into the ReGroove Mixer
| | 00:15 | and that's the subject of the next chapter. But just briefly,
| | 00:19 | the dropdown here will allow us to choose a Groove Channel.
| | 00:24 | As you will see in the next chapter, the ReGroove Mixer has 32
different channels and we can choose those via this dropdown menu.
| | 00:33 | We can also choose them from the
ReGroove Mixer as you'll see shortly.
| | 00:38 | We can also browse for a Groove Patch.
| | 00:42 | Again, I am not going to cover that too much just
yet because we need to get into the next chapter.
| | 00:47 | And then we can modify the Timing Impact, the Velocity Impact,
| | 00:54 | the Note Length Impact and the randomization
effects of this particular Groove Channel.
| | 01:03 | But all of that happens in the ReGroove Mixer.
| | 01:06 | It's kind of chicken and the egg- you need
to see one before you can see the other,
| | 01:10 | but it goes the other way as well.
So let's move on and get into ReGroove.
| | 01:15 | This thing is awesome!
| | Collapse this transcript |
|
|
12. The ReGroove MixerBasics| 00:00 | So what exactly is the ReGroove Mixer?
| | 00:04 | Well it's one of the great new features in version 4 and
as mentioned previously we access it via this big button
| | 00:11 | at the right-hand end of the Transport Panel.
| | 00:14 | What we have got here is a 32 channel Mixer,
| | 00:19 | but this Mixer doesn't process audio,
| | 00:23 | it processes groove.
| | 00:26 | Now I have got to admit, it took me a little while to
get my head around this concept. Essentially what it is,
| | 00:34 | is a de-quantizer.
| | 00:37 | One of the things that dance music constantly gets abuse
for is this really rigid, un-human timing perfection,
| | 00:49 | which is just not natural to have timing that is so perfect.
Real musicians don't play with that level of perfection,
| | 00:59 | not even the great ones are that rigid with their timing.
| | 01:03 | So what ReGroove was developed to do
| | 01:07 | was to take a rock solid, computer-accurate rhythmic
performance and actually introduced a little bit of that
| | 01:18 | typical human timing fluctuation.
| | 01:21 | Like I said, it's a de-quantizer.
| | 01:25 | It's an amazing concept.
| | 01:26 | In the next movie we'll start looking at just how it works.
| | Collapse this transcript |
| Channel parameters| 00:00 | When we start working with ReGroove we are going to be looking
at three different parts of the graphic user interface of Reason.
| | 00:07 | The first is within a note lane of a device track in
the Sequencer, we have got this little dropdown menu
| | 00:16 | and what that allows us to do is to assign that
particular note lane, to a channel of our ReGroove Mixer.
| | 00:25 | As previously mentioned we can assign any note lane to any one
of the 32 channels of the ReGroove Mixer that we want to use.
| | 00:35 | So what we can here is assign this to A1, if we wanted
to send that to Channel A1 of the ReGroove Mixer.
| | 00:42 | Now the second part of the interface
is the ReGroove Mixer itself.
| | 00:47 | As previously mentioned we get to that via the big
button on the right hand side of the Transport panel.
| | 00:54 | The third of the interface is the
Groove settings on the Tool Window.
| | 01:00 | But for now we are just going to have a look at the
parameters on a channel within the ReGroove Mixer.
| | 01:06 | What we have got is an on off switch
for the channel, fairly straightforward.
| | 01:12 | So even if we have got settings applied to this channel, if we
switch the channel off then any note lanes on any device tracks
| | 01:24 | which have a been assigned to Channel A1 will not be ReGrooved.
| | 01:30 | So that's fairly simple. The Edit button when
lit indicates that the groove settings over here
| | 01:40 | on the Tool Window are for that particular channel.
| | 01:45 | You will notice that each channel has an Edit
button but only one can be lit at any one time.
| | 01:51 | So if I click the Edit button for Channel A2, you will see
| | 01:55 | that over here we are now editing
Channel A2 in our Groove Settings tab.
| | 02:01 | Then we have got our Browse button which allows us to browse
within the sound bank or any where else for ReGroove patches,
| | 02:11 | we will cover that in bit more depth little bit later on.
| | 02:15 | Then we have got a Slide Rotary control.
| | 02:18 | This allows us to move all note data which has been assigned
to this ReGroove channel, forward by up to a 120 ticks
| | 02:29 | or 64 of a bar or delay it by a 120 ticks or a 64 or a bar.
| | 02:37 | We can also apply a shuffle to any note data assigned to this
channel of the ReGroove Mixer, using the Shuffle control.
| | 02:47 | We can vary that between 25% and
75 % and then we have got a Fader.
| | 02:53 | Now I have already said to you that the
ReGroove Mixer doesn't actually mix audio.
| | 02:59 | All it does is mess with the timing,
so why would we need a Fader?
| | 03:04 | Well all of these parameters that we can
tweak over here in the Groove Settings tab
| | 03:09 | of the Tool Window can be controlled by this Fader.
| | 03:15 | So for example if I was to go really crazy
with the say the Random Timing value over here,
| | 03:23 | that would mean that these Hi-hats would
have a randomness applied to their timing
| | 03:30 | of a 120 ticks, but only if this Fader is flied out.
| | 03:36 | If I wish to pull that down to 50% that would mean that
even though I have a set a randomness timings 120 ticks,
| | 03:44 | the actual randomness that would be applied to these Hi-hats
would only be equal to 60 ticks and if I pull that all the way
| | 03:52 | down then it's pretty much the same as turning the
on off switch to the off position except any Slide
| | 04:02 | or Shuffle would still be applied
accordingly. So that's what the Fader does.
| | 04:07 | The Pre-Align button, what that will
do is analyze any incoming note data,
| | 04:15 | and try and quantize it first before it de-quantizes it.
| | 04:22 | Although you might have played in as a human being,
it's going to try and quantize your performance first
| | 04:30 | and then de-quantize it according to
whatever settings you have set over here
| | 04:36 | with different parameters and with your Slide and your Shuffle.
| | 04:40 | So it's kind of turning you into a robot first
and then allowing you to turn yourself back
| | 04:47 | into a human after the event, if you get my drift.
