Datasets:

psjogren
/

rvideos

Modalities:

Text

Formats:

Size:

Libraries:

Dataset card Data Studio Files Files and versions

xet

Community

Dataset Viewer

Auto-converted to Parquet Duplicate

Split (1)

train · 796 rows

youtube_url stringlengths 43 43	content stringlengths 206 271k
https://www.youtube.com/watch?v=efYVfl9YPEc	# YouTube ## Reason Soul School ### Video Metadata - Keywords: soul, school, Reason, Propellerhead, Software, motown, stax, funk, 60s, 70s, detroit, music, production, sound, library - Runtime: PT8M54S ### Description With Reason Soul School, Propellerhead Software's funk flavored ReFill, the soulful sound of the 60's and 70's is up for grabs. You won't find grooves rarer than these. http://www.propellerheads.se/reason-s... ### Transcript [Music] he [Music] you wondering who is this guy sitting here my name is WAW Watson my name's Tommy Coster we're in Santa Monica at my studio my name is Adam Rossy and I am a music producer in San Francisco I play guitar came from mtown I work with a lot of singer songwriters and bands and basically make a lot of music my claim to fame is uh poo Rolling Stone over the years I've worked with a few artists Eminem Dr Dre Carwash 50 Cent Sana Quincy Jones Snoop ice the list uh goes on but uh I've been using reason for for a few years now I recently received a new refill from propeller heads and it's called Soul School very cool stuff Groove is something that you feel and the musicians that know are circles for grooves when I started listening to this stuff in this new refill uh I was really really impressed that not only did it feel really good but the way it was recorded basically they wanted you to feel like you were getting your hands on some some really like old school/ inch tapes that somebody just found those records in the 70s we did we sit down and we collectively as a group worked everything out and then we took it to tape I can sit here and create all day long playing the guitar programming the drums playing the bass and it's going to sound and feel a certain way but it's not going to be the same if I sit down with some friends of mine and everybody play together when I'm playing live I know what it sounds like and if I hear a library and a sample that sounds like that sound that I get live that I'm really interested in so I wanted to do a piece um that just used all refills nothing else I started off with drums refill drums and bass and the ABY rhods keyboards I started with uh my drum kit I programmed a beat and a little rhythm track just tried to get this really organic Groove going you [Music] know and it's just missing a part um which was guitar and I didn't really have any guitars to put in there so um lo and behold I have soul school so I get to add some of this stuff to it which really sounded great some guitar Loops really funky but now I don't want to just use that one Loop all the way through so what um Soul school has is three different variations on each Loop so when I play it again you can hear there's some variation going on with these [Music] things it's subtle but it's cool because it sounds real so then when you get them all in the track here I've got my variation on each one of these and it just sounds nice and [Music] organic bam you can do this quickly and it sounds good sounds organic it's nice sometimes when I I get a sample Library the the sample's great sounds great the Loop's great but there's one part of it that I just really don't like and if it's an audio file you've got to go in there and cut it out and you've got to fill it with something if it's not there sit down and play it myself to try to make it feel a certain way the way I want it to feel you've got to find a base patch that's similar to that base patch and it's been you know that who knows where that Rex file came from it was really uh smart that they included patches that allowed you to also play those instruments yourself so if you have a sample and you have a loop and it's it's cruising along and you're like man I really wish that base did something else right there you can actually grab the patch and play those notes in fact in in the piece of music that I created using this this along with a track that I had I actually went in and used some of the loops and also played some of the base stuff uh myself so I put a little something together with this new refill I had a track that I had put together previously and now that I have this refill that has these very unique rexed loops and these instruments I've added a few things to a pre-existing track that I have the first thing that I came across that I really liked was this WWA thing that was happening and there's a hole in there the reason there's a hole in there is because I pulled out what I didn't want that's the great thing about Rex files they're all triggered with midi notes I don't like that little glitch I don't like that little thing you just erase it you take it out it's gone originally this Loop was happening every bar and I just made it happen every other bar so it didn't become too redundant put a little re Reverb on it a little bit of DeLay So it sat in the track nice the track that I originally created had a very synthetic sound very much you know NPC sounds whatever and uh I wanted to have kind of a live drum feel and a live drum sound supporting what I had already had in my programming so now you have this guitar you've got this horn stuff another little pck guitar part on the in the opposite speaker this one's on the right side it's another actual Loop that was supplied I didn't alter that Loop that's as [Music] is and then lastly the element that I added from the new refill was a baseline that I actually played because I needed to play something that went along with my [Music] track I'm just going to take the solo button off so that it plays the existing track along with what reason is doing [Music] you can hear the stuff that I added working with the original track the original track has a very MPC Shuffle feel just you know put the puzzle together cuz that's all it is that's what I learn at Motown kind of think of it like a puzzle but with no rules what's going to work if the piece doesn't work don't don't try to put a square in a round hole it doesn't work can add this element add this element add this element I don't care if it's Detroit or Cincinnati if you use the drums from Detroit you can go to Cincinnati and maybe pull out one of those base parts and it won't matter because a human being played it remember all of these instruments that are playing these Rex files you can change tuning you can change tempos you can put effects on it um really the options are just Limitless this is the soul school stuff let's sit down and figure out something and and construct an idea you actually have stuff that sounds vintage you actually have stuff that sounds like it was a sample that you lifted off of a record this is basically just scratching the surface on on on what could be done here and I'm looking forward to getting into it deeper don't say you can't do it because if I can do it you should already know you can do it so I hope you enjoyed what I did with the new refill I really enjoyed it uh getting it and using it and adding it to my arsenal of sounds and I want to say thank you to propellerheads again for creating a great reill that's going to be very useful in the future [Music]
https://www.youtube.com/watch?v=ZktF9Z-ejak	# YouTube ## Reason artist: A Guy Called Gerald ### Video Metadata - Keywords: Propellerhead, Reason, Guy, Called, Gerald, Acid, House, Voodo, Ray - Runtime: PT8M34S ### Description Interview with A Guy Called Gerald ### Transcript hi my name is Gerald from a guy called Gerald um and I'm from Manchester um at the moment uh living in Berlin yeah I'm um uh recording artists um stroke uh producer doing electronic music for like since 1988 and I I actually I perform live using um reason well it's performing in a way that maybe a DJ would work it's been a dream of mine for for a while since uh well for the last maybe 10 years to bring the studio actually out into the like clubs I found with reason I could do this I could take um like two laptops and a DJ mixer and like mix and mash up like some of the sounds that I create in the software yeah I also produce um records with reason my last record was called Proto acid the Berlin sessions it was totally um done in reason everything from start to finish I I tend to do is um use like um some of my old sounds from like the past um like remodel them in some of the simps and they're really easy to use really versatile and some of the sample sounds I put through um Dr rex or the n19 I've been using it since I think 2001 yeah about 7 years before I was using reason I was actually um only a part-time computer user I was actually um like more used to using a hardware Studio 24 track Des 24 Channel um like um 2in mixing tape mixer I me tape tape machine and uh um a load of outboard gear I was living in New York at the time and found it really hard to like travel about and work at the same time as a DJ um I was either in the studio or on the road and I couldn't do like the two things at once I had to find a solution because um I was getting CED more and more in Europe so I um decided to have a look at um this program a reason and uh yeah I've never looked back really been something that's like really helped me out and actually changed the way that I I was writing when I started out I was doing stuff really simple with drum machines and like uh like really basic um analog SS using reason is Tak me back to the basics of what I was doing but with a with a modern cleaner Pro so I can actually have the best of both worlds and have some portability with it all the way I I I like to work is um is to Trop and change between the DJ world and like a producers world I find it easier to flow with my work if I can make a a track or a sequence mix it like there on the fly with with something else and then you know write another Groove to it um when I was using a studio it was really hard to try and mix two tracks in together I always had to um make like um one track complete it and then start on another one then complete that now I can chop and change using two laptops I can mimic how the track would be mixed in a DJ set with with another track and like basically rewrite or write new material over the top of it I mean basically it's it's it's making life a lot easier makes things a lot more versatile yeah I have a favorite feature in um it's it's with um the Dr Rex actually I mean I've spent a lot a lot of time like building up my own kind of like Sound Library in there I I usually use the factory Sound Bank as um kind of like a scratch pad if if um I've not got any of my my own sounds loaded up I'll I'll use that as a filling usually but um on some of the simp sounds it's a good basis to to base um some of your own sounds on and so I'll start off with some of the simps and uh like uh the factory sound yeah I tend to um like build my own um refills and uh kind of I don't know try and create my own um unique sound which I mean it it's basically open to you for that you know like uh you know there's a lot of other softwares out there where you basically you're pushed in a certain direction you know whereas reason it it's like it's it's opening up um every every version I've I've used seems like I've got more choice and more [Music] versatility the dream I had like 10 years ago of bringing the studio into the [Music] Disco what the way I do it is actually mix like a live mix um taking it back to the old school that's what um we used to do in the old days basically we had um like one like mixer and maybe like um two or three drum machines like um like a table full of or a rack full of like simps and other bits and pieces and effects and adware I mean like uh flanges and reverbs and delays and things like like that all um wired into the desk and then basically you would have like a set number of tunes you would press go and then you would just Jam the the whole thing from start to finish um that's how I actually started out um and I was doing gigs in the like 88 and 89 they were the kind of things that it was doing um reason kind of takes me back to that in a way but with um some automation so I can actually remember bits and change them as I go along or go back to Old bits and re re um introduce sequences or it's it's it's it's simple but it can be complex um and yeah it's basically it's it's the Ideal tool and you know I feel that it's still growing I think reason is like definitely a way forward for pushing the boundaries in the like Not Just Dance music but Electronic Music full stop thank you for keeping us all [Applause] [Music] accurate [Applause] sh
https://www.youtube.com/watch?v=4LKUmL5S_E8	# YouTube ## MIDI By the Numbers: Reason QuickTip ### Video Metadata - Keywords: Reason, Propellerhead Software, Reason QuickTip, #reasonquicktips - Runtime: PT0M45S ### Description There are ways to manipulate MIDI numerically for precise and fast control of your sequencer notes. ### Transcript [Music] l
https://www.youtube.com/watch?v=v04EbEVMg0A	# YouTube ## Artist Interview: Adam "Adrock" Horovitz (Beastie Boys) ### Video Metadata - Keywords: Beastie, Boys, Adrock, Ad-rock, Adam, Horovitz, Propellerhead, Software, Propellerheads, Reason, Record, Production, Beats, Beatz, Hip, Hop, Rap, SP1200, SP12, Sampler, Drum, Machine - Runtime: PT5M39S ### Description More info on Reason: http://www.propellerheads.se/products... It's hard to fully comprehend the impact the Beastie Boys have had on popular music. In collaborations with Rick Rubin and The Dust Brothers, the Beastie Boys have birthed some of the most infectious and fun beats of the last 25 years. From the early 2000s, on a recommendation from band-mate Mike D, Adam Horovitz (Adrock) started making beats in Reason and instantly ditched his venerable SP1200. Reason has been at the heart of their beat laboratory ever since. ### Transcript hi everybody welcome to the Internet I started making music in high school I started my band called the young and useless and we used to hang around with Beastie Boys they needed a guitar player and since I was there so that's sort of how it all happened for me and this like 1982 all of us on the hardcore scene we're really all like all we were listening to his rap music at that point we're like going on tour and we're like we'll sit drag like carrying drums and HAMP's and so let's just do rap and just just have two turntables in a you know mixer there's a matter of convenience and laziness yeah so when we started making Licensed to Ill we had tons of tape loops on there the thing about sampling for me it was like you know you rap over these breaks and then the out head the begin jump on the beat I'm like whoa whoa let's do that that's not like we were the first people to do that I mean you know tons and tons of people doing that but we hadn't realized that so we discovered it for ourselves and who's really cool if you could have the beat gone then you can certainly cut in James Brown horns you know any of that stuff and so we were just into that like this that layering and layering a which was definitely like influenced by Public Enemy I got an SP 1200 which I believe belonged to ice-t thank you ice-t for my super sampler the SP 1200 makes you come up with your own thing as opposed to just using the thing that somebody else made it was very like hands-on you played it like a video game and you have to chop up and I didn't use the SP 1200 because it was like an 8-bit or whatever bit machine I don't really care about that it just it was what I like to use the SP 1200 was the sample that I used and that's the only sampler that I used it's a reason Mike and my band was like yo this cult reason just came out my friend wag has it I'm buying it you gotta get it and so it's okay when bought the stuff called reason never look back absolutely like the sp12 because it's all in this one little box and then reason came out it was just all this crazy in the box but it was like the mind-boggling how much stuff is in the box me I don't like you work very similar in that we'll just make some at home just a basic idea and bring it in and it's sort of a matter of like whose idea we like the best normally what I what I do is I start making things with a beat I start to start with me it starts with the beat I like to use recycle because it's it emulates that thing that we're talking about at the SP 1200 sampler because then it chops it up nice and it's very easy to chop it up on the SP you had to load it copy it but that copy you had to chop just to the little one note and then you had to delete all the other stuff and then copy it again delete you know get that other next note delete all the other stuff it was like this whole process and so it's just hours and this takes 30 seconds you just open it up boom sensitivity but boom baboom then you got your beat and then with tempo we got 101 whoa and I know it's at any rate this is what I do when I'm making music is I just kind of just go around beats and then usually just pause for a while and say wow computer school so then you got your little beat to fill it out then I use the Reed drum then you add your kicks and snares so see I just do it all in here and you can do your little bass sounds okay so the other one is this poor thing like Thor is crazy I mean that's the thing about reason is it just it doesn't stop it really doesn't stop [Music] sorry basically I do all my music in reason and ProTools and now that this you know record thing is out like it seems like I should just do everything in record I just I just really like the way reason works and so I think that that's probably what I'm gonna end up doing I just like that it's all in this one little things my SP is collecting dust right now so that's what I got well the other thing is that I kind of discovered LL Cool J I mean that's a whole other you know I didn't I didn't want to say that or get into that story but since we're on a subject you
