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Join author J Chris Griffin, as he demonstrates how to record music in Reason 6.5, the virtual music studio used by some of the world's most popular musicians and DJs. Get jump-started with the "Making Music Right Away" chapter, and then dig into the program and discover how to create beats with ReDrum, use loops in Dr. Rex, and record guitars and basses through the built-in Line6 devices. The course also shows how to work with the built-in synths; utilize the collections of samples, patches, and programs known as ReFills; and add effects on several types of tracks. Finally, Chris dives into the Reason sequencer, track types, editing audio and MIDI data, and setting the tempo and click track.
Throughout this chapter I've shown you how to quickly get a beat going, how to automate some basic tasks, and how to get a quick mix. In this section of the course, I want to record a vocal and show you how it can be manipulated and processed in Reason. So I have a track from our previous video loaded up, and you can open the same exercise file if you're following along or use your own song file if you've been working with one. Now, admittedly, this track is a little pedestrian-sounding-- not too lame but not too cool either. I want to record a vocal and see if I can bring something cool at the table and try to take it back to Brooklyn, so to speak.
It's already got kind of an indie vibe so I'd like to try to push it all the way there. I have a microphone set up here in this studio and it's connected to our computer via an Apogee Duet running as a Mac aggregate device, so you can actually hear what I'm doing as I record. The mic is an Audio-Technica 4050, which is a perfect mic for our vocal. So let's quickly visit Reason's preferences under the Preferences menu and check that we have Apogee Duet Agrt selected. So of course you'll choose your own interface or microphone here.
Right, so we'll close Preferences and get ready to record. Now creating an audio track is super easy. Just select a track close to where you want audio track to appear, hit Command+T or Ctrl+T, and the track shows up just below where you were. It's already record-armed, but we can't hear it yet. I have to enable record monitoring in the track. With Reason's stock preferences this monitor button is automatically enabled, but I've had too many feedback surprises upon instantiating a track, so we changed the behavior to manual monitoring earlier in the course.
This button is what that preference setting affects. Let's make sure the input is correct. I'll click here and to make sure it's the same device we set up in our audio preferences. Now we're ready. I'll do my best to sing in tune. I've got signal. I'll choose a pre-count. Okay, I'm ready to begin recording my vocal. I'm going to hit the asterisk key on the number pad to get ready to record. So here we go.
Okay, great. Let's play it back and make sure it's all there. And I'm going to turn off input monitoring so I can actually hear what's going on the track. (music playing) Okay, so that's our first audio track. Not bad. Not great, but not bad. Let's play it back to make sure everything is there. (music playing) Okay, so on playback I noticed the clip indicator lit up on our output meter.
That's just telling me that the output of Reason is a little too hot for what's going on. So I'm going to go over here and back it down just a little bit on our main mixer. I can bring my vocal track down and or I could bring the master fader down, but I'm not a big fan of bringing the master fader down. I like it to stay at 0 all the time. Okay, great. Now that that's fixed let's go back over to our rack and our sequencer, and I do that by pressing F6 and F7 together. I want to get this track perfectly in tune, and Reason makes this absolutely seamless.
Each track is already configured for audio inserts, and I can go over to my rack and unfold the audio track device and show Insert effects. This black area here is where an Insert effect would go. Obviously it's empty at the moment, so let's right-click and insert a studio effect called the Neptune Pitch Adjuster. And it brings it up, and it's already prewired and preconfigured to go right in between my vocal and the output. So if I play, you'll actually see some action going on.
(music playing) And it's following along with the note choices I selected. Now, I know where in the key of A mainly because the acoustic guitar says it's in the key of A. So I'm going to change chromatic here. I'm just going to click up in the name, Major scale, and we're going to put it in A. Now, every note I sing will be diatonic in A or follow one of the scale notes in the key of A. (music playing) We'll go back to the top. (music playing) Perfect! So there's a little artifact or two, and we could solve that by changing the Correction Speed, either to slower or faster. Either one is fine. If you want to full-on T-Pain effect so you just speed it all the way up.
(music playing) So we get a full-on T-Pain effect that way, but let's back it off. This'll be fine for this particular example. So great, we have our vocal tuned and sounding good. The next part of this chapter focuses on expanded Neptune features and expanded vocal possibilities.
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