| | 04:52 | Then finally we have got the Global Shuffle.
| | 04:55 | Now what that will do is follow this Global Shuffle
knob over here on the left hand side of ReGroove Mixer.
| | 05:04 | So we might apply a certain percentage of Global Shuffle say 60%,
that will then be adhered to by Channel A1 of the ReGroove Mixer
| | 05:16 | and if you then apply any shuffle locally that will be ignored
| | 05:23 | as we can see the red light does not come
on, if we have got Global Shuffle activated.
| | 05:29 | If we switch that off, now our channel
specific shuffle value will be adhered to.
| | 05:36 | So that's it for the channel parameters of the ReGroove Mixer.
| | Collapse this transcript |
| Copy, paste, and initialize channels| 00:00 | Once we have assigned some parameters to a channel of ReGroove,
| | 00:05 | both here within the channel parameters as well as over
here on the Groove Settings tab. We can copy that data
| | 00:16 | to another channel simply by right-clicking in the channel itself,
| | 00:21 | select Copy Channel,
| | 00:23 | and then in another channel, right-click and select Paste.
| | 00:27 | And that will paste all of the same
parameters into another channel.
| | 00:34 | Now, why would you want to do that?
| | 00:36 | Well, it may be that you like a whole
bunch of the parameters that you have set,
| | 00:42 | but you just want to alter,
| | 00:44 | maybe the Velocity or maybe you want to introduce
a little more randomness to that particular channel.
| | 00:52 | So essentially these two channels,
| | 00:55 | although based on the parameters we had for A1, we have now been
able to tweak those into something just a little bit different.
| | 01:04 | So that's how we copy and paste settings from one
channel of ReGroove into another channel of ReGroove.
| | 01:11 | Now if at some point,
| | 01:12 | you have already assigned a whole bunch of note
lanes to say, Channel A2 and you then decide,
| | 01:20 | you know what? I just want to
clear all of that and start again,
| | 01:24 | simply right-click on the Channel
| | 01:26 | and select Initialize Channel
| | 01:29 | and that will set everything back to zero.
| | 01:34 | If we click on the Edit button, we can also see
that all the parameters over here on the Groove tab
| | 01:39 | have been set back to their default values.
| | 01:42 | And that's how we start afresh with the ReGroove Channel.
| | Collapse this transcript |
| Groove settings| 00:00 | Now before I show you the Groove settings, let's
just have a look at what I have set up here.
| | 00:05 | What I have got is a ReDrum Drum Computer with a
very basic straight 16ths, hi-hat driven, 4/4 loop.
| | 00:16 | But what I have done is separated each element
of the kit out into separate note lanes.
| | 00:23 | So we have got hi-hats at the bottom on one lane, snare
on another lane, kick on another lane and the drum fill
| | 00:32 | on the toms in the second bar on another lane.
| | 00:36 | So let's just have a listen to that
before we do anything with it.
| | 00:40 | (Music plays.)
| | 00:48 | Nothing terribly imaginative but there we go.
| | 00:51 | Now let's take the hi-hats and assign
those to Channel A1 of our ReGroove Mixer.
| | 00:58 | We can now start to affect the performance
of the hi-hats by altering these parameters
| | 01:05 | on the Groove Settings tab of the Tool Window.
| | 01:09 | Now just an extreme example, I am going to set the Random Timing
all the way to 120 ticks, but I am going to pull this Fader down.
| | 01:21 | So when we press Play we should still
hear our hi-hats in perfect 16ths.
| | 01:28 | But as I bring up this Groove value you will start
to hear the randomness parameter taking effect.
| | 01:36 | Let's try it.
| | 01:38 | (Music plays.)
| | 01:56 | Now as you have hopefully noticed, all that was
effecting was the hi-hats. It didn't play any role in messing
| | 02:05 | with the timing of the snare, the kick or the toms.
| | 02:09 | And that's because only the hi-hats have been
assigned to this channel of the ReGroove Mixer.
| | 02:15 | Now to understand let's just take the Random Timing out of it.
| | 02:21 | And let's introduce a little bit of slide.
| | 02:25 | So we'll actually bring the hi-hats forward by 15 ticks.
| | 02:30 | (Music plays.)
| | 02:48 | So hopefully you could hear there that as I
brought the Slide value round to the left-hand side,
| | 02:54 | the hi-hats became early, and likewise if we
adjusted it late, so the hi-hats would be late.
| | 03:02 | (Music plays.)
| | 03:06 | Now let's have a listen to
what the Shuffle value does to it.
| | 03:09 | (Music plays.)
| | 03:25 | So you get the idea.
| | 03:26 | Now I have also mentioned how we can change the Timing
and Velocity, Note Length, introduce randomness and so on.
| | 03:35 | What happens if you decide you want to use
those again and again in other projects?
| | 03:40 | Well, that's the beauty of having patches.
| | 03:44 | You can click on the Save button, save
your patch which I'll just Save in there
| | 03:50 | and we'll call it, 12_04_Bruce's_patch, and there you go.
| | 04:02 | You've now got a ReGroove patch that
you can reload in any future project
| | 04:07 | and get exactly the same ReGroove setting if you so desire.
| | Collapse this transcript |
|
|
13. Other DevicesSpider Audio| 00:00 | Throughout the course of this training series, you
have probably noticed that there are a few devices
| | 00:05 | in the rack that we haven't actually looked at yet.
| | 00:08 | So let's have a look at the Spider Audio Merger and Splitter.
| | 00:14 | What this is designed to do is either merge four audio
inputs into one audio output or take one audio input
| | 00:24 | and split it out to up to four different destinations.
| | 00:29 | Let's flip it round the back and have a look.
| | 00:31 | So what I have got here is a Malstr?m Synth,
which I haven't patched into anything yet.
| | 00:35 | So what I am going to do take the Output of this
Synth and feed it into the Audio Splitter side.
| | 00:42 | So as we can see we have got an Input there, little arrows there.
| | 00:45 | They show us that we have got four pairs of outputs.
| | 00:48 | So I am going to take the first Output pair and feed
that into the Input of channel one on our Mixer.
| | 00:57 | Now what might we do with another instance of that Audio Output?