https://www.youtube.com/watch?v=a8ac8kElvFU	# YouTube ## 52 Reason / Record Tips - Week 15: Misuse and Abuse of Time Stretch ### Video Metadata - Keywords: James, Bernard, Propellerhead, Software, Reason, Record, Tutorials, Audio, Production, DAW, software, music, programs, effects, time, stretching, stretch, 52w - Runtime: PT4M45S ### Description More info on Reason: http://www.propellerheads.se/products... PLEASE NOTE: Record as a product is discontinued but all of it's features are included in Reason 6 and above. Anything showed using Record can be used in Reason 6 and above. In this week's episode James shows us how to find the beautiful textures that come out of extreme time stretching and use them in our Record documents. It's like the song of the humback whales if they were androids. ### Transcript [Music] hey it's been an exciting week here at propellerhead headquarters with the announcement of Reason 5 and record 1.5 and in future episodes I am going to cover some of those features and devices in detail but for this week I wanted to talk a little bit about time stretching now time stretching in record is a really great feature and it allows you to change the tempo of your recorded Parts but when you misuse it or abuse it you can actually get some really interesting sounding results and textures so let's get into how to do that right now the time stretching in record sounds great when you use it properly to change the tempo of an audio track but when used in extreme settings like down to a BPM of 5 BPM or so you can get some really interesting sounds and results here I have a guitar track which was recorded at a tempo of 90 BPM [Music] I'm going to use this guitar part to create some textural beds to use as an intro break or an outro in the song let's hear how it sounds when we change the tempo to an extremely slow [Music] setting yeah that's the kind of sound I like now to record that to a track so we can use it in our song to do this create a new audio track next go to the rack View and click on record Source on the guitar track this is going to allow us to resample or re-record this track onto another track and select it as an input on the new audio track as you can see here select the section of the guitar part that we want to use in the locator turning off the snap first and record the time stretch to the new audio track [Music] [Music] [Music] the next thing we need to do is make sure that this recorded part doesn't follow the tempo when we set it back to the original Tempo by right clicking on the clip and selecting disable stretch the audio is actually going to be much longer than what we see in the clip here so we can just drag the end clip handle and use as much of the audio as we want that we recorded and place it where we want in the song add some effects and just like that we've created some other worldly sounding textures using just that original guitar track as the [Music] source this also works wonders on vocal Parts as well [Music] [Music] also try switching between the all-around and Melody Time Stretch types and see which one suits your tastes and [Music] needs even if extreme Time Stretch guitars or vocals aren't your thing you might want to give it a go on some of your audio parts it may spark a cre of fire for usage in some of your music well that's it for this week and next week I'll be back with another tip and trick thanks again I'm James Bernard and see you in a [Music] week
https://www.youtube.com/watch?v=1XLH0n42oEQ	# YouTube ## How to make an EP in a day \| Reason 12 tutorial feat. Sharpson ### Video Metadata - Keywords: music production, music production tutorial, reason, reason studios, reason rack plugin, reason 12, reason daw, propellerhead reason, propellerhead, ableton live, fl studio, logic pro x, reaper, bitwig, produce trance music, trance tutorial, trance tutorial reason, boy racer, sharpson, arrangement reason, workflow reason, combinator reason, writer's block, reason 12 tutorial, produce an ep, complete producer - Runtime: PT23M50S ### Description Irish Producer and DJ; Sharpson, breaks down how he wrote and produced an entire EP for his new Lo-Fi Trance Project in one day. The London based producer goes through his 3 techniques of how to establish multiple musical ideas and develop them in under 30 minutes, curing writer's block and using quick hacks to get basic ideas down. Learn more about Reason: https://www.reasonstudios.com/ Chapters: 00:00 Intro 00:18 Getting signed and dropped by a label 01:52 3 Techniques to get a quick workflow 04:00 Tip 1: Using Combinator Patches 10:18 Tip 2: Tower + Pyramid 11:26 Tip 3: Blocks and Arrangement 23:06 Finishing up your tracks 23:23 Conclusion Follow Sharpson: https://linktr.ee/sharpsonmusic Follow Boy Racer: https://linktr.ee/boyracer Listen to the Boy Racer EP: https://tr.ee/mTiP0DSAyr ### Transcript hello my name is Donald Sheron and I'm a multi genre producer from Ireland based in London I'm here to tell you guys how I made an EP in one day using [Music] reason when I uh moved to London first I bumped into these boys called Shore AKA Tim and Luke who I signed to my record label Chucky Baki records they're a bunch of breakbeat producers they make a lot of jungle hardcore Vibes that kind of thing when we got into the the studio uh lo and behold we just started making trance and we made a plethora trans music so we had a whole EP ready and it was signed to a big trans artist label and we were absolutely toughed about it and we were hyping up all our mates and we even set up a new project called boy racer to promote the release did the Press shoots did everything you know had the artwork even ready contract was signed and 2 weeks before the release un fortunately the label just were going in a different direction they didn't want to release the tracks which is perfectly fair enough you know it's unusual that happen but it did happen but the issue was we were stuck in a situation where we were hyping up this release to come out in a few weeks and we didn't have any tracks because we didn't want to break any contracts or anything like that so we decided right it was the Sunday we said right on the Monday we're just going to go after work spend all of our time in the studio and make a brand new EP so I got up Monday morning I got on my daily commute crack open the laptop and I get started on my first track by the time I get to my destination I've one track done then and I go teach my class have a little break during that break got my second track done have my lunch break bit more time so I do my third Track by the time I got to the studio with the boys I had four tracks done we looked at the tracks we cleaned them up a bit Tim had a great idea for a song we made the fifth track there in the spot and that's how the boy racer EP came to be 2 weeks later our first single came out now to do this quick workflow I did three techniques pretty much first technique was I built up combinator patches so I've been producing for a bit 15 years now so I just have RS of combinator patches built up the second one was I do a technique called the Tower and the upset M pyramid and this is mainly for getting uh nice ideas out and a bit of arrangement the third idea I had was to use blocks to set out my arrangements and then that will be my templates for my tracks there are four benefits you're going to find first of all you're going to get a really quick workflow going so I work long hours I don't really have a lot of time to produce anymore I mainly only produce uh on my commuter work so I need to be quick and just to just start making tracks very very quickly second benefit you're going to find is it's a really really good way to stop rers block if you're suffering from rers block and you don't even know where to get started following this technique it gives you a little template of where to get started and then the ideas will eventually start to come the third benefit to this is you're going to start developing a consistent sound but if you have a consistent sound it means you can start to build a consistent listenership and to do that you really need to have a consistent sound I always change genres and I go into sub genres and all that thing but it kind of annoys people and the reason is if you go to the chicken shop and you order uh a six piece and they give you a bloody Pizza you're going to be upset and it's the same with musicians if you you want to go to one artist for a specific sound you know if people like you enough and you start to Branch out they'll follow you eventually but to get those initial listeners it's very important that you get a consistent sound on the fourth and probably the biggest benefit these days is you have a consistent release schedule going you've a quick workflow and you can make tracks very very quickly you're going to have constantly tracks coming out this boy racer EP we released over the space of 10 weeks every two weeks we had a brand new single we've got a lot of competition these days as a music producers we're competing with social media we're competing with people's attention spans really that's why you really just got to start putting out those Tunes quickly so now I'm just going to show you guys how I've developed these tree techniques to get a quick workflow going and then you guys can make an EP in one day if you want to as well some of these techniques you might already know they might not be applicable but stick around anyway you might learn something new I've opened up my reason I've set the BPM to 150 over here the reason I've done that is cuz I want to keep going on with this low trans five that I've been I've been working on and if you see here on my left I've got all of my combinator patches here and this is what I was talking about over the time over about 15 years I've been building up combinator patches here rather than just starting a new track and not knowing where to go I can just throw down a combinator patch of kicks claps any of these drums and it'll just instantly load up so I don't have to be kind of fidgeting around I don't have to be coming up on any ideas and I can just be so creative cuz that's what it's all about it's just about keep keeping that creative flow and then later on you can start doing the technical stuff so I'm just going to drag over my combinator patch and I like to have all of my drums on the right and all of my syns on the left so if you see here in this combinator patch basically what it is is it's a mixer and I've got a a a red drum here with four different kicks okay and each Kick if you look at the back goes into an EQ and a compressor and then back into the mixer now you'll see I've got AB c d okay a is assigned to this kick B this kick C this kick and D that kick I've got eight different patterns that are all on each Kick but I can just start playing around with the different sounds so here's A1 standard little uh standard little four to the floor techno transy kick now if I want hear that on my 909 I can just press B here and I can pick my one and that's kind of your more acid house acid techno kind of vibe then if I want an 808 I just press the C more Bassy and then if I want the kind of EDM kick I just press the D here now here's the thing here's the kicker I've got different patterns for each type of those kicks so I've got a kind of Jersey Club kind of kick or more of like a stuttering kick more like a CIT trany Vibe then this next one is more of a Jersey Club kind of vibe then on number four I've got my halftime one for break beat drum and base anything like that then I start getting into the buildups if I want to buildup I've got the eights then I've got the 16s and then I've just got the one and then I got the 32s that for each sound so if I go to B and I go to B1 it's going to be the 909 doing that and then I've got the Jersey Club for the 909 and then I got the brake be for the 909 yada yada y if if I want the EDM sound I go D D4 like that now I like the sound of this cuz it's got a lot of high end it's got a lot of M it's got a lot of Base so I'm going to go D1 here yeah nice forward to the floor and I'm going to just copy that down copy that pattern down to my track that's pretty much it for the drums now that's my kick drum dunzo I've got my kick next thing is my clap again I've made a lovely little combinator here just trans claps and it's the same principle the exact same principle very crunchy very transy so I can just copy that pattern down and now look at this I've also got another combinator here this is for my open high hat and same thing again this open IAT like I've got A1 here A2 is uh is going to be my different sounding I had A3 is a different one A4 so I can kind of I can kind of tell which one I'm kind of feeling for this kind of sound so that's the first one that sounds pretty good easy easy doneo so now I've pretty much just done my drums okay and now we're kind of going into the second part of it which is building up your Tower and as you can see here I've just got all my layers here got my kicks my claps and then I've got my open eye out and I'm just going to keep building on that so next up I want to get like a kind of let's say a bouncy base or whatever I've already done all this I've already done my bouncy base so I'm just going to grab it over grab over the combinator I have an instance here of serum and I've got a nice little preset I got off splice and then I've just added a kind of side chain compressor to it [Music] got a nice little bouncy base there so I'm just going to quickly record just something quick going to put on my click going to quantize by 11/16 do a nice little F minor little uh [Music] Baseline now again to stay in the creative flow I'm not going to go in I'm not going to change the velocity of these notes I'm just going to keep it going keep it going so next up I like to use a little uh combinator patch here of basically what I call the custom boy racer one so as you can see here I've got my customade boy racer reason combinator okay this combinator patch has got a few things going on with it okay first of all it's a mixer I love having the mixer here then I've got my two little reverbs going on with it as well and that's just uh that's just as a sand it's not going through serly it's going through parallel then I've got some chords on top of an nnxt sampler and in this sampler I've just got a basic female vocal just doing one notes that's all just doing one little note and what I love about this this custom patch that I made is I can actually just bypass everything and now you can just hear it normally so it's basically just the chords and just a female vocal sound but check it out this is it with all of the lovely effects that I've got on in it I can start to mess around with the Reverb I can actually start to mess around with the notes amount as well uh how many notes are being played at time so I can put that up now I'm just going to record again just a simple basic idea simple fourar [Music] idea pretty straightforward Now you kind of have to do the homework first before you can get it that simple okay you got to build up your combinator patch library next up I'm just going to add some strings and I'm just going to copy over going to hold alt just copy over the notes I played on the in the Gated [Music] vocal next we're going to go into the arrangement of the track and this is where I do what I like to call the Tower and the uh upside down pyramid so as you can see here I've got a lovely Tower here I'm going to put the drums on top and then I'm just going to press command D command D command D command D command D command up to Around Bar 32 here okay next I'm just going to start making an upside down pyramid so this is kind of the shape that you want to start getting so now that we have that shape of the upside down pyramid I'm just going to play it for you we just got the kick this is perfect for DJs next we got the clap followed by the Open high [Applause] hat followed by the base coming [Music] in now we've basically got our intro for a track okay and now we're going to go to the third part and what the third part is is it's using blocks to figure out what the arrangement is and blocks to me indicate the total Arrangement not just for this track we're going to use it as a template for the rest of the [Music] EP what I like to do is you go up to options here and you go enable blocks so I'm just going to draw 24 bars here of a block and if I click in here I can rename that intro so you can call it whatever you want I'm just going to call it intro I've done that previously so it's popping up for me so next up I'm going to do my second one and this is going to be What's called the buildup so I go into my buildup and I'm just going to change the color I'm going to go to block three lovely nice little cream I'm just going to double click and then I'm going to call this build up okay next I'm going to get my drop so I'm going to do 16 bars and I might even do this twice okay going to put this as block 11 nice nice red there so again double click into it and I'm just going to call this let's just call it I know my course or something like that then I'm just going to duplicate this press command D okay and I'm just going to grab my build up here and I'm going to put it over this chus part and then then I'm going to have a big breakdown