| | 01:02 | Let's see, how about a Digital Delay Line?
| | 01:06 | So I am going to not drag that in yet, I am going
to hold down the Shift key and drag that in.
| | 01:12 | And I am going to take another Output from the Splitter,
feed that to the Input and then feed the Output
| | 01:21 | of that into the Input of Channel 2 on the Mixer.
| | 01:25 | So now if we pull that down and we listen to just Output 1
| | 01:33 | from the Splitter we'll hear this
HendrixTrip patch from the Malstr?m Synth.
| | 01:41 | (Music plays.)
| | 01:45 | So you get the idea.
| | 01:47 | So let's pan that hard left,
| | 01:49 | (Music plays.) Beautiful!
| | 01:52 | And let's put the Fader up from the Delay, pan that
hard right, and let's maybe set that for six steps.
| | 02:03 | (Music plays.)
| | 02:16 | So that's just a very basic idea
of how the Splitter function works.
| | 02:22 | And the Merge basically works in exactly the same principle.
| | 02:26 | You can take multiple audio outputs from various
devices bring them into the Spider Audio Merger
| | 02:37 | and then take a single Audio Output from
the Merge side of the Spider Audio Device.
| | 02:46 | Now that's a fairly rough and crude way to mix signals together.
| | 02:51 | Personally I prefer to mix things through
something like the Six Channel Line Mixer,
| | 02:57 | because at least then I can control the levels
of various things as they get mixed together.
| | 03:02 | But the idea of the Spider Audio Device is that in terms of
its Merge function, is if you want to mix a few things together
| | 03:11 | and then take the one common output and feed that
into, say, a Delay Unit or whatever you want it to do.
| | 03:21 | Like I said, I personally wouldn't find much use
for the Merger, but the Splitter, absolutely.
| | Collapse this transcript |
| Spider CV| 00:00 | Now in the last movie, we looked at how the Merger and Splitter
for audio can be used to either merge four audio inputs
| | 00:09 | into one audio output, or take one audio input and
split it out to four different audio destinations.
| | 00:18 | Well, Reason also comes with a Spider CV Merger and Splitter
which allows us to either Merge control voltage signals together
| | 00:29 | or split them up and send them to multiple destinations.
| | 00:35 | So what I have done here is I have setup a Dr. REX Player,
a Malstr?m Synth, and a CV Merger and Splitter Device.
| | 00:44 | Now at the moment all I have got patched up is
the Output of Dr. REX into Channel 1 of the Mixer.
| | 00:50 | So let's just have a listen to this loop.
| | 00:53 | (Music plays.)
| | 00:55 | Fairly stock standard stuff.
| | 00:58 | What we want to do is we are going to take the Modulation
Output from Malstr?m and we are going to feed it
| | 01:07 | into Split A on the Spider CV Merger and Splitter.
| | 01:14 | So we're sending it in via one point, we have now
got four possible outputs for that control voltage.
| | 01:23 | So let's for example take one of those outputs and let's feed
it to the Pan Control Voltage Input for Channel 1 on the Mixer.
| | 01:34 | So what that will do is use whatever Wave Shape we
have got selected in Modulation A in the Malstr?m
| | 01:44 | to control the panning of Channel 1 of the Mixer.
| | 01:48 | So let's just have a listen to that before we go any further.
| | 01:51 | What I have done is chosen a fairly radical step pattern here,
so we should hear our audio being panned left and right all
| | 02:00 | over the place roughly in shape with this waveform.
| | 02:05 | (Music)
| | 02:11 | Now you can hear that that's happening a little
bit and that's where the Pan CV Trim value comes into play.
| | 02:18 | If I was to pull this value down that
will basically negate that CV Input.
| | 02:26 | (Music plays.)
| | 02:29 | As you can hear there is no panning happening now.
| | 02:32 | If we turn that right up,
| | 02:34 | (Music plays.)
| | 02:38 | we can hear that it's panning all over the place.
| | 02:41 | So we have got our Control Voltage going
into the Split and coming out of one Splitter
| | 02:47 | and going into the Pan CV Input on the Mixer.
| | 02:52 | What else could we do?
| | 02:53 | Let's take another output and let's feed it
to, say, the Filter 1 cutoff of the Dr. REX.
| | 03:01 | So that will essentially alter this value here, the
frequency of the Filter using this waveform as its shape.
| | 03:12 | And at the same time it's still going to be
panning our signal left and right on the Mixer.
| | 03:17 | Let's have a listen.
| | 03:18 | (Music plays.)
| | 03:26 | So you get the idea.
| | 03:28 | And we can just go absolutely crazy with
sending more control voltages wherever we want,
| | 03:35 | let's try say, the Filter 1 Resonance as well.
| | 03:39 | (Music plays.)
| | 03:45 | So that's basically how the CV Splitter works
and just like with the Audio Merger and Splitter,
| | 03:51 | the Merger works in pretty much the same way.
| | 03:54 | We can bring any four control voltages into these
four inputs, Merge them altogether and at least
| | 04:03 | with this device we can actually control the sensitivity
of those inputs much like you can with a Mixer
| | 04:09 | and then take one merged Control Voltage Output
to feed into some other device in CV Input.
| | Collapse this transcript |
| The Matrix (Unipolar mode)| 00:00 | One of the things I have been forward to get into and covering
in this training title is the Matrix Pattern Sequencer.
| | 00:06 | This is a great device. It is very similar to ReDrum
in the sense that you can create different patterns
| | 00:13 | and then switch those patterns over time throughout your song.
| | 00:18 | And it works primarily off of control voltages.
| | 00:22 | Now by default when I installed the Matrix Pattern Sequencer,
| | 00:27 | Reason automatically hooked it up to
the Thor Synth that I have got here.
| | 00:31 | And there are a couple of different ways
that we can run the Matrix Pattern Sequencer,
| | 00:35 | we can work in Unipolar Mode or Bipolar Mode.
| | 00:39 | For now, we are just going to focus on Unipolar.
| | 00:42 | What we are going to be doing is
using the Matrix Pattern Sequencer
| | 00:47 | to trigger the note on and off signals of our Thor Synth.
| | 00:51 | So if I just press Play,
| | 00:53 | (Music plays.)
| | 00:57 | what we are hearing there is these note values all at Middle C
| | 01:02 | because we are on the third octave so that's C3.
| | 01:05 | What we can do is we can go through and set
different pitches for the different notes
| | 01:12 | within this particular sequence or pattern if you like.
| | 01:23 | So let's have a listen to it now.
| | 01:25 | (Music plays.)
| | 01:32 | So what is happening is that the
Control Voltage coming out of the Matrix
| | 01:37 | because it's changing pitch that's affecting
the pitch that the Thor Synth is playing.
| | 01:44 | Like all pattern type devices we can change the resolution
and the number of steps within a particular pattern.
| | 01:52 | So if we wanted to make this a 32-step pattern, we could.
| | 01:56 | (Music plays.)
| | 02:03 | Or we could even slow it down by reducing the resolution.
| | 02:08 | (Music plays.)
| | 02:18 | Now at the moment it's just
playing a half note for every beat.
| | 02:23 | By holding down the Shift key we can tie both of those
half notes or half beats together to create a held note.
| | 02:34 | So if I just hold down Shift and sweep across the keyboard here.
| | 02:39 | (Music plays.)
| | 02:52 | And as you may have guessed by altering the Height,
we can change the Velocity of any particular key.
| | 03:00 | So if I gradually bring my mouse down as I draw that, we'll
get a bit of a Velocity Ramp across these notes at the end.
| | 03:11 | Let's just try and bring those up,
so that they keep on rising, like so.
| | 03:18 | There we go, let's see how that sounds.
| | 03:21 | (Music plays.)
| | 03:28 | So you get the idea.
| | 03:30 | And as you can see on the left-hand side, just
like in ReDrum we have got 32 different patterns
| | 03:37 | that we can Save, what we have saved here is Pattern A1.
| | 03:41 | We could then go to Pattern A2 and create a
completely different Pattern And then by switching
| | 03:52 | over to our Sequencer View, right-clicking in the
Matrix lane, creating a Pattern lane, grab our Pencil
| | 04:01 | and we could then draw Pattern A1,
change to Pattern A2, and draw Pattern A2.
| | 04:10 | And so now over the course of those four bars, we will
get two bars of Pattern A and then we will get two bars
| | 04:19 | of Pattern B. Now I don't really want that to be
the whole 32 steps, I am just going to shorten that.
| | 04:25 | So just so you can see how that works.
| | 04:28 | (Music plays.)
| | 04:37 | And then because there was no Automation
after the fourth bar the Matrix doesn't play anything.
| | 04:44 | So that's using the Matrix Pattern Sequencer in Unipolar Mode.
| | 04:49 | In the next movie we'll have a look at using Bipolar Mode.
| | Collapse this transcript |
| The Matrix (Bipolar mode)| 00:00 | In the last movie we saw the Matrix
Pattern Sequencer in Unipolar Mode.
| | 00:05 | Now let's have a look at it in Bipolar Mode.
| | 00:09 | I am just going to drag it in here and what we are going
to do is take the Curve CV Output, not the note or the gait.
| | 00:18 | I am going to throw that into the
Pan value of Fader1 on our Mixer.
| | 00:24 | Now in order to use Bipolar Mode, we need to switch
the switch on the back of the Matrix Pattern Sequencer.
| | 00:31 | Now when we get around to the front, you'll notice up here
there is this little toggle switch that gives us the opportunity
| | 00:37 | to have either keys, which is what we used in the last
movie where we can choose keys on a keyboard, or Curve,
| | 00:44 | and because we are using the Curve CV
Output, we need to switch to Curve Mode.
| | 00:50 | Now what we have here is a pattern
where everything is panned hard left.
| | 00:57 | If it was all panned to the middle,
it would be something like that.
| | 01:02 | Although those values would be exactly zero, which I am finding
a little hard to achieve with my mouse, but you get the idea.
| | 01:09 | What happens now is that this is the middle and anything we
draw on this side, on the topside of our Curve, will be panned
| | 01:18 | to the right and anything we draw
down here will be panned to the left.
| | 01:25 | As you will very soon hear.
| | 01:28 | So we run the Pattern And then we preview Dr. REX.
| | 01:32 | (Music plays.)
| | 01:40 | Now again this is just one pattern of the possible
32 that we could store in the Matrix Pattern Sequencer
| | 01:49 | and we don't have to use it to control pan. We
can take these outputs and send them to anywhere.
| | 01:56 | We might use this Curve Pattern to control
say, a Filter Frequency or maybe a Mode Wheel
| | 02:07 | to control any other parameter that
we like in a cyclical fashion.
| | 02:13 | So that's essentially using the Matrix
Pattern Sequencer in Bipolar Mode.
| | Collapse this transcript |
| The RPG-8 arpeggiator| 00:00 | The last new device added to Reason 4 that we have
yet to look at is the RPG-8 monophonic arpeggiator.
| | 00:08 | I just love the names that Propellerheads
come up with these things.
| | 00:12 | If you haven't worked with it
out yet, R-P-G-8. Arpeggiate?
| | 00:17 | Now it's clicked.
| | 00:18 | Now what an arpeggio is is a sequence of
notes which are related to the root note.
| | 00:24 | So if I turned the Arpeggiator off, if I play the root note of C,
| | 00:28 | (Plays a long note of music.)
| | 00:30 | an arpeggio might be something like-
| | 00:32 | (Plays a series of notes.)
| | 00:34 | a sequence of notes like so.
| | 00:37 | And essentially what the Arpeggiator
does is automate that process for us.
| | 00:41 | So if we switch it on and I play just the root note of C,
| | 00:46 | (Plays a repeating note.)
| | 00:49 | what I am getting are 1/16ths,
as indicated by the rate down here
| | 00:55 | at the bottom, of the note that I am playing.
| | 00:57 | If I play two notes together like C and E,
| | 01:01 | (Plays two repeating notes.)
| | 01:04 | I get 1/16ths repeated in sequence.
| | 01:08 | So I get C-E-C-E-C-E, etcetera, etcetera.