so I'm going to make this oh a nice dark magenta I'm color blind so I hope is magenta right I'm just going to call this breakdown and then I'm just going to grab the two choruses okay so then we got our build up here and instead of another breakdown I'm just going to grab this intro squish it down and actually I'm going to turn that into my outro okay and this is what we're going to do we're actually just going to do the reverse of the upside down pyramid finishing up right so I'm going to grab all the elements going to press command e command D command D and I'm just going to finish off that beautiful upside down pyramid on the other side Okay so we've got our intro and our outro done so Bob's or Uncle Billy are Auntie right that's pretty much the templates for the track so now that I have my intro done and have my outro done next to do is the choruses or the drops or whatever you want to call them so I'm just going to fill that in okay so again I just grab all the elements and I just literally fill it in so that's the red one done okay next up is the buildup now the buildup shouldn't really have any kicks and it probably shouldn't have any bass so I can just be selective I can grab my my claps on my high hats and I can grab my syns okay and now I can just do the same for this this is a clear visual indicator of what I need to do okay I'm also going to add in a drum buildup so again I go back to my library of combinators and I'm going to grab my drum build up here this is a customade combinator that I've already done here basically what it is is it's just a load of snare is playe I've got some custom control here for the pitch I've got some custom control here for the length all that kind of stuff and it's all being controlled by one knob over here so I can edit this in automation pop it down just draw a little triangle here so let me just solo this so you can hear what I'm talking about so as you see here the length the pitch all of that stuff is being lifted up as well so it's just one button and now I put that into my buildup and I know by the colors where I should be putting all of this [Music] okay that is the basis for my track here my track is pretty much done okay uh I've got the whole layout it's what 3 minutes absolutely perfect these days trans is very quick so I just saved it cuz then I got to get on my tube okay so I saved it I also saved it as track two okay so then let's imagine now this is track two so I got track two here this is the exact same thing okay so you're thinking what the hell is he doing it's the exact same track get rid of all your Melodies we've got everything here we've got all of our intros our buildups are course we've got all the arrangement already made but now what we can do is we can actually just change the simple things like the sounds so for example I'm going to go for D3 Jersey Club kind of Vibes going to copy that cop pattern to track go down to my claps I might even change the sound of the clap what what do we got here change the length change in the Reverb maybe it's a bit metallic sounds good going to copy that pattern to the track now let's go to the open high hat so rather than doing the first one I can just go to the second one yeah perfect so now let's see how that's sounding so far and already I've got a new Vibe for a brand new track so again we just do the upside down pyramid for that now let's change up the Basse sound okay so I've got my bouncing bass sound I might change that to a a a jungle syn a jungle re serum syn or something like that and now I might start writing out my jungle Baseline okay let's do it I'm going to change the key to a minor something like that that sounds pretty good and if I want I can change it to an eight bar phrase four bar phrase whatever it is okay so now I'm going to go back to my uh custom vocal synth I'm going to change it to a minor in the scale so I'm going to go change this up a bit maybe I might even just bypass the whole thing so it's just this yeah I don't really like the say of that let's put it to one note like this awesome okay so let's add some effects here now we're talking okay so now we got a totally darker Vibe on this so let it's just a single gated voice all right let's hear it 2 3 [Music] 4 beautiful and now let's do the same with the the trans strings I'm going to go higher up this time 1 2 3 [Music] 4 [Music] beautiful so again I just do the same principle of the Tower and then the upside down pyramid so let's go one two three 4 5 6 something like that so I'm going to pop the same thing I'm going to do the same thing for the outro copy it like that we're going to finish off the upside down pyramid all right I might even do it like this and then we just start filling it in like this now just to change things up okay this is where we start adding maybe different elements different Arrangement things okay but honestly don't bother too much all right people don't want to hear that kind of stuff all right they don't want to hear creativity anymore it's all about Spotify plays am all right now what I might do is just have this on its own and I might just take out the Baseline on its own something like that for the buildup now let's have a little [Music] listen oh I might even might even bypass this for the [Music] drop and then as you go on as you listen to the track I just want you to start adding in some stuff maybe you know play it boy [Music] here now obviously that's not great it's a bit rough but it doesn't matter you're on the tube you got to get to where you're going all right so let's save this as track two and you'll come back to it the studio later and then again file save as and we're going to do the same thing track tree let's start again okay we've got our Arrangement done Arrangement is pretty much there okay let's leave those snares why not and actually you know even if you're using fol effects or anything like that impact sounds just leave them in the track okay so again same thing let's go for uh an a 909 we're going to go for a different different pattern here so B B2 yeah pop that up there yeah I'm going to change up my clap so let's let's hear another sound that sounds good I might even get rid of yeah might even get rid of the Reverb copy that pattern to track dunzo next up the high hats let's go for number three oh nice and clangy perfect perfect so now let's hear it oh and we're getting we're getting a bit ghetto techy fantastic okay so I'm going to keep this serum uh sub jungle respace you can do this on tour as well very simply okay but and I'm going to change the key let's think uh C minor one of my favorites and this time what I'm going to do is I'm actually just going to change the phrasing of this instead of it being four bars it is now going to be eight bars okay 1 2 3 4 and do an eight eight bar phrase this time why not beautiful and don't forget make sure that when you're recording uh quantize is on so let's go back to our iconic boy racer now sounding uh which is synonymous now with the boy racer sound that's kind of transy vocal and let's see what we can start coming up here n it doesn't really work let's turn off the chords maybe and let's turn off the gate perfect and then I'm just going to pop up maybe the filter and let's hear what we [Music] got I'm might even out of Harmony so I'm just going to add a do onto [Music] it perfect and now we just add some strings I might just go up going to add some uh just kind of high 90 string [Music] here even if you're not too happy with this idea just save it all right save it keep working on keep it quick keep it going okay and then just follow the same routine over and over again now once you're done that with like four tracks okay they are going to sound very similar and uh Keen list will recognize that this is the exact same Arrangement well that's no problem all you can do is right let's just change it up rather than uh having this as an intro why don't we just go straight in so straight in from a breakdown into our first drop okay so let's get rid of the drums we're going to move this over that's part of the second drop no and we might have our base in here now [Music] maybe n experiment with [Applause] [Music] [Applause] [Music] it so even though it's still bare bones right in the space of 20 minutes we've already done three ideas okay that's three tracks of an EP there you could release that next all you need to do now is just sit down it and just make sure that the tracks sound different enough that it's a cohesive sound but it's also a bit varied all right guys I hope this was helpful for you this is how I produce cuz I'm stuck for time obviously if you have a bit more time put a bit more work into uh varying it up a bit unlike me I love I love that command D Love copying and pasting but I hope you enjoy the tunes please do check out my new EP boy racer uh my name is Shar Big Ups to rezon crew for having me and I hope he's learned [Applause] something
https://www.youtube.com/watch?v=Ab8SxL8aS0c	# YouTube ## Artist story - Tom Middleton - Dissecting 'Hypnotizer' ### Video Metadata - Keywords: Tom, Middleton, Hypnotizer, Reason, Propellerhead, Software, Audio, Production, Global, Communication, Jedi, Knight, E621, The, Modwheel, Deep, House - Runtime: PT9M41S ### Description More info on Reason: http://www.propellerheads.se/products... Tom Middleton has been a driving force in electronic music for the last 20 year. He is the man behind countless releases under guises such as E621, The Jedi Knight and many many more. We talked to this veteran about his background, how he learned the craft from Richard D James back in Cornwall, England, and about his use of Reason as his main writing and production tool. In the interview, we also get a walkthrough of the track Hypnotizer that just came out on Urbantorque Recordings. We'll get to learn some of the Jedi Knight's secret moves and how he uses Reason to build his signature deep sound. ### Transcript hi I'm Tom Middleton some know me as Jedi Knight or one half of Global Communication secret ingredients I've been e621 to Mark pritchard's reload back in the early days in the early '90s the uh the music scene then was known as ared intelligence or ambient Electronica um I started life actually as schizophrenia schooled by none other than Richard D James who was my teacher um this is way back in sort of 8889 I used to go clubbing in Cornwall and uh this guy behind the decks playing tapes of music and I was fascinated I was into uh dance music Electronica techno Rave and uh the early days of of house music this guy was playing the most insane sounds I'd ever heard obviously had to go up and introduce myself find out what he was playing off these tapes turned out it's Richard D James playing his own pieces of music that he' recorded at home in his bedroom so that was the beginnings of my uh um friendship with Richard and he kindly invited me back to his house showed me his bedroom studio and uh demystified the process of um sound production and it was amazing to sort of watch him at work with very very simple um inexpensive equipment creating these huge vast soundscapes and really um extraordinary textures you know he was making music using these very very simple tools um he showed me how to sample using um a sort of tape recorder microphone getting out there in the garage and beating all kinds of bits of uh metal and wood to create tribal drum rhythms that you then sample um bring back into your your own production so for me my uh my schooling was great it was Apex Twin teaching me how to sample synthesize produce arrange mix everything thank you very much Richard so you can hear it's really just a a Shaker and an implied snare drum in there but I just like the feel of it and it's kind of pulsing a little bit as well and really I just wanted to sort of build around this starting point which essentially is just like a bit of Latin percussion um so uh my standard setup here I have a a kick drum combinator with a variety of different elements that I can I tend to build a kick drum out of uh two or or even three um sounds so the kick jummer in this track for example is is made out of three different sounds um that I've combined together with various different amounts of um compression EQ and uh overdrive using the screen form that I've added in on a line mixer so your uh your your kick drum sound is pretty thumping quite quite nice and chunky I like to slam it through the maximizer and also I like to use a filter the ECF 42 um so if I want to lose all of the top end I can just sweep it down and bring in a kick jum in a more smooth fashion these are some of my typical techniques is very smooth transitions um I tend to have a a high pass and a low pass filter on practically every channel right up to present i' I've recorded under many many names I think the most U recent ones that you might be aware of Cosmos and Amber and there was a point I think probably about four or five years ago I decided that's it no more names it's just me Tom Middleton so my previous album was life tracks on Big Chill recordings um recorded entirely in um reason um and then um mixed down uh with some outboard in some other bits and pieces but the the process of writing and composing was entirely in reason and I created what I call the the laptop Orchestra um as a means to um have a a pette of colors to to create and compose with so at the moment I've got this top Loop and a kick drum adding in a a snare and the snare that I'm using here um comes from a a refill and what I do here is I I put one snare for the offbeat and then a a ghost snare I'll use the same sound but just uh reduce the level a little bit reduce the length maybe change the pitch slightly so it gives it the sort of sense of um a drum r playing it um adding in a hat and this is a a combination I think of probably a couple of classic analog style um probably somewhere in in the in the region of a Roland 909 sort of style hat which always works for these sort of shuffly GrooVe deep house tracks um next it's time for a for a sound sort of initiate this the sort of harmonic process so what I wanted to use was this um pad sound that been playing around with with some sounds for a while and um just auditioning various different things [Music] and it just very nice kind of pleasant it's a one note chord [Music] I've used an LFO to filter and level so I'm making it pulse and wobble um adding tiny amount of LFO to filter and it's just a um a band pass filter on that sound if I take it off you'll be able to hear [Music] it so there's the pad so if we bring those elements together [Music] I guess my Story begins when I was about four or five years old and my dad played this music by a Japanese composer called sa Tomita and uh this music blew me away he sat me between The Sweet Spot in some stereo field between two um tanoy speakers and played This Record snowflakes are dancing and this really kicked off my fascination with um electronic synthesized sounds if you notice here I'm just tweaking [Music] the frequency on the pad sound which is bringing up the um the band pass filter having this uh virtual orchestra band whenever I need it I can uh suddenly change from being Tom the keyboardist to Tom the drummer and Tom the bass player Tom the guitarist Tom the conductor but this is what's so fascinating about this uh uh amazing piece of Kit and uh the tool that is reason it's absolutely incredible um so here's here's the uh the Baseline that I've added in [Music] here and when I'm playing when I'm playing a baseline in believe it or not I probably end up looking quite stupid to anyone that's watching me but I will imagine playing the bass because if you put yourself in the mind of a performer it allows you to to only play what's possible and perhaps that makes it easier for people to um get their head around the sound that you're making so for me um a baseline it's really important that it sounds as if a bass player played it another element that came in there is the what I'm calling the ble peggio this is another one of my Tom Middleton signature uh Styles if you like um very much from the take me with you Cosmos era of late 90s early 2000s well I have been um I've been a reason user since the very beginning I fell in love instantly it just looked like all the kit I've been using in the studios up until that point you know in the I knew instantly that I'd be able to use reason because it spoke to me in the language I knew the jargon was familiar the subtractor looks like a um well perhaps a Rolland for Yamaha Rec the Japanese analog synthesizer everything about it um said yep I can go straight in there and if I want to make a sound I know how to do it because I trained Richard showed me how to use an sh101 um in 1988 and I knew in um 2000 that I'd be able to go to a subtractor and make sounds I just knew how to do it so there we have hypnotizer by Tom Middleton produced in entirely on a portable setup in a hotel in Sydney thank you very much