| | 01:12 | If I play an entire chord like C, E and G,
| | 01:17 | (Plays a series of notes.)
| | 01:21 | I get that.
| | 01:22 | Now as you can see, we can choose to have the
arpeggio run up the scale, up and down the scale,
| | 01:31 | simply down the scale, completely random or manual.
| | 01:35 | So just for a demonstration let's switch
it to Down and I will play C E and G again.
| | 01:41 | (Plays a series of notes.)
| | 01:45 | So you get the idea.
| | 01:47 | We can also choose to have the arpeggio cover
1 octave, 2 octaves, 3 octaves or 4 octaves.
| | 01:54 | Let's just go for the extreme and let's switch it back to Up.
| | 01:57 | Again I'll play C, E and G.
| | 02:01 | (Plays a series of notes.)
| | 02:07 | Now it's playing 12 notes because there are three
notes and we have told it to run the arpeggio
| | 02:13 | of 4 octaves, hence why we end up with 12 notes all together.
| | 02:17 | The Insert switch allows us to tell the
Arpeggiator, if we switch it to Low mode,
| | 02:25 | it means that on every second note it will
play the lowest note of the root notes.
| | 02:32 | So if I play C E and G again, every second note will be C.
| | 02:37 | (Plays a series of notes.)
| | 02:44 | If I switch to High then every second note will be the highest note.
| | 02:49 | (Plays a series of notes.)
| | 02:53 | If I go 3-1, it means that the Arpeggiator will
work through the sequence playing three notes
| | 03:01 | and then stepping back one note before
stepping forward another three notes like so.
| | 03:07 | (Plays a series of notes.)
| | 03:12 | And as you can imagine, 4-2 simply
means it will progress four steps
| | 03:17 | through the sequence then jump back two
steps and then progress another four steps.
| | 03:23 | (Plays a series of notes.)
| | 03:29 | Now to this point in time, we haven't changed
anything about the Rate or the Gate Length.
| | 03:37 | If we shorten the Gate length it means that the notes
which the Arpeggiator plays will be shorter.
| | 03:44 | (Plays a series of notes.)
| | 03:50 | Like so. And we can go really short-
so you don't hear anything, bit crazy.
| | 03:57 | Let's just open that up a little bit.
| | 03:59 | (Plays a series of notes.)
| | 04:04 | The Rate as we can see here, with the Sync button active we can
choose rates which are equal to divisible measures of a bar.
| | 04:16 | In other words, 1/16ths, 1/32nds,
1/64ths, 1/8ths, halves, quarters, whatever.
| | 04:23 | If we choose Free, we can actually set
the rate by hertz or cycles per second.
| | 04:30 | So feel free to experiment with that but
be aware that you will end with arpeggios
| | 04:36 | that are not necessarily in time
with the rest of your composition.
| | 04:40 | If you want the arpeggio to stay in time with what you are
playing, best to leave it in Sync mode and choose a frequency
| | 04:48 | which is somehow related to what you are playing.
| | 04:51 | What about the Pattern mode, how does that work?
| | 04:53 | Well let's just open this gate up just a touch, let's
set this back to 1/16ths, not triplets, just 1/16ths.
| | 05:03 | Let's switch on the Pattern.
| | 05:05 | Now by default these will actually all be switched off.
| | 05:08 | What we can do to set up a pattern is to tell the Arpeggiator
which notes within the sequence we would like it to play on.
| | 05:20 | So I might say give me something like that
and that will sound like that
| | 05:26 | (Plays a series of notes.)
| | 05:35 | and so forth. Like any step based device we can tell the
Arpeggiator how many steps to include in the sequence simply
| | 05:44 | by clicking the minus or plus keys of the top right-hand corner.
| | 05:50 | You'll also notice over on the left-hand side here, we have
got an Octave Shift. So we can just shift the entire octave
| | 05:57 | of what's being played up or down as we so desire.
| | 06:02 | So let's go down two octaves.
| | 06:04 | (Plays a series of notes, much lower in tone.)
| | 06:08 | Now I was playing the same notes there that I was playing
before which were in the third octave of my keyboard
| | 06:16 | but they were being transposed down two octave by the RPG-8.
| | 06:20 | The last parameter up here in the
top left-hand corner is the Velocity.
| | 06:25 | Now, due to a little bit of poor planning
on my part, I have loaded a SubTractor synth,
| | 06:30 | which doesn't respond to the touch sensitive keys on my keyboard.
| | 06:34 | So what I am going to do is just very quickly
grab an NN-XT sampler, and flip the rack
| | 06:40 | and just re-patch the arpeggiator to the NN-XT sampler.
| | 06:50 | And jump over here, assign MIDI control back to the
Arpeggiator and we have jumped back into our rack.
| | 06:59 | Now, with the Velocity if we have it set
to Manual then whatever intensity you play with
| | 07:08 | so your arpeggio will follow that velocity information.
| | 07:13 | So if you play with hard notes, your arpeggio will follow suit.
| | 07:18 | If you play with soft notes, your arpeggio will be soft.
| | 07:22 | Allow me to demonstrate.
| | 07:24 | (Piano music plays.)
| | 07:57 | So you get the idea; you play hard, get hard notes following it,
play soft and your arpeggio comes through softly.
| | 08:04 | Now, the difference being that with the
Velocity control set anywhere other than Manual,
| | 08:11 | it won't matter what velocity the
incoming note data to the arpeggiator is,
| | 08:18 | it will only play at the velocity that you've set.
| | 08:21 | So as an example, I will set this Velocity quite low
and I will play very heavily handed on the keyboard.
| | 08:30 | (Piano music plays.)
| | 08:35 | As you can hear, I still get very soft velocity
notes no matter how hard I hit the keys.
| | 08:42 | So that's essentially working with the front of the Arpeggiator.
| | 08:48 | What about the back, how does this thing really work?
| | 08:51 | Well the thing to understand is it doesn't generate any note data
of it's own. You need to send note data into the Arpeggiator,
| | 09:03 | either via playing live from the keyboard like I have just
been doing or by coming into the Sequencer and actually drawing
| | 09:15 | in some note data into the Arrange window like so.
| | 09:22 | Then that note data can be sent to the Arpeggiator.
| | 09:26 | Now, as I was saying with velocity, whatever
velocity you play so the arpeggio will follow.
| | 09:34 | So if I change the velocity of these notes like
I have just done, and we set the Velocity value
| | 09:42 | to Manual then the arpeggio should
follow those changing velocities.
| | 09:48 | (Piano music plays.)
| | 09:57 | And it did.
| | 09:58 | So that's essentially the RPG-8.
| | 10:01 | Like I said you just need to realize it doesn't generate
note data of its own; you need to actually play the notes
| | 10:07 | in from a keyboard or draw them into the
Arpeggiator track within the Sequencer.
| | 10:15 | That's one thing to realize.
| | 10:17 | Even though you might have the Arpeggiator patched into
the NN-XT sampler, which has my Grand Piano sample,
| | 10:25 | if I want an arpeggiated line, I need to
draw the note data into the Arpeggiator track
| | 10:33 | within the Sequencer, not into the NN-XT track in the Sequencer.
| | 10:39 | If I want just a straight note from the Grand Piano and not have
it arpeggiated, then yes, I can draw into the track for the NN-XT.
| | 10:51 | But if I want it arpeggiated then I need to draw that note
data into the Arpeggiator track and that's it for the RPG-8.
| | Collapse this transcript |
|
|
14. ReWireWhat is ReWire?| 00:00 | So what exactly is ReWire? Well, for those who haven't
encountered it before it is a very clever protocol
| | 00:09 | that was developed by Propellerheads, the guys who wrote Reason.
| | 00:13 | And what it does is facilitate the back and forth communication
| | 00:19 | between two audio applications running
on the same machine simultaneously.
| | 00:27 | Yup, you heard me right. So basically we can have two audio apps
| | 00:33 | running together with different bits of
| | 00:37 | an entire composition, if you will, coming from each audio app.
| | 00:42 | So what I am going to be showing you is how ReWire
works with Reason and Logic Pro Audio version 8.
| | Collapse this transcript |
| Setting up ReWire| 00:00 | What I have brought along for this movie is a mix of a song,
| | 00:05 | which admittedly is still a work-in-progress,
so it's not a final mix yet.
| | 00:10 | And what I have done is I have mixed out from Adobe Audition,
which is what I have been using to track and mix in,
| | 00:17 | just the sub-mix that we have done in Audition so it doesn't
have the keyboard parts which have been done in Reason.
| | 00:23 | So what I need to do is to jump across
into Logic and I am just going to open
| | 00:30 | up from the Chapter 14 ReWire exercise files
folder, this project called 14_02_Long_black_dress.
| | 00:39 | And what you can see I have done
here is introduced one audio track,
| | 00:46 | let's just make a little bit higher
so we can see the waveform there.
| | 00:49 | And I have set the temper 160 beats per
minute because that's the tempo of the song.
| | 00:54 | And if we just jump back here and have
a listen at the beginning of the song,
| | 01:00 | you will hear that it begins with just acoustic guitar.
| | 01:04 | (Music plays.)
| | 01:11 | Now what we want to do is establish a connection
between Logic Pro and Reason so that Reason will follow along
| | 01:21 | with Logic synchronized and play for us these piano parts
and keyboard parts that I have got sequenced up here.
| | 01:32 | So what we need to do, is to go through our Mixer in Logic, and
we just expand this and go Create New Auxiliary Channel Strip.
| | 01:45 | And I just need one of them, Stereo, and what I am going
to do as an Input is select Reason Mix Left and Right.
| | 01:53 | Because I am just taking the left and right output of the Mixer.
| | 01:56 | Click on Create. That will create this new auxiliary
for me and the input there is ReWire Mix Left and Right.
| | 02:04 | So now when I play from here in Logic, not
only will we get this sub-mix of the song,
| | 02:14 | but we will also get these piano parts from Reason.
| | 02:19 | Let's have a listen.
| | 02:21 | (Music plays.)
| | 02:39 | So as you can see, what was happening
there was that we pressed Play in Logic Pro
| | 02:45 | and it played the mixed version of the song of this audio track.
| | 02:51 | But it was also bringing into the Logic
Pro Mixer via ReWire, the output of Reason.
| | 03:01 | In the next movie we will have a look at few
more advanced routing options for ReWire.
| | Collapse this transcript |
| Routing audio| 00:00 | In the last movie you saw how I took all of the output from
Reason and brought it into Logic Pro as one stereo track.
| | 00:09 | What I want to show you now is how you
can take individual outputs from Reason
| | 00:16 | and bring them into Logic Pro as individual inputs.
| | 00:21 | Because Richard, the guy who played the piano parts
on these tracks, has a very nice soft delicate touch.
| | 00:27 | These parts are quite soft, so what I have to do is to
put a MClass Maximizer in between the output of each
| | 00:35 | of these samplers and the inputs to the audio hardware.
| | 00:40 | So if we flip the rack around, you can see that what I have done
is taken the output of the Sampler, fit it into the Maximizer,
| | 00:47 | taking the output of the Maximizer
and then fit it to the audio outputs.
| | 00:52 | And I have done for the three piano parts.
| | 00:55 | The synth part at the bottom, the Wild At Heart, that's OK.
| | 00:58 | So what we want to do now, is to jump across to Logic Pro and
we are going to open up 14_03_Long_black_dress, maximize that.
| | 01:11 | And again, what we want to do is go back to the Mixer View
and we want to create some new Auxiliary Channel Strips.
| | 01:19 | In this case we want four of them because we
have actually got four instruments in Reason.
| | 01:23 | And by leaving this Ascending box ticked and leaving
the default Input selection as ReWire Mix Left/Right,
| | 01:32 | what will happen is Logic Pro will dedicate the input of
the first auxiliary that it creates to mix left and right,
| | 01:40 | but the next one that it creates it will go to the next
available outputs which will be Channels 3, 4 from Reason.
| | 01:47 | Next one will be 5, 6 and 7 and 8.
| | 01:50 | So we can create and there we go, we can see mix left/right,
Channels 3 and 4, Channels 5 and 6, Channels 7 and 8.
| | 01:58 | If we jump back into Reason and let's just jump down
here to this part of the track, we have got some piano 1,
| | 02:08 | little bit piano 3 there, and we have got some keyboard parts.
| | 02:12 | And you will notice as I play through this, in Logic,
| | 02:16 | that you will see each of these parts appearing
on the individual Auxiliary Channel Strips.
| | 02:23 | (Music plays.)
| | 02:40 | So there you go. Each individual instrument from
Reason was coming in via it's own auxiliary bus,
| | 02:57 | which we could then automate, if we wanted to, within Logic Pro.
| | Collapse this transcript |
| What hosts are available?| 00:00 | So, you are wondering what audio applications can act as
ReWire Hosts. Well, as you can see from the Wikipedia article,
| | 00:09 | there is a fairly decent list there.