https://www.youtube.com/watch?v=H-Q44f7WXb0	# YouTube ## Is this the most creative delay plugin there is? \| The Echo Tutorial (VST3/AU/AAX) ### Video Metadata - Keywords: ableton live, delay, delay vst, delay vst plugin, dj quasar, echo, music production, music production for beginners, music production tips, music production tricks, music production tutorial, presonus analog delay, reason 12, reason propellerhead, reason rack plugin, reason rack plugin ableton live, reason studios, reason+, vst plugins - Runtime: PT11M4S ### Description In this video ‪@itsdjQuasar‬ will walk you through The Echo, one of the most capable effects in Reason and dive into some of its unique and powerful features. If you haven't checked out this device yet, now is the time! The Echo is built into Reason 12. The best way to get Reason is to subscribe to Reason+ which gets you access to Reason, the Reason Rack Plugin (VST3/AU/AAX), 80+ unique instruments and effects and new sound packs every week. Sign up at reasonstudios.com Grab the Dynamic Delay and other combinators and sessions in the download section of my website: www.djquasar.com Thanks to DJ Quasar for putting this video together for us! #reasongang Timestamps: 00:00 - Introducing DJ Quasar 00:12 - Background 00:30 - Delay Modes 02:40 - Feedback Section 03:33 - Color & Filter 03:50 - Modulation & LFO 04:31 - Delay Ducking 05:11 - Breakout Section ### Transcript what's going on reason gang it's me quasar i'm a dj a music producer and a youtuber please enjoy this video and stop by my channel to see more it's linked below thanks a lot reason studios okay so i've used a lot of delays of my time and i mean a lot and that includes owning these mega popular supposedly god tier delays that everybody runs out and buys yet year after year session after session i keep coming back to this bad boy right here let me show you what makes it special real quick first up is the mode selector now this section acts as a gate with three different ways of passing the input signal along to the subsequent main sections normal mode you already know so let's start out with trigger mode in trigger mode the signal goes unprocessed until this button is well triggered perfect for automating it so that your delay only acts on certain moments of your track for example at the end of a vocal phrase like so i want you but i'm tired [Music] in roll mode the unprocessed signal passes through unaffected until you turn up the roll slider this gradually suppresses a dry signal while simultaneously raising the feedback and mixing the output towards the wet signal it's useful for repeat stutter and glitch effects [Music] see we're just getting started and already this unit is able to morph itself to fit your needs in a straightforward manner but let's keep going because this next little knob is really cool this offset r knob controls the right channel delay time offset the more you turn this the more the right channel will be delayed in relation to the left channel you can use milliseconds or you can sync them to the tempo linked to this global parameter it's just a clever and easy to dial in way to set up a stereo delay and keep the plugin looking neat and tidy and not overwhelming also something to note with this ping pong section is this knob here which not only controls the width of the delay taps as they bounce back and forth but it also controls on which side the first tap will hit hard left and the first tap will hit hard left back [Music] same difference for hard right back and forth here's not so hard left back and forth see the first tap is still to the left and not so hard right [Music] the feedback section also has an offset r knob but this time it's bipolar the one in the delay section was unipolar as it only added delay time based on the left channel with this knob you're adding or subtracting from this feedback setting here except you're only adding or subtracting from the right side so in practice if you dial this up then you end up with a feedback that plays longer on the right side conversely if you offset the feedback in the right channel by taking time away it will feel as if the delay is drifting to the left it has diffusion which adds little tiny delays and allows you to spread them throughout the stereo spectrum for a smearing effect [Music] it has this color section with three different flavors of distortion and a resonant band pass filter each echo repeat is colored before being fed back into the loop so distortion and filter effects will be more pronounced with each repeat the modulation section with this section you can modulate the pitch and the stereo image of your echo the envelope parameter makes the delay taps kind of bend downward or upward in terms of pitch wobble emulates tape speed wobble making the repeats fluctuate and pitch randomly [Music] even this lfo parameter is much cooler than it lets on turning this amount knob up modulates the pitch of the right and left channel independently giving you a kind of stereo spread type effect it even has a ducking feature dial this up like this and the delay repeats will get out of the way of the dry signal and come in during the silences meet me in the back of the room [Music] so i just realized i went over this whole device but the whole device is pretty cool so some of my reason power users out there may have noticed that i didn't even mention one of the most powerful features of this delay the the breakout cables with these the possibilities can be almost endless but you got to be a little careful because things can get out of hand pretty quickly so if you're interested in unlocking [Music] let's talk about the echo's breakout cable section with these jacks right back here you can easily patch well anything you want into the feedback loop of the echo for near infinite possibilities ranging from the functional like these combinators i made more on those in a bit to the wildly creative all in this easy and fast to set up little system let me show you some examples i'll start by showing you how to route a screen4 distortion unit into the feedback loop of the echo i'll drag the screen over here while holding shift on my keyboard so it doesn't auto-route then i'll manually patch the cables into the breakout ins and outs to tap into the feedback loop now we can dirty up our delay repeats to the power of screen [Music] let's take a listen i feel safe [Applause] well that didn't sound too good but it's the perfect time for a word of caution you see each delay repeat will be more colored by whatever you have plugged into the breakout jacks so it can easily turn into a cacophonous mess if you don't dial things back and go slow okay so let's reset this bring this way down bring this presence knob up a bit and i feel safe in your arms [Music] [Music] we can even use this body feature which will make it sound like your delays are coming through a cabinet or the body of an instrument just watch the resonance or things will start ringing again [Music] in your arms boy with your heart it also sounds good to add a reverb to the feedback loop i feel safe in your arms [Music] here's one i made with an audiomatic and a synchronous i modified this breather patch because it was causing the echo to feedback all crazy like before i dialed everything back and i'll accentuate this so you can hear it now the delays have this pumping breathing effect [Music] could be useful and speaking of the audiomatic throw this in the feedback loop to add a whole another spice rack to flavor up those delays [Music] it also bears mentioning that you can achieve very similar routing without the breakout cables if you create a send and put an echo on it like this and set it to full wet then you can stack any number of plugins underneath it but a that gets messy and b you can only have so many sends i also love the convenience you get by being able to just patch something in right there on the channel if you want without having to make an effect rack or anything too tricky things get even more convenient when you pack your favorite setups into combinators like this handy little setup i made for when you want to tame a specific frequency in your delay repeats i made a dynamic eq and patched into the feedback loop with control over what frequency here control over threshold ratio attack and release here a high pass to clean up the repeats and bypass buttons for the entire effect or just for the dynamic eq let's listen to this guitar and delay without the frequency ducking [Applause] [Music] let's say i wanted to get rid of some of the picking noise in the delay repeats i'll enable the dynamic eq then i can hit solo here to listen for where the picking is most present [Music] i'll bump the ratio a bit undo solo and [Music] now you can hear much less of the picking in the echoes i also made a combinator 1 version in case you're not on reason 12 yet i was able to fit most of the features on the smaller panel so yay both of these combinators are available for download to members of my website there's a link in the description anyway that's the breakout cable section guys i hope you can see the potential have fun out there click this video right here
https://www.youtube.com/watch?v=_elpJVLDYm8	# YouTube ## Plug in Reason—wherever you make music ### Video Metadata - Keywords: reason 11, reason studios, pro tools, aax plugin, reason 11.3, beat making, music making, sound design, daw - Runtime: PT1M39S ### Description Try Reason today: https://www.reasonstudios.com/en/reas... Reason is now available as an AAX plugin. Bring your favorite Reason devices to Pro Tools with Reason Rack Plugin for a never-ending source of music making inspiration. #Reason11 #ProTools ### Transcript reason 11.3 is here and the reason ROC plugin has arrived in ProTools as an ax plugin using reason with Pro Tools has never been easier or more powerful it's the reason Rock you've always wanted in the dog that's a household name all the legendary synths drum machines effects the cables on the back of the rack the ability to patch up whatever you can dream up and reasons newest device type players that convert MIDI notes into complex chords self generating melodic sequences drum programming with the perfect feel and so much more reason is all about what matters most in your Pro Tools sessions the music but with the arrival of reason eleven point three reason isn't only in Pro Tools reason is everywhere it's at the heart of wherever unique music however you make music reason is an Ableton Live session view FL studios channel rack it's in your Logic Pro epic game soundtracks the reason rack is in Cubase studio one Reaper GarageBand and of course in reason so it's time to plug in reason plug in control voltage cables to build your modular drain sing plug in the perfect mastering chain and channel mix effects plug in that looper sample that gets ideas going plug into players that will change what is possible for your music plug in reason wherever you make music [Music] you
https://www.youtube.com/watch?v=hbA37jaZ-ow	# YouTube ## Produce EDM in Reason? Here's some quick tips! ### Video Metadata - Keywords: music production, music production tutorial, reason, reason studios, reason rack plugin, reason 12, reason daw, propellerhead reason, propellerhead, ableton live, fl studio, logic pro x, reaper, bitwig, lfo, sidechain reason 12, sidechain, filters reason, nitro x, produce edm music, edm in reason, produce electronic music, reason house tutorial - Runtime: PT9M41S ### Description Nitro X is back with some beginner-friendly tips and tricks to level up your EDM productions using Reason. We'll cover the basics of using low-frequency oscillators (LFOs), filters, and sidechaining. You'll learn how to use LFOs to control parameters and generate changes in amplitude, as well as how to use filters to create different transition elements. Nitro X also shares some tips on how to create that pumping effect in your tracks as well as some basic mixing. Whether you're into electronic music or other genres these are all great hacks to try out. Get Reason: https://www.reasonstudios.com/ CHAPTERS: 00:00 - Intro 00:20 - LFOs 03:11 - Filters 06:12 - Sidechaining 07:35 - Compression and layering 09:27 - Outro Follow Nitro X: https://linktr.ee/nitroxmusic ### Transcript hey guys I'm Nitro X and today I'm back here on the Reason YouTube channel for a video to provide tips and tricks for beginners using reason to take their EDM beats to the next level let's get into [Music] it so the first thing I want to talk about in production that you can use to take your Beats to the next level is LFO LFO stands for low frequency oscillator now what an LFO is is basically its uh Soundwave oscillating at such a low frequency that you wouldn't be able to hear it but what the alfo generates is changes in amplitude which we can then use to control a parameter let me just pull one up here um here's one right here the reason Pulsar LFO is the one I use in all of my stuff because when you go to the back you can route everything you need from the LFO to whatever parameter you want on on any rack extension or sometimes in a VST so you can hit this little Tempo sync button if you want it to be connected to the time of the track otherwise you can turn that off and it will just be a free flowing um frequency range so you can see here 43 Hertz you go all the way up really and then down to really slow and low so a good example of what I like to do with LFO is in my tracks is I will take like a little ambient shot that has a bunch of Reverb on it or a nice tail and I will go like this I will throw an LFO on it so this is what the sound sounds like beforehand then what I did was I just threw a kilohertz gain on here you can do this with any volume plugin then what you want to do is create an automation Lane for the LFO as you can see I've made down here and then you're going to want to automate something like this this it can be janky can be whatever I created this simple line before which you can do as well you're going to want to find a point where it's not too fast at the start and not too slow at the end a nice little ramp or you can do it the other way you can have it kind of Rise so let me show you what I have here with the LFO what it sounds like can you hear how it kind of like starts really fast and it's going to slow down another option is this one's often better for transitions for example like let's say I reverse this sample and then I'm going to speed the LFO up so you can use that as like a little reverse so let's hear the difference we have a reverse in here in this transition right before the [Music] drop or we can have it more as a hit like I had it before here the difference it just creates um a different transition element that you can experiment rather than having a classic drum fill um and it adds a nice little bit of ear candy to to ATT track all right so second I want to talk about filters now filters are an extremely uh integral part of EDM music and especially house music I use filters in every single song Not only High Pass filtering instruments for mixing purposes but what I'm really talking about here is using a fil as an effect to create energy to create tension for example here in the buildup we can use filters to create energy to create a swell because high-end adds energy so if we don't have as much high-end then we can kind of roll that highend up so for example on this vocal chop here and you'll hear that in like every dance [Music] track coming up there and then we have all the high the drop for example to uh I have I made this 909 snare build up in Kong I just loaded up a 909 snare I think it's just from the reason drum Supply um but what I did is because there's so much like white noise in that snare I took it and put a filter on it and I had a pretty high Q on the filter and you can hear it it's creating that sweep and then by doing this we're just adding to all the other risers that we've added into the track already so that's creating even more tension and um just making the buildup have more excitement yeah and then the other kind of filter that I use a lot um when making EDM especially dance tracks which I actually haven't put on this one yet so we'll do it together I'm going to grab the kilohertz filter here and then I'm going to drag it into my Master bus and I'm going to switch it from being a low pass filter which is what we were using on the previous examples of creating that sweep and we're going to do a high pass filter on this one now this one is going to help us swell up a little bit almost so it's not noticeable in the low end so when that drop hits the contrast from there being no low end to all the base right away is going to give it so much more energy so all you got to do is hit edit automation just like you would do for any of the other filter automation I was showing you I'm going to create a little automation clip here so I don't want to do too much because I want the buildup to still have um the base so I don't want to do it for too long but I'm going to do something like [Music] this then up here and then as we reach the drop I'm going to fade it back down [Music] just remember to keep it not going up too high so it's not creating too much of a drastic effect unless that's what you're going for trust your ear and Trust what sounds good to you another great thing to do when you're creating any EDM track especially house is to use side chaining side chain to your kick my kicks on quarter notes this one's totally free uh my friend Matthew Parker got me into this one it's called pump you can quarter notes and then it will just pump to your kick if you're making a house track um depending on the sound I'm going for I will side chain it really hard or I won't as much so I'll show you what it sounds like for example if you don't side [Music] chain you especially notice it on the Bas it starts to sound muddy and [Music] not like it's not glued together but when you enable that it adds like that extra bit of glue to the be I don't like going too hard on the side chain because I find it can ruin the transients of stuff um that might be hitting with the kick or hitting close to it so I don't like to side chain two too hard depending on the project but it's up to your personal preference all right so last thing I want to cover in this video um that I've heard from multiple people who are kind of just starting out is that it's very hard to not make an EDM mix sound overwhelming um so for example let me just break down what we have going on in the buildup because that's where I got most of the elements we got some Basse we have some piano we have a downshifter claps some effects um and then we have some other melonic elements and normally keeping in mind there would be vocals over this um I just don't have vocals on it yet from any singer so we already want to keep this open sounding and not layer too much but we still want to have a big sound so how do we achieve that well one is compression and layering so these key pianos I have three different piano presets going [Music] here I have an addictive Keys preset on house keys and then I have a radical piano on here that sounds like this so it's kind of a soft layer see what I mean this layer is way down it's not all building up together it's [Music] quieter and this one is adding a lot of attack as well so it's kind of understanding the purpose of each layer when you're mixing and the purpose of each element and then that will determine how you're going to mix it and how loud it's going to be so for example once I've done all this I will just throw an EQ on the whole bus and then usually if you're creating EDM and you're creating a bunch of layers together a great way to make it sound all together and glued without it sounding overwhelming and making it sound like one new sound is using Ott whether you want to use a lot of it or a little bit of it get into Ott start using it it's great but yeah that's about all I wanted to cover in this video hopefully gives you a few new IDE to experiment with in your own music remember keep it fun and keep it simple and enjoy the creating process I will see you guys in a future video peace
https://www.youtube.com/watch?v=oYk0I5lY9Tg	# YouTube ## The World's Biggest Drum Machine ### Video Metadata - Keywords: big, biggest, largest, drum, machine, kong, propellerhead, software, reason, music, production, recording, mpc, pad, controller, MIDI, dance, breakdance, stockholm - Runtime: PT3M2S ### Description We decided to build the world's biggest drum machine. More info on Reason: http://www.propellerheads.se/products... ### Transcript Go big or go home. We decided to build the world's BIGGEST drum machine... ...and take it out on the town... How do you think this thing will hold together with thirteen screws. six, five, four, three, two, one! We have achieved. No Swede would ever do something like this without having a permit... ...so people just assume that we have that. Onward to Stockholm's BIGGEST building!!! Unpermitted U-Turn! Tonight's not about legal... [laughing] We built up a crowd... ...and they wanted to try. It sounds so bad. Absolutely, fantastic. It's the best thing that happened in Stockholm for a long time. You can totally kill the dance floor because this is all you need. You don't even need a dance floor with music. It's all you need. Absolutely love it, love it. [laughing] It was fantastic. I would do it on a club. It blew my mind. You can do your own music, it's just.... oh my God, I'm so tired. But it was so funny, it was really funny, it was really awesome.
https://www.youtube.com/watch?v=PgpxLOW6W2U	# YouTube ## Chaotic Sound Design with Polar Dual Pitch Shifter feat Benjamin Hinz (Dwarfcraft Devices) ### Video Metadata - Keywords: benjamin hinz, sound design, how to sound design, reason studios, reason 12 - Runtime: PT8M54S ### Description Benjamin Hinz aka Aen aka Dwarfcraft recently released an animated short called Dead Astronaut ( • Dead Astronaut - Check Out This Cool ... ) and is now working on a follow up with another pal of ours, Nick Reinhart. Through some random experimentation with the Polar Dual Pitch Shifter device, Benjamin came up with a few musical (or should we say noisy) motifs and concepts that served as critical anchor points for the upcoming score. In this video you'll see how you can use the Polar device to explore, warp, modulate and even wreck your sound to take it in new unexpected directions. As our very own Mattias talked about in one of his own Polar tutorials a few years ago ( • Advanced Polar Techniques - Reason Tips , "accidents often give unexpected and sometimes fantastic results". • Make sure to go watch Dead Astronaut here: • Dead Astronaut - Check Out This Cool ... • Check out the entire score over on Bandcamp: https://deadastronaut.bandcamp.com/al... • Follow Benjamin on Instagram: / supremecommander • Follow Nick Reinhart on Instagram: / nickreinhart ### Transcript hey everybody it's your old pal benjamin hinz uh you may know me as i'm from dwarf graph devices but that's in the past uh what i'm here to tell you about today is how i'm using reason to score an animated short that i'm working on it's called dead astronaut i've got reason on my laptop here and a midi controller called the midi fighter twister which is just a bunch of knobs so i've mapped some of these knobs to uh the polar dual pitch shifter in reason so i i came up with came up with i discovered this technique um just messing around with polar one day and ended up just sort of improvising with it for like an hour and that served as like a sound design session [Music] that turned into a few songs that turned into some real important anchor points for the short film i'm working on i'm also doing this with my old pal nick reinhardt who is also up to date on reason now so we're going to be passing weird stuff like this back and forth uh you don't need to do this for film obviously uh you can just do it for fun um so let's get into reason here and i'll show you what i've been talking about um so i believe this is well this is almost the preset classic stereo spread i just loaded it up because i'm going to turn all the knobs anyway and an octorex which is really just there to provide a bunch of sound to go into the polar so here's the beat pretty just stock right out of reason it's gonna get unstocked real quick so let's turn on the polar and we can hear what it's doing by its as it sits i had the feedback way up uh because once i click the lock on the delay buffer here that's a very important part of the process the feedback no longer functions so i forget where i have that set sometimes anyway so to do this like super special long-form sound destruction um you want to have it set on loop mode have the polar set on loop mode and i've got the length mapped to a knob here i've got the delay map to control both pitch shifters and then the lfo depth for each of those let's see what else do i have i've got the rate for the lfo mapped and i think that might be it yeah the first time i did this it was all just one hand on the track pad so this will be even more exciting because i can do more than one thing at a time okay start the loop again and then lock it on the polar then you can turn off the uh dr x because i've got sound locked into the polar got a little lfo action going on there hmm so so that's really i mean that's the basics of it we've got a little bit of granular sound trapped in the polar and then we're just messing with it i don't know it's technically on beat but it's weird as heck obviously then if you get bored with what's going on start the loop running again [Music] so [Music] okay so obviously that's a lot of fun um but you do have to remember to keep this audio right yes of course so what you do is i don't know why that's still making sound that's weird it's probably subsonic or something it's weird and ugly um you do get like a lot of strange artifacts that probably don't belong um so wherever your noise is coming out you gotta make sure you have that record source selected so then on your audio track you can select that channel so it's off now it's on there we go so audio track one will record that drum loop and all the horrible things you do to it and then all you got to do is push record and since i have the lfo um tempo synced that means all this noise that's going on is going to be at least related to the pitch which will make it a lot easier to cut up sample using a composition or put it in another sampler or whatever you're going to do with it see we're making new beats out of old beats in addition to a bunch of buzzy electric noises [Music] a drone [Music] and that's how you wreck things with the polar for a sound design for film thanks and have a great day [Music]
https://www.youtube.com/watch?v=AmAxMgw0jzo	# YouTube ## How to make your sounds fatter - Reason Sound Design ### Video Metadata - Keywords: Reason, Rack Extension, fat sound, big sound, wide sound, mixing, synths, sound design, production, how-to, tutorial, audio - Runtime: PT4M57S ### Description More info on Reason: http://www.propellerheads.se/products... In this Reason Sound Design video Propellerhead product specialist Mattias Häggström Gerdt lets you in on some tried and true tips for making your sounds bigger and fatter. Ever wondered how to really make a sound take up some space in the mix and get a nice, wide sound? These tips will get you there in no time! There's also a secret listen-only preview of a secret Rack Extension but... keep that between us, okay? Wouldn't want that to be put on YouTube or someth- uh... wait! ### Transcript Hey this is Mattias with Propellerhead Software and in this Reason Sound Design video I'll show you five ways you can make your sounds bigger. When talking about music, someone will eventually say something along the lines of, "Oh man that synth is fat." or... "Wow that's one big-ass lead!" Often this refers to a sound that occupies a lot of space in a mix, especially in terms of how wide the stereo image is or how much of an impact it has. So how do we get something to sound big?There are a couple of ways to do this. Let's start off with the UN-16 Unison Device. Unison basically simulates having multiple channels of sound that are detuned. You can select a number of voices, how much they should be detuned from each other, and mix the signal using the dry/wet rotary. One tip for using the unison effectively is to use it as a send effect. This means you can blend in the wider sound with the original sound without removing much clarity. Take this synth line here for example... This is just a subtractor in plain old mono. I'll add a unison as a send effect. Then, in the mixer, I'll activate the send on Subtractor and you'll hear the difference right away. Another trick to fatten up your sound is to manually do what the Unison is doing. Just make a copy of the devices you're using and tune them differently. This works especially well inside a combinator so you play all devices on the same sequencer track. Here's a lone Malstršm in a combinator connected to a line mixer. I can now simply duplicate the Malstršm and route it up to the line mixer. Check your levels here because you're basically adding a lot of extra signal. If I now tune one Malstršm a bit differently you'll hear it immediately sounds fatter. If I also pan them hard left and hard right, you get a really wide sound. Another trick that James has already talked about in his "52 Tips" series is the Haas Effect. This basically means you're slightly delaying the left and right channel of a sound, widening it considerably. I'll use the same setup as last time and just create a DDL-1, while holding shift so it doesn't auto-route. I'm gonna connect the right channel of the Malstršm through the left channel of the delay and back up to the mixer. Then set the delay to milliseconds, adjust the delay time to a couple of milliseconds, and remove all feedback. This final tip is a bit of a bonus. Maybe you've seen that we announced the beta testing of Reason 6.5 and even some information on our own Rack Extensions. Well one of those devices is amazing for making things sound fat and while I can't let you see anything, I can let you hear something. And there you have it... A couple of ways to make your sounds bigger and fatter. A final word of caution, though... Not every sound needs to be enormous. Think about what actually needs to make an impact and see if you can get that sound right to begin with. If you make some big sounds based on these tips send us your patches. Just attach them to an email and send it to productspecialist@propellerheads.se Until next time...
https://www.youtube.com/watch?v=tXvet2hlY1U	# YouTube ## Reason 13: Your Sound, Faster. ### Video Metadata - Keywords: music production, music production tutorial, reason, reason studios, reason rack plugin, reason 12, reason daw, propellerhead reason, propellerhead, ableton live, fl studio, logic pro x, reaper, bitwig, reason 13 propellerhead, reason 13 reason studios, reason 13, ripley space delay, polytone synthesizer, your sound faster, producer tips - Runtime: PT1M18S ### Description Your sound, faster. With an upgraded sequencer, a brand new browser, five new devices, and more sounds—Reason 13 is all about your workflow. Learn more about Reason 13: https://www.reasonstudios.com/new-in-13 About Reason: Reason has everything you need to sound like you. It's a virtual Rack where you wire up instruments and effects to create the sounds you're looking for. You can use it as a plugin or a full-blown DAW with recording, sequencing, mixing, and everything else you’d expect. Fast, fluid, and fun, Reason is all about making music—however you make music. Reason is developed by Reason Studios, founded in Stockholm, Sweden 1994. Follow Reason Studios: / reasonstudios / reasonstudios https://x.com/reasonstudios / reasonstudios ### Transcript [Applause] [Music] [Applause] [Music] [Music] [Music] [Applause] ah [Music] oh [Music]
https://www.youtube.com/watch?v=cuaSkSdvaxI	# YouTube ## Liquid Drum n' Bass: Super Neat Beat Cheat Sheet ### Video Metadata - Keywords: Propellerhead Software, Reason, Music making, Liquid Drum n Bass, Beatmaking, Music Production, Parallel Compression, Pro Mixing, Drum And Bass (Musical Genre), Beats - Runtime: PT13M2S ### Description For more information on Reason: http://propellerheads.se/tryreason Saying "Drum n' Bass" is practically as vague as saying Rock n' Roll. There's a world of difference between Jerry Lee Lewis and Gwar - even if they share some common heritage. Similarly, Liquid Drum n' Bass is a popular variant of the original Drum n' Bass styles coming out of the UK in the 90s. Liquid DnB fuses modern EDM production with the essence of classic DnB for an increasingly popular result. Here, Ryan shows you how you can put together your own Liquid DnB drum sounds and perhaps most importantly, how you can tap into the Pro potential of Reason's mixer to get some seriously punchy drum sounds. ### Transcript [Music] drum and bass came about in the uk during the 90s a dark time when internet service there was still charged by the minute and nobody yet knew the word zig zig ah using primitive samplers drum and bass pioneers found that laid back simple drum breaks like this sounded even cooler when you pitch them up on a sampler and they sounded even cooler when you juggled the rhythm around in the 20 years since drum and bass has splintered off into many sub-genres but one modern and popular style is liquid drum and bass liquid drum and bass fuses drum and bass's essence with the tonal qualities of ambient and even commercial edm production styles but one thing that has remained throughout drama basis many sub-genres is the tempo let's set our tempo today to 175. the construction of the actual beat is really simple so let's get that going first using redrum yes redrum and not redrum if you've seen the shining you'll get it as usual let's right-click and reset our device to clear it out we'll go to our kong sounds and samples folder bass drums and barge is a favorite of mine for making punchy electronic sounding kicks let's shorten the sample length for an even tighter sound and lower the pitch by now in the series you've probably realized that i'm a fan of layering drum samples so let's add aggro to channel 2 and lower its pitch we'll also shorten its length because we don't want a big trap style 808 boom layering drums in redrum lets us dip our toes into reason's otherworld the back of the rack reasons rack allows for amazingly advanced signal routing and there's different signal types you can patch between devices but today we'll focus on redrum's gate jacks let's patch a gate out from the first channel to the gate in of the second now when we trigger the first sample it sends a gate signal to trigger the second sample automatically effectively linking them this means that we only have to program the main kick channel on the step sequencer to have both drums sound the classic kick pattern for most drum and bass genres has kick drums on steps 1 and 11. we can also create a variation on pattern 2 that has kicks on steps 3 and 11. we're going to do the exact same process for our snare but a little faster now because you've got the concepts down we'll select a sample for our snare drum in kong's sounds and samples snare drums culture this time we'll pitch our snare up in keeping with that original drum and bass pitched sampler sound and let's select a second snare layer crispin max it's level and boost its pitch as well just like our kick drums we'll join these two samples by running a patch cable from culture's gate out to crispin's gate in and program our snares by selecting culture the pattern for our snare is simple snares on 5 and 13 but we need to remember to do those for our pattern 2 variation as well now let's dive into the mixer sadly too often in music production the mixer is overlooked it's easy to think of the mixer like this just a big row of faders in fact that's often how mixers are treated in other programs some kind of excel spreadsheet where you add effects and then balance levels at the bottom