Ableton Live, Adobe Audition, Logic Audio,
| | 00:15 | most of the good stuff is there.
| | 00:17 | So there is a pretty good chance you are going to
have at least one of those tools at your disposal.
| | 00:22 | The great thing about it is that because Reason doesn't
act as a dedicated recorder in the sense that you can't
| | 00:31 | setup with a guitar and a microphone and actually
record a live instrument piece into Reason.
| | 00:38 | If you've got one of these multi-track audio editing applications,
then you can work with both live instruments from your other audio app
| | 00:49 | as well as having MIDI and sampling stuff happening within
Reason and mixing it altogether through your host application.
| | Collapse this transcript |
|
|
15. Reason SongsSelf-contained songs| 00:00 | You might want to collaborate with somebody
else over the net on a Reason song,
| | 00:06 | and that means that you don't want to be
just exporting a final stereo mix of your song,
| | 00:12 | you actually want to share the whole project with them.
| | 00:15 | Now, yes, you can send them the Reason song file,
| | 00:19 | but that's not necessarily going to contain
everything that your collaborator is going to need.
| | 00:25 | Like if you've used external samples
| | 00:28 | or if you've created your own patches for certain devices,
| | 00:32 | your collaborator is going to need those assets as well
| | 00:36 | and that's where the Reason self-
contained song format comes into play.
| | 00:42 | In order to publish a song, the first thing we need to do
is go to the File menu and go to Song Self-Contain Settings.
| | 00:52 | This will bring up a list of all the sounds that we have used
in our song. Now, in this particular instance I've deliberately
| | 01:01 | used only sounds which are in the Reason Factory
Sound Bank because I wanted everybody who is
| | 01:08 | following along with this training session to
be able to access the same sounds that I have used.
| | 01:13 | Hence, all of the files have this padlock icon beside them
because those sounds are locked in the Reason Factory Sound Bank.
| | 01:21 | If I had used any other samples in this song that were
not part of the Reason Factory Sound Bank, then those
| | 01:29 | files would be listed here. They would not have a Padlock icon and they
would have a path to where those files lived on this particular computer.
| | 01:39 | It would be a case of clicking Check All to
make sure that all of those songs get contained
| | 01:46 | when we publish the song and we'll cover that in the next movie.
| | Collapse this transcript |
| Song info| 00:00 | Now I know I said that in this movie we would publish the song,
but there is one more thing we want to do before we do that and
| | 00:06 | that's to go to the File menu
| | 00:08 | and go Song Information.
| | 00:11 | That will bring up this little window where we can
put some text, which will appear in the Window Title.
| | 00:17 | So we'll call it Bruce's masterpiece, which is being extraordinarily
generous. 'This is awesome!' in the More Information field.
| | 00:29 | If we've got some artwork for our song,
| | 00:32 | we can add that via this Browse button and just a word of warning,
it must be a JPEG and it must be 256 pixels by 256 pixels.
| | 00:43 | We can click the box to show the Splash
Screen when the song gets opened
| | 00:48 | and we can put in the web page of the person who wrote
the song, and the email address if you want people to have
| | 00:57 | access to you via email.
| | 01:00 | You are going to then click on OK
| | 01:01 | and then we're ready to publish the song,
which we will do in the next movie.
| | Collapse this transcript |
| Publishing your song| 00:00 | Now, in the last step, you saw that we entered Bruce's
masterpiece in the Window Title field and you'll now see that,
| | 00:08 | although we have got the title of this exercise file as
| | 00:13 | 15_03_publish_your_song.rns, we have also got
| | 00:17 | Bruce's masterpiece in the title of
the window just as we would expect.
| | 00:22 | So now we're ready to publish our song, we've included all of the
samples and patches and things in the Song Self-Contain Settings dialog,
| | 00:31 | we've entered the information about
the song in the Song Info dialog.
| | 00:36 | So now we can go File,
| | 00:38 | Publish the song
| | 00:40 | and the format comes up as Reason Published
Song File, which is exactly what we want.
| | 00:46 | So we'll call this 15_03_publish_your_song.rps.
| | 00:50 | Click on Save
| | 00:52 | and now, if we go to the Finder,
| | 00:55 | we can see that we've now got a .rps rather than a .rns
| | 01:02 | and that is our Reason Published Song, which we can
send to another person somewhere in the world for them
| | 01:09 | to collaborate on our song with us.
| | Collapse this transcript |
| Exporting your song as audio| 00:00 | Now, although we've covered it before, I am just going to
recap. When you're ready to export your final mix as a song
| | 00:08 | or in other words as a WAV or AIFF file,
| | 00:11 | the main thing we need to do is to set the End Locater,
| | 00:16 | because that's what Reason deems to be the end of the song.
| | 00:21 | So what we need to do is to zoom in,
| | 00:24 | have a listen to the end of our track
| | 00:26 | and make sure that any reverb tails or delays or whatever
are completely finished before we hit the End Marker.
| | 00:37 | (Music plays.)
| | 00:47 | And we can see that there we definitely have. So just to be safe,
| | 00:52 | I would leave it to Bar 36 for the End Marker.
| | 00:56 | So, now I know that everything within my
song will be included in the exported mix.
| | 01:04 | So now it's a case of going File, Export Song as Audio File,
| | 01:11 | decide where I want to put it, I will just throw out on the desktop,
| | 01:15 | choose the format, whether you want a WAV or an AIFF,
| | 01:19 | and give it a name.