but pro mixing consoles and recording studios are so much more than that reasons mixer includes two important sections that are meticulously modeled after the legendary ssl 9000k the dynamic section and the eq section pro mix engineers sculpt their mixes by relying heavily on these sections to use the mixer to its fullest like i would a studio console i want to treat each drum individually that means we need to create four empty mix channels and run audio cables from each redrum channel to each mix channel i'll label each channel and i can even disconnect the main outs from redrum and delete this unused mix channel since all our drums are now wired individually let's solo the main kick sound and start by using the channel gate many people only think of using gates to cut out microphone bleed in acoustic recordings or to remove guitar hum but samples can be tightened up using gates as well let's turn on our gate and set everything to extremes maximum range maximum threshold and the fastest release we'll dial back our threshold until our gate is opening up for each kick [Music] you can hear that our release is too fast but on the opposite extreme you hear all that high end decay we don't need that so let's dial back the release until we hear that go away [Music] next up is the low and high pass filters the basic consideration is this if there's any frequencies in this channel that you don't absolutely need in your mix cut them out our kick doesn't need all that high end so let's activate our low pass filter to cut it last up is the classic eq section you might already be familiar with let's turn it on and sculpt a little more of our kick i want to scoop out a little more of the high and boost the low [Music] our second kick channel doesn't need a gate but it would benefit from the same low pass eq and we should sit underneath our main kick more once we have our two channels working in relation to each other i select them both and press command g on a mac or ctrl g on windows to create a group channel which i'll label kicks right now my kicks are punchy but i want them punchy and to do this i'm going to use a pro technique called parallel compression parallel compression can be a little tricky to understand so let's first consider an analogy it's no secret that photographers retouch and enhance photographs using photoshop for example to make blue eyes really pop photo editors often create additional layers in photoshop with extreme enhancements like over saturated colors and then they blend the transparency of these extreme layers back down resulting in more subtle enhancements to the original this concept of blending extremes in with an original exists in mixing too and it's called parallel processing let's right-click our kicks group channel and choose create parallel channel now we have a duplicate of our channel that we can process in extreme ways let's mute the original and compress the bejesus out of our kicks on our parallel channel i'll turn on the compressor crank the ratio shorten the release and dial in the threshold so that it's reacting a lot on the attack but releasing for that sub decay on its own this is not a tasteful sound but let's turn this channel down unmute our original kicks group and let's blend our punchy compressed signal in with our kick can you hear what a difference that makes we still have our kick sound with the added punch and oomph of our parallel channel just like in our photoshop example either element on its own isn't quite right but together we get something great we can do the same thing with our snares and just like we did while layering let's move through this process a little quicker since you now understand the concept we'll solo the first snare layer activate its gate and tighten it up using the same process we used for our kick let's activate the main eq and add a little high mid too now let's select our two snares and press command or control g to group them and we'll right click create a parallel channel of our snares group and solo the parallel channel for some extreme processing we'll turn on the compressor shorten the release maximize the ratio and dial our threshold to taste or in this case lack of taste let's turn that channel down and blend our compressed attack in with our main snare sound now those are some punchy drums and it's a million miles away from where we started [Music] but there's still a major element of drum and bass drums missing here it's those fluttering hi-hats that give drum and bass its signature top end the technique involves layering top end percussion loops like high hats and shakers and then pitching those loops unnaturally high let's start with basic shakers found in the drex percussion loops folder and let's pitch that loop up higher we'll add two other loops the bayer lake of bush collection of rex files is a great place to find top end loops like hat play 2 pitched up also and detune pitched up the same amount wow that sounds pretty bad right yeah don't worry i hear it too we'll fix it the cool part in these loops is the fluttering high frequencies the lame parts are well everything else but believe it or not this auditory spaghetti that we've got going on right now can be cleaned up with the high and low pass filters in our mixer one by one let's focus the sounds to just the parts we need shakers are very high frequency but it's actually the lower frequencies that i want to give me the rhythm of the shake without all that sizzle so we'll use the low pass filter for hat play we'll use both high and low pass filters to focus the sound on a narrow band of high mid frequencies our detune loop needs the most drastic change i only want the most high-end frequencies so i'll activate the high-pass filter and crank it to the top of its range giving me just the fluttering sounds above 4 kilohertz i can then make individual level adjustments for each element of my percussion and then group all three channels to get one percussion group fader to balance against my kick and snare let's work our beat in with the music i've made let's select each sequencer track and create a pattern lane for all four devices at once we'll enter blocks mode and draw our patterns in for each device the block only needs to be two measures long now let's draw our block into our main sequence drum and bass likes to start and stop the basic pattern frequently to punctuate the music we can start and stop our beat by simply slicing up our block after an 8 bar instrumental intro we'll bring in the drums on the ninth bar and we'll cut them out again to punctuate the last two bars of our musical phrase instead of bringing our drums in right on bar nine let's adjust our block back one beat and instead of ending right on bar 15 let's overhang the bar by one eighth note if we listen with our intro you'll hear the effect [Music] do you remember that redrum pattern two variation we made for the kick and snare using the three-dimensional aspect of blocks anywhere we want that pattern variation we can now simply draw in pattern a2 over top of our redrum track pattern 2 has only upbeats on the kick [Music] so that's liquid drum and bass but i'm sure you realize we've covered a whole lot more in this tutorial these tricks for punchy drums are equally applicable to deep house trap electro pop trip hop drum and bass or any musical style you can dream up so start dreaming and good luck [Music] you
https://www.youtube.com/watch?v=RyRmS2egAjc	# YouTube ## Music Making Month - Create Any Sound You Hear part 1 ### Video Metadata - Keywords: Propellerhead, Software, Music, Making, Month, Reason, Ed, Bauman, EditEd4TV, ReCover, Thor, Synth, Sound, Design, Synthesizer, Theory, Creation - Runtime: PT60M6S ### Description One of the best ways to learn how to make the sounds you hear in electronic music is to try and recreate other records you're listening to. Ed Bauman has gotten so good at this that online copyright enforcement algorithims often mistake his recreations for the original tracks. Ed will be teaching us ways that we can help get that synth sound we hear in our head coming from the speakers in not time flat. If you've ever abandoned an idea because you just can't get the sound right, you'll want to talk to Ed Bauman. ### Transcript is the first microchip is the first microchip music sound is electronic the sound is sexy sound is electronic this sound is [Music] sexy good evening I don't know why I become more sing song with that with each broadcast by the end I'm just going to be uh I don't know singing some kind of Opera some good evening Opera so um listen hi welcome here we are still going we got about a week left of music making month so let's start savoring the uh the evenings here we have together so um listen uh I want to welcome everybody and I want to give you guys a couple of uh rules if you're new to the new to the group uh simple rule really if you've got a question for me just throw the word question all caps in into the chat before your question and I can see it that will be good like for example Enoch light says what's Opera Doc oh no that's no if I had a buzzer I would no and you tricked me into reading that on air too um and so otherwise uh the only thing you need to know is if you want to have your music featured in music making month then you can do that you just need to send me a tweet and if you put uh tweet tweet us a link to your like a SoundCloud song and put the hashtag mmm prop songs and I'll search that every day and I check it out I listen to songs I pick one or you can put it on our Facebook page that's facebook.com/ propellerhead so uh I think that's all we need to know so I'm going to now uh leave you in Far smarter hands than myself with a with a guy who goes by the name he's in our forums as edit Ed for TV but this I guess tonight would be live Ed for TV and he is uh his name is Ed Balman he is a synth Genius of sorts he's got one of these sort of uh I you know I'm going to compare him to Rainman but not in a bad way like he's got this talent for hearing a sound and knowing how to create it and he makes these things that he is dubbed recovers which is cover songs where he recreates every synth and drum hit and and thing that you hear in the song and they sound so authentic that when he puts them up on YouTube the the YouTube Bots identify him as the original track and and and go like hey you can't you can't put up that song uh which I think is an amazing credit to him you know it's just wear that like a badge of honor so anyway let's bring him on and say hello Ed Balman say hello to the internet hello Internet how are you how are you Ryan I am good how are you I'm I'm okay yeah bit nervous but I'm all right ah you're fine we've I I have to say um you get kudos for the um for the microphone you sound lovely oh I than you well now you sound creepy I I'll stay a good Fair distance away then say a a certifiably non- creepy distance from the mic but uh yeah everyone is uh you're getting Applause and greetings from the chat so everyone is saying hello to you thank you thank you were you just doing your own Applause in the background I was I was doing a golf clap oh okay right right so tell me Ed let's uh let's just talk a little bit about this you you background in this is nothing this is nothing you come to New this whole idea of recreating sounds that you're hearing right no I've been uh geez I've been doing it what am I now 403 coming up on 44 in July uh boy I started um I got my first when we were talking before we started here uh started with the Lowry Oregon way back in the early 70s when I was all maybe five or six years old and my aunt uh my Aunt Dolores she's the last of the Bowman left in the old family we um my brother and I we took lessons from her and uh sometime in 78 or so my dad um did a deal with some people that he knew when he got a a newer Lowry orgon and that's what's behind me here I still have it how pathetic is that um we couldn't get rid of it and so much to my wife sugaring and so sometime around like 80 or so I uh uh lived in Redwood City uh across on the San Francisco Bay area on the left side in the peninsula and uh my dad and I went to galb music on El Camino Redwood City and I was drooling over the sequential circuits Pro one which was pretty new back then and I couldn't afford a profit five so uh instead of getting uh five voices I got one voice with the pro one and when I got the pro one it was just you know opened up this whole world of like oh my gosh this is so cool can make my own sounds so I would spend hours um uh listening to like I'd plug my headphones into the Lowry Oregon play one of the patches and I pull the headphones out plug it into the pro one and try to recreate it and literally just you know four five six hours at night um you know this little 12 13y old kid trying to remake all these sounds and so that's how I pretty much just started recreating things and learning to use my ear to hear things and how to reverse engineer sounds and stuff so it only went further and further through there and then of course back in the 70s all we had was you know um well the synthesizers just started coming out but we had you know the roads and we had the B3 and we had the you know worlitzer and that's about it and then other these other syn sounds started coming around when synthesiz was got affordable and that just you know the 80s were just huge for me and of course the funny thing um about it to me though is that when syn came out and when you look at early synth promotional material they were boasting of how they could recreate organs and they could recreate guitars and violins and you know and now it's like we've so abandoned that concept that we can try and recreate acoustic instruments with these but now the trick is trying to not recreate acoustic instruments but to recreate other syns that you've heard that's the you know that's the the the actual achievable goal with a synth is to use this synth to sound like that synth and there's exactly know I mean I have a lot of appreciation for people who are like total purists like they'll hear like a um you know something like in Thor or and they'll the patch will be called you know like mogue this or or you know ARP that or um rolling something or another and um you know they it's like it needs to be like just exactly exactly exactly what that synth was and I'm more of like you know what it's it's pretty much close enough and I mean if I were going to do an AB and listen to you know specific notes and like wow well that one's actually 3db lower in the Left Channel when you play it it's like you know what I I'm not going to get that de detailed about it because for the most part the synths that I'm making for what I'm doing it's you know it's one synth in verse three of this one song and there's drums and bass and guitar and other pads all around it so it's not going to be this nitpicky thing where I mean with all due respect but it's not going to be this thing where it it's like that's kind of far off from the original it's like no it's good enough and it works it suits its purpose right right well and so I wanted to ask you about um I guess your early foras because I think you when you started out you're probably where a lot of us were in terms of making these synth sounds and you I can I can speak to myself it is a frustrating thing to hear a sound in your head or maybe to hear a sound on record and go yes that's what I want now what and what is the now what I mean what is how does that how do we get to a point where we can sort of go oh I need that that synth that I heard in a club last week where it was doing this little like wamp wamp and now I know what to do to make it well actually there's a patch I think in the factory soundbank called wty wty w w let me go look and see that was that's oh no no it's wizzy wizzy wizzy I'm sorry right well yes I I will be working for many years before I can get that sound that's uh the great white whale of unachievable sound for me I stab at the um um yeah it's uh it's the whole reverse engineering of sounds you hear which is um you know when we talked months ago about or it was a month and a half ago we talked about hey do you want to be part of this music making man thing and I was like yeah what do you want to talk about oh he said why don't you talk about you know recreating the synth it's like could there be anything more vaporous you know in untangle how do you make that sound it's it's complete I was talking with Josh mbly uh yesterday the day before it's like man you got to do the whole drum thing I got to explain this vague cloudy thing like how do you do this um yeah it's it's reverse engineering and I don't know if there's a real term for it but that's what I tend to call it and I've got my whole PowerPoint here with some things about how I go about it shall we jump into the PowerPoint let's you have a PowerPoint right I do Isn't that cool it's very well you win the uh the award with PF for most prepared yeah I uh I have a LoveHate relationship with Microsoft I I love fact thought say I was like oh my God as much as it's an industry standard man I get really frustrated with something so I'm really hoping that PowerPoint doesn't go today all right so far it's been okay let's give it a shot so we're going to um so you're uh to do your deal you're going to toggle um what do we how do we do you're going to toggle video off and then yeah do your little Switcheroo let's see if this works you you tell me so I will tell you this is um I'm going to do my camera off I'm going to do share screen true story and I'm going to say start and I think do you see my Comin or my uh I absord I absolutely do hello record back so now if I do this you should see my slide stack I do see your slide stack well I see your slide so recovery with Ed [Music] Bowman so um yeah learn to listen familiarize yourself with multiple genres I remember those for people that don't know why we're binging and laughing uh Ed and I were talking about the uh old roll roll strip of film uh things in school you know you'll know when to turn the to the next slide when you hear that very unpleasant noise all right anyway go on and the tape was always warped so it was never a ping it was like [Music] a so yeah um first thing learn to listen um uh I can't emphasize that enough sometimes it's a Well I think it's this whole new culture I have four boys me and James Bernard's girls got to hook up someday cuz he has four daughters I think so um the kids the kids these kids nowadays these youths um it's so funny I watch my oldest son listen to songs and he listens to maybe all of like maybe a minute and a half and I can hear his room upstairs and all of a sudden he switched to another song it's like can you just listen to one song um that has to do I think with you know the fast availability back in the day you know it was a pain to pick up the needle and drop it on another track so you just didn't you listen to the whole album or it was a pain to hit forward and way as it went to the next song so we used to listen to music believe it or not so I say familiarize yourself with multiple genres really learn to listen to all kinds of music and really just open up your ears and and listen um you know my kids teachers in school say read for comprehension and I I say listen for comprehension don't just sit there and absorb the song as a whole like introspect it close your eyes Envision the band as you listen for that instrumentation picture the musicians listen to the sounds and you got to like really analyze things like what are you hearing you know drums bass guitar acoustic guitar piano um you you need to um really just you know Close Your Eyes For Me closing your eyes really helps and you close your eyes and you envision the band on a stage like okay what are you hearing um what are you not hearing you know you can picture maybe say a a violin on stage it's like am I hearing a violin am I sure I am or am I not or maybe that's a viola you know maybe it's a it's a cello but they're playing up high you know so you it takes time but you got to learn how to to listen and train your ears and your mind to open up and listen for things so once you've done that um you need to narrow that Sonic mental focus onto a single instrument so you can listen for the specific color or tamber of a individual instrument um adsr uh it's a synth talk attack Decay sustain release uh whether that's amplitude or filter or a modulation uh affecting pitch or pulse width or whatever um you listen for things that ramp up and ramp out so it's not just the static on off sound you you're actually hearing things EB and flow and then listen to um effects you know um and you need to be able to identify those effects and you know I don't want to scare anybody away but it does take time it's not this instant you know you know chew the red pill and all of a sudden you're awesome at this it takes a lot of time I've been I've been doing it for uh geez yeah since like 80 so 30 some odd years 31 32 years um so yeah you need to narrow that Sonic and mental focus onto a single instrument and once you do do that you can identify that specific instrument that was used and here it opens up this macro micro thing like okay you're narrowing down more and more and more so let's say you're just focusing on just the piano well what kind of piano is it is it an acoustic upright is it an acoustic Grand is is it a whirly is it a road is it a CP70 um lots of different options and the only way you can get to that point where you can hear it and go yeah that's a CP70 is just you know it's time it's experience it's is there somewhere at that we can go like I'll just take the the roads as an example if we wanted to listen to a song that is a classic Road song so that we can kind of get the sense for that so that when we hear it in another track we go oh that's like that song that I listen to now I I can tell that's a roads um yeah can I like you mean can I name one or yeah like I'm I'm I mean I'm if you can't then don't but yeah I know um Ro when I think of rhs I think of Billy Joel um I grew up listening or not grew up but in the in the 80s I really got into progressive rock so um I think of like UK um a lot of jazz is uh roads um a lot of rock pop in the um 80s and70s was Yamaha CP70 Electric Grand I love the CP70 sound um reminds me a lot of Peter Gabriel stuff uh worlitzer like Ray Charles I believe played a lot of whirly um and of course acoustic Grands you know we all know what a piano sounds like hopefully uh but yeah I'm sure the audience can think of all kinds of examples quicker than I can about you know what's a worldl what's a roads sometimes I get the wh in the roads a little bit mixed up in my in my ear just as far as like you know tone you could take a roads and change the tone and the tber a bit and put some EQ and it's like if it's buried in the mix it's like that's a road no it's a whirly no it's a the baso ridiculoso from the chat is I I love his name by the way baso ridiculoso says um Super had a bunch of songs with the I don't know if it was with the whle or the roads but yeah I think Super was um I think Super was a uh a Yamaha CP70 and I think there's isn't there CP70 in the I think there's a CP70 in the factory sound bank I'll say yes based on no knowledge whatsoever I don't know maybe it is um maybe not I think I do have one though I don't know where I got it but I think I got one let's see oh here's a cp80 I have let's see what this sounds [Music] like yeah so that's super I think it's got a very unique sound and I I love running that sort of that Yamaha CP70 cp80 I mean check this out this this is going to end up beautiful I love this so here's a little bit of amplitude release because I don't have a and I'm only playing on a 25 key emu xboard um so I'm going to turn up the release cuz I didn't plug in my sustained pedal so there's the cp80 and then if you really want to Just Lose Yourself um put a CF 101 on it That's a classic sound turn up the rate a bit and then L Reverb dour a little bit of rv700 [Music] 7,000 H Richard Marx uh is writing in the chat he wants his piano back what's that I said Richard Marx is chat commenting in the chat room he wants his piano back my piano back yeah so uh yeah CP70 cp80 all these different piano very interesting though yeah a Ruka Fest in the chat says instant Phil Collins that's true this is sort of that uh what's that song uh if you could I can't Endless Love or yeah take a look at me now I'm not going to sing it oh yeah yeah um but anyway no Phil Collins okay yes James James Bernard has banned Phil [Applause] [Music] Collins just an empty you're coming back me and you guys thought we were going to make synthesizer noises no this was just a big troll uh it's like a Rick Roll to get you to uh listen to Phil Collins Never Gonna Give You Up Oh Matthew Clary Against All Odds yes correct ding D oh Matt Clary poke I just poked Matt Clary wow roll yes we've just done a new interactive Ustream Phill Roll All right so uh anyway Matt Clary thanks a lot Matt is a good guy I have I have totally distracted you from your otherwise very informational PowerPoint no no that's that's fine there's all sorts of other distractions that could happen I mean who knows what could happen what what is that oh my gosh hold on this is [Music] ridiculous oh all right oh to there will be no more roosters in this broadcast if you guys haven't if you're tuning in and going what are they doing with the roosters you got to watch Pep's uh music making month event to appreciate did you just wipe them out are the roosters gone I totally did oh my God yeah but there's other animals here so well let's hope they don't show up does this mean I should start working up one of those no animals were harmed in the making of This broadcast quite possibly who knows what's going to happen oh jeez all right carry on so um so once you identify let's say the piano um I mean these things are pretty clear that the whole Yamaha roads worldly acoustic R um but if it's something more esoteric something more of like you know a synth kind of thing what you want to do is make a mental audio thumbprint of it and so you want to get that sound in your head and this is one of those like I was saying earlier this this cloudy vague intangible thing like well what do you mean making mental audio Thum print like um you can like hear the sound in your head and you just move outside of that song and think okay if that if that is that sound what does that sound like an octave higher an octave lower what if I play a major chord with that sound a minor chord you know and so you start hearing and feeling that patch in your head and in your musical mind you start like recreating it you're making this mental audio thumb print is what I call it in your head and so now you're starting to like familiarize yourself with the patch even though the only place that currently exist is in that song that you're trying to recreate so then that again that just comes from you know experience and doing it over and over again and um and then here's the big step the last point on this slide is go find or recreate that sound uh some of these pianos and stuff you can just go find them in a refill but sometimes um sometimes a refill is not the answer um and it comes with experience but like I'll listen to a song and it's like okay that's a string pad I can spend 15 20 30 minutes pouring through tons of refills trying to find that exact string patch where for me it's like never mind that I'm just going to rebuild it I know it's probably there somewhere but I'm just going to build it I'm going to go and pull up a combinator throw a mixer in it I'm going to use the subtractor or Thor and I'm just going to rebuild that that patch um CU it's quicker um eventually it takes time but yeah eventually get the point where it's like you can recreate it quicker than you can go find it gotcha um other tips for learning to listen um learn to listen for highs uh percussive symbols you know rides crash learn to discern the different things like what it's a crash versus a ride versus a bell ride versus a Sizzle I think they call it Sizzle ride versus a high hat versus you know dark high hats uh um Splash crash chinina there's so many different things to learn what they sound like uh you know shakers like a kabasa or a egg Shaker or a moraca or any kind of other you know percussive thing that you can shake and get that some kind of sound learn what they all sound like you know what's the difference between a clav and a side stick and and banging two drumsticks together they all sound slightly different and it all just comes from experience and listening and opening your mind to to learning that stuff um other kind of high things are like crisp acoustic guitars that be cute nice and clear sometimes when I'm listening to a song uh it's sometimes hard to hear the acoustic guitar because it's doing this you know ch ch ch ch Chu CH and and it's strumming but at the same time the percuss percussion guy is going with a you know two eggs in his right hand and then the drummer is going so they're all like in the same highend range and it's like it sort of all gets jumbled together so it takes a long time to learn how to hear a track and I totally recommend listening in Stereo because it helps a lot but it takes time to learn to hear a track and go yes I am hearing a high hat and I'm hearing a Shaker and I'm hearing an acoustic guitar because it can get kind of lost high end gotcha um and then same for Lowe's learn to listen for Lowe's kick drums bass guitars low brass synth base they're all fighting in that same range so it takes time to learn what each one's doing and how to discern one from the other or when they're together or you know whatever and then you got to be aware of overlaps um sometimes a track will have a guitar and a piano and they get into this area where they kind of mesh together I and it's like you can't quite tell if that's a guitar or a piano um uh uh there might be playing the same notes uh and like I said earlier high hats or shakers uh they they get a little mixed up sometimes um and yeah always listen in Stereo um there's a better separation of those conflicts so sometimes I work in a track and then I suddenly realize like wow I've got a monover version of this song this sucks and um and then when I listen to the stereo version it's like the high hats panned a bit to the left and the Shakers panned a bit to the right and it's like okay okay now I'm here and there's a Shaker there I did not hear that before or sometimes claps get lost with the snare drum you listen to it and mono you're hearing just a snare drum all of a sudden you hear the stereo version It's Like Whoa there's claps in there did not realize that so always listen in Stereo and then over time your ears and your mind will learn to do this faster easier better and just be patient it does take time it's there's no magic pill there's no uh be all do all you know answer to this it's just an investment of time um so we move from learn to listen to learn to research uh this is huge for doing a uh recreating a patch search out other sections of the same song uh there have been times where I've done a song and um I listen to this and a psycho that synth patch is wow I'm trying to rebuild this and I spent 10 15 20 30 minutes like this is getting frustrating and I think well I'll come back to this patch uh I'm going to go work on the rest of the song and then I make it over like you know verse two and all of a sudden they're doing something different different like maybe the acoustic guitar has been pulled out of the mix or and maybe the electric guitar is now doing something Plucky and subtle and all of a sudden you can totally hear that synth it's like well had I known that 45 minutes ago I would have gone straight to verse two and learned how to make this patch now you can hear it clearly uh and you can uh use that as a reference to build it and sometimes it's a slightly modified patch I've Done songs where um you think you're um you're going to have to build another patch for verse two or the second chorus and you find that wow that patch that I built in the first for the for the opening of the song it's that same patch you know two and a half minutes later they just put a little release on the amplitude envelope and put a little attack on the filter and it's the exact sound I need I didn't have to rebuild anything huh um search out other songs on the Same album sometimes I use the same patches uh on other songs search out other albums by the same artist um they might have used that same patch on a different album different song on a different album and you can hear it more clearly uh search out other versions on live online uh like a live version or an extended version or like a DJ remix uh those guys have access sometimes to individual stems and you know they'll pull that patch right out and use it differently and um was one of the songs I did a Human League song and I heard something that someone did like a remix that's like oh now I'm heing that patch cool thank you and I was able to recreate it EAS much more easy than listening to the original it's easier to hear Notes too not just patches but individual notes I did it thees mode um when is it People Are People the verse there's this synth going and I couldn't hear it in the recorded version but a live version you can really hear what they're doing um interesting search out cover versions uh by different U bands sometimes that's a good idea sometimes are really bad and it's not a good idea um search out other songs in the same genre and if you if you need to sometimes it does help to slow down uh the speed and or pitch of a song um you can sometimes hear a patch um if you slow down the the song say to uh drop at a full octave so it's going half speed uh you might hear a batch and go oh um that's a piano sound that they tuned up an octave higher or you might turn the song up an octave and then you could all of a sudden hear like okay that sounds like that old Fair light uh flute sound didn't realize that till I turned it up an octave and so you can go about doing it that way and then here's the all difficult thing learn to play um don't worry about Perfect Pitch some people have perfect pitch I don't uh but do try to improve your relative pitch um you know you uh should learn how to um you know hear like a like I'm playing a C there there's a interval so you should really train your ear to be able to hear that and [Music] go that's a fifth um and when I was growing up I would have different songs that I would uh use as helpers for different things like that like for me growing up uh learning how to play music this uh let's go down and octave [Music] here that half step that always reminds me of Jaws you [Music] know so I'd know if I'd hear that I go Phil Collins Jaws you know it's still F Phil Collins yeah that's that's the Lesser known movie where Phil Collins attacks a beach yeah it's a movie called Phil it's just Phil Collins coming up from under the sea um yeah and like [Music] um uh you know that's a whole step that believe it or not we used to have a cat called Lulu and my mom used to whistle for our cat called Lulu Lulu lul the third I always think of um oh what's that Beetle [Music] song I'm The warus oh yeah [Music] okay yeah that was a 25k [Music] keyboard