| | 01:22 | I'll leave it as 15_04_export_song.aif
| | 01:26 | and click on Save
| | 01:27 | and then I get my Audio Export Settings
asking me, what sample rate do you want
| | 01:33 | and what bit resolution do you want?
| | 01:35 | And of course if we are reducing our bit
resolution from 24 bit down to 16 bit,
| | 01:42 | then yes, we should add Dither,
| | 01:44 | and then click on Export,
| | 01:47 | and there it is, finished.
| | Collapse this transcript |
| Exporting your loop as audio| 00:00 | As you are probably aware,
| | 00:02 | what Reason does not allow you to do
| | 00:05 | is to record an actual audio input to a track
| | 00:11 | like you would do in some other program like Cubase,
Logic Pro Tools, Audition, any of those sorts of things.
| | 00:18 | What Reason does, it does very well,
| | 00:21 | but as a tracking device- that is not its goal in life.
| | 00:25 | So it's quite possible that you are going to
sequence up some bits and pieces within Reason
| | 00:32 | and then want to export those bits as a loop
| | 00:36 | which you can then import into your tracking
digital audio workstation of choice.
| | 00:44 | So how do we export just one section as a loop?
| | 00:48 | Well, that's where the left-and-right
locaters come into play as well.
| | 00:52 | Whatever range of your song is included
between the left and right locaters
| | 00:58 | is the part of the song which will be exported as a loop
| | 01:02 | when we go File,
| | 01:04 | Export Loop as Audio File.
| | 01:08 | So that will only include anything which
appears in between the left and right locaters.
| | 01:15 | We can just call that
| | 01:17 | 15_05_export_loop.aif and we could save that
as an AIFF file or a WAV if we are so desired.
| | 01:25 | We'll go to Exercise Files, 15 Reason songs
| | 01:29 | and Save,
| | 01:31 | and of course, then we get our Audio Export Settings
where we can choose our sample right and bit resolution.
| | 01:38 | If you are exporting this loop and you are going to
be dragging it into another digital audio workstation,
| | 01:44 | it might be worth leaving that at 24 bit as long as your
other digital audio workstation software supports 24 bit work,
| | 01:52 | because ideally we want to work at the highest
bit resolution we can for as long as possible.
| | 01:58 | And once you have done that, click on Export.
| | 02:01 | (Music plays.)
| | 02:02 | And now our loop has been exported.
| | Collapse this transcript |
|
|
16. Interfacing with HardwareThe MIDI in device| 00:00 | On the off chance that you've come this far through the training
and you decide that you can't do enough damage within Reason
| | 00:10 | and you want to control Reason from some other audio application.
| | 00:15 | Reason allows you to assign up to
four incoming external MIDI buses.
| | 00:23 | Now, we saw this earlier on in the Preferences dialog box.
| | 00:28 | On the Mac you can access that from the Reason
option on the File Menu, under Windows you go to Edit
| | 00:35 | and Preferences will be right at the bottom of the list.
| | 00:38 | Now bringing up that dialog box, if we switch over to the
Advanced Control section, you will see external control
| | 00:46 | for buses A, B, C and D. Now from here you can assign whatever
external controller you want to be able to control Reason.
| | 00:58 | After you've assigned those buses, we then come to the hardware
interface at the top of our rack and click on the button here
| | 01:05 | which says Advanced MIDI Device, and you will then see that we've
got the choice of those four buses via these four buttons here,
| | 01:15 | A, B, C and D. Now, for each of those buses
we've got sixteen MIDI channels coming in.
| | 01:24 | So, a total of 64 MIDI channels that we can control
any device within our rack from an External Sequencer.
| | 01:35 | So you might go to Bus A, Channel 1 and assign that to Mixer 1.
| | 01:41 | That will allow us to then control this
device from some other external sequencer.
| | 01:50 | Now, I don't have another external sequencer
loaded on this machine at this point in time.
| | 01:55 | So I can't show you it working, but it will vary with
whatever sequence that you have got on your machine,
| | 02:03 | because you might have something like
Logic or Cubase or Pro Tools or whatever.
| | 02:07 | You will need to go and check the user manual for your particular
sequencer, but just understand that you can at least do
| | 02:15 | that if you want to control your Reason
devices from an external sequencer.
| | Collapse this transcript |
| The Audio out device| 00:00 | Up till this point in time, everything I have shown
you in Reason has been using a single stereo output
| | 00:08 | from the Mixer into inputs 1 and 2 to our sound card.
| | 00:14 | They are not physical inputs. That's really just
an internal computer bus routing thing that says,
| | 00:20 | send this audio data to the sound card so that it can
be output via the stereo output from the sound card.
| | 00:29 | Now you may have a multichannel output sound card. For example
you might be setup to monitor and mix in 5.1 or even more
| | 00:41 | than that, you might have a sound card which can output 32
channels that will allow you to then send those discrete outputs
| | 00:51 | into a physical mixing console on 32 faders so that you could
ride your mix across physical faders on a mixing console.
| | 01:00 | So if that's the case, you may not need to have
the 14 channel Mixer in your Reason project,
| | 01:09 | if you've got access to a multiple channel output card, then you
could assign various elements of the instruments in your rack
| | 01:19 | to different outputs on this audio out interface. And should
you actually be fortunate enough to have more than 32 outputs,
| | 01:30 | You can click on this button that says
More Audio to see another 32 outputs.
| | 01:37 | So in theory, Reason could export 64 discrete output
channels to appropriate hardware if you had them,
| | 01:48 | so that you could then take those 64 audio
outs and feed them into an external Mixer
| | 01:54 | and do your entire mix on a physical mixing console.
| | 01:59 | Good luck to you if you have got
the hardware and that sort of setup.
| | 02:02 | I envy you.
| | Collapse this transcript |
|
|
ConclusionGoodbye| 00:00 | Well, there you have it, Reason version 4.
I told you there was some great new stuff in there.
| | 00:05 | Now, you should have all the tools at your
disposal to go forth and make some great music.
| | 00:10 | I'm Bruce Williams, thanks for joining me.
| | Collapse this transcript |
|
|