yeah so that third interval for me is always I Am The Walrus so you do this thing where you listen to it and you hear a song that's doing this third interval and you're like and then you hear the notes and you sing it in your head you go you know another song you know it might be in a different key you know like and you hear it in your head you go and then then all of a sudden your mind goes I am the roist that's a third now just find one note find one of those and you can fish it out you know if you don't know what key it is [Music] there it is it's a c so it takes time but yeah improve your relative pitch you don't need Perfect Pitch it does help but relative pitch is is great start simple learn your notes then learn your chords then learn your scales and then move on to intervals and slash chords slash chords is like you know um like a G major it can have a g in the base or you can put a B in the base of a G major [Music] chord or a d so those are slash chords and I highly recommend this website called music theory.net and they have online ear training things and um right really cool website in fact actually uh on our user fors I just saw that uh I believe it was cig a member of our Forum created a music uh an ear training combinator that will help you sort of learn intervals and stuff like that yeah I was going to say uh gu just released a refill and I believe it's free um it's in your training thing which is really cool highly recommend that too um and with this also you know over time your ears and mind will learn to do this faster easier better be patient you know doesn't all happen immediately um and now we get to the heart of this thing learn to create and build uh this stuff um totally know your manual know your devices know your refills read the manual for for Pete sake people read your manual some people think the only thing uh that comes with a reason to record is that little getting started manual but there's not if you open up your install and look there's this freaky huge 700 page something manual that comes with a cord and I think uh reasons manual is like like 400 something pages I think so there's a lot to learn and read it front to back um and don't move on to don't move on to page two don't move on to paragraph two don't move to sentence two until you understand what you just read read for comprehension listen for comprehension understand what you're reading before you move on and if the sentence in and of itself doesn't make any sense post a question on the Forum go online Google it Google is your friend go figure out what it is you just read you know what's an adsr go find out don't just go yeah adsr I'll figure that out later learn it um know your devices you know um learn and as you read the manual you learn those devices you know how exactly do I use Thor how do I use a matrix how do I use an rpg8 how do I use the Neptune it's all just time it takes time then no magic pill again it's it takes time it's an investment and know your refills I can't tell you how many people are like um you know they they know they've got a sound somewhere and they just don't know where where to find it in their refills so more isn't always better people some people are just like these refill hordes they collect stuff and they just you know can't quit downloading refills can't quit buying refills um you know more isn't always better it might be better off having reliable limitations quote unquote versus junky access where you've got you know 90 refills that's taken up 80 gigs on your computer and when you go to find a you know strings it's like okay search strings and you get 297 return it's like okay which one Gee let's step through all 297 right no yeah yeah yeah you can't step through all 297 um so here's the bulk of this thing this ISS learn to create and build continued and the way I do this is I always create a combinator first that's key um and let me switch over to my reason screen or record screen let's see fancy there it is Hey look it's Phil Collins [Music] again delete all in so let me switch slides uh for myself here uh see PowerPoint what are you doing um so first thing to do create a combinator and so I'm doing dueling screens here so you're not going to see my uh menu that comes up but create combinator so there's your combinator it automatically automatically wires itself up to its own mix Channel wooa and the first thing I do and there have been times where I haven't done this but the first thing I do is create a mixer and even though the line mixer is more Compact and and Tiny um I almost always um use the 142 mixer and that's because if you look on the back of the 142 you've got level CV inputs and you've got pan CV inputs and if you use the little 62 mixer you've got pan CV inputs but you don't have level CV inputs and so sometimes when you're doing this control voltage um you know routing thing from different sources to do some volume automation for a particular patch you're working on you might build your line mixer up with four or five different devices below it it's like okay time for some level CV automation dope so it's better off for me I usually make this 142 mixer so I'm ready to go even if I'm only using one channel of this 142 mixer I'm ready to do what I need to do and then once you've built the 142 um like I my go-to synth is Thor so I love Thor um so you create your combinator create your 142 mixer and what you really want to do is make the entire patch self-contained um you know this thing is going to be wired up to um records mixer is there any sound that you can't make or or can you make any sound that you can conceive of in in reason using the synths and the devices the ones I have trouble with um that's why here's my little my little logo I don't know if you can see that can you see the little Sawtooth triangle yeah we're not getting but that's okay oh there you go Sawtooth Triangle Square I started using that it's like my little signature way back in high school in the'80s um some friends called me synth back then so that became the synth logo um that kind of stuff with those classic wave shapes that stuff I love recreating those syns because that's what I grew up with and stuff the ones that I have trouble with um are very you know specific things that are really hard to recreate like like ring modulation kind of sounds uh am synthesis FM synthesis is tough um those kind of sounds where it's like they could be turning uh you know like a like an them syn they could be dialing in on one specific setting and then the whole patch is based upon that setting it could be as easy as you know a simple um you know one oscillator on an FM synth but to recreate that your ear might be hearing like five or six different tones in there all on one pitch so you hear this really kind of a belly thing that's like multi-layered that stuff's hard to recreate um and then other things like um um if you um have like like a like some sampled sounds you might hear and you won't even realize it's a sampled sound and you try to go and rebuild it and the more you listen to it it's like they're working off a sample here and it's a very specific thing and to try to recreate that with the synth is tough if not impossible you try to got got to go back and find out what what what would they have sampled what could they have used right so those are tough gotcha okay another question that comes in let me uh come back to you here another question comes in uh they wanted to know is it better to analyze other people's patches or to use trial and error when uh doing these sounds you that's the the beauty of the reason rack is we can actually look at patches and reverse engineer them but maybe that's not the best way to learn I don't know I've done both um both ways uh especially if you're just starting off doing this kind of thing you know totally digging into other people's patches um when I first started using reason back in the like 2001 2002 um one of the guys that I loved his songs and still do is uh Tom Pritchard Stomp and when I was first learning how to do stuff in in reason even coming from a background of doing all kinds of synth stuff midy crazy crap and I was learning how to do you know I used to know like the the csex um IDs for different companies like o o was sequential circuits and 40 was C or and so you look at these weird heximal codes and go oh yeah 23 Rolland I don't know what they are now I'm just guessing but even coming from that crazy background was just total over over overload just absorbed in this stuff um where was that going what was the question is it uh is it better to uh to to sort of reverse engineer other people's patches or just trial and error yeah and even though I came from that crazy background of being totally into it you know up to my neck and learning since um when I heard Tom Pritchard stuff I was like holy what is this guy doing this is beautiful stuff he had a song where he used did some OBO saxophone something or other and I flipped his rack around and I went oh look he's using CV and I came from a background where I knew what CV was but never really used it and the stuff I was doing because that was more of the midi era not the CV era of the 70s but the midi era of the 80s so you didn't really need to get into CV in the 80s if you were just using the syns that were around back then but when I saw Tom doing that CV stuff I'm like I need to learn how to do that so I would sort of reverse engineer some of his patches to see like what did he do here and learn like oh okay he's taking this LFO and a square wave and going here and that's modulating the pitch so okay that's cool and so yeah totally if you're just starting off or even if you're seasoned um uh reverse engineer patches that are already already made take that nice you know synth uh strings patch from whatever refill and look and see how they did it but a lot of that you know it's it comes with trial and error because you may start touching things and pretty soon you've turned that you know that nice and string sound into something terrible because you didn't realize like okay you were adjusting this this and that and it didn't matter until you changed that parameter and now all those four parameters that you thought were doing nothing all of a sudden they come into effect and it's like what happened I hit one button it does all that that's crazy what's that button all about but it wasn't just that button it was like you know the four the parameters you touch so if you touch something and it doesn't do anything it might be because it's dependent upon something else you know I see so yeah okay and then third question how much do you rely on EQ to sculpt the sound um you know not too much um unless it's a really obvious EQ kind of thing um you know sometimes guitar sounds have specific tone to them and like you need to you know really play around with you know whether it's an amp model or some EQ settings okay whether you're going to run it through an mclass EQ um but pretty much the synth uh not so much EQ more along the lines of you know choosing the right filter and setting the right fil let me ask you a followup because it looks like the question was asked uh two similar question but very different um storm wanted to know specifically how do you do you do you ever use EQ to find the sound when you're doing the analysis oh uh no I know some people um try that and it's tough because you know you think well it's a bass guitar it's all low so let's filter out the highs it's doesn't quite work that way um you lose a lot of the there's even though it's like a bass guitar and he's playing in the low range there's still a lot of high frequency content in the bass sound I mean take a listen to something like uh you know uh like Getty Lee's rickenbacher you know yeah it's a bass but man it's got a lot of high-end crunch that gives it that character where he can you know he's playing the Baseline but Alex Lion's going off on this guitar solo and you're not missing the rhythm guitar at all because that base guitar is really filling out the whole Spectrum or like um what's his name Doug pinnick from King's X same thing you know uh guitar solo comes up and Doug's just doing this Baseline and it's just crazy how much the bass guitar can fill in that whole area so if you start eqing to find a specific sound you may lose you know a good 50 60 70% of the character of The Sound because you're eqing that that good stuff out too right okay well okay let's let's uh dive back in here to um to making sounds and uh we should God I me I mean the evening is going to fly by uh if we are uh not too careful here so um we should uh we should start making some blips and bleeps pretty soon yeah so let's uh let me go back to this PowerPoint really quick here see what it says so yeah I'll make the um let me go back to my screen stop this there you go share screen this screen start so I believe you're seeing my screen now I probably yes so yeah um even though you've got your auxiliary sends in this window here of the main record mixer uh don't use those when you're uh recreating the patch um leave that for overall sound sculpting for me at least I like to keep it all within the combinator um because if you're going to share that patch later if you're using the ox buses of the record mixer you're going to um you know it's going to lose its flavor character when you send that patch to somebody so definitely keep it all self-contained within that combinator itself um and not to eat up too much time but when I do a recover um I create a structure track and a and a reference track so someone had mentioned uh working on uh this song by yazu um called uh only you which let's see if we can play this here at a low volume so what I'm going to do is I'm going to play back this via quick time which is offc screen and um I'm going to use the tap button to find the [Music] tempo so it's like 105 106 right so I've heard enough of it to say it's close enough to 106 because again this is a reference track so you don't need to be totally dead accurate so now that I've created this uh proper temp all I got to do is um I'm going to import an audio file and I have this saved as a aif file so it's going to import this uh only U and I'm going to zoom in here and the song begins so there is so I'm just going to razor blade this right where I need it and I'm going to talk cross that piece and I'm going to turn snap on oop no snap off I'm going to align this to pretty much well I can type it in actually zero so 41 Zer so I'm going to want this to start on the beat so I turn snap back on and I can pull it back to measure two because I want a four bar click intro to so this will be the click here right so let me turn this down I want to blast you all way two three 4 [Music] right so there it is that's my reference track so I'm going to call this reference and then the other thing I do is I create another track it's going to be a dummy track so I'll just create a um a mix channel oh whoops no I don't want a mix Channel I want to create I'm just going to create a combinator and I'm just going to call this structure and so I'll put the structure track up above the reference track right so now what I do is I make Clips so I'm going to make a clip and call this and I'm going to label this clip and I'm going to call it intro right and so there's a handy reference to where I am in this [Music] song this is still intro so there's verse one and that is loud so let me bring it down in the mix so that all make sense so far totally totally all right so let me get my left right markers out of the way so here's verse one so I'm just going to copy this intro thing hold down the ALT key drag this over and I'm going to rename this verse one and I'm going to color differently so uh let's call color it orange so we go verse one so let me turn this down even more because I want to keep talking here as I do this reference track way down click can be off now actually to click on for a [Music] second so this is still verse [Music] one so what would this be called I always end up calling this before the chorus oh this is more of a chorus but I guess you can call this a chorus so I'm just going to call it a chorus sometimes I use the term pre- chorus which I know is a question coming in um on the on the chats here is uh how come you're not using blocks is that just a habit thing or um I'm less you know blocks are very cool for a specific type of music but uh um I mean for any kind of music you can use blocks but I never really got into it um I just like to you know the whole concept of blocks for me it's like I I like to see the notes I'm working on that whole ghosted feel uh sometimes specifically I think I mean specifically for oh yeah you could do that too I just I've started off I used to do this kind of clippy thing uh way back when I was using only reason uh and before there was any kind of markers there was no markers you know how do you mark off things well I came up with this one once we had clips that could be labeled um so that's why I do it this way you could definitely do it via blocks and what's cool about doing it via blocks is it puts you know like this purpley color for intro it puts that purple shade all I see is purple all the way down into all the little known fact that was Ed on the purple ribbons demo song yeah so uh it's cool because it puts that purple shade all the way down all the tracks that orange shade for verse one so that is kind of Handy and the I believe the text is bigger as well so um that's another way to do it you know this multiple ways to do things gotcha so all right carry on um oh listen someone's mowing their lawn great um so now we're at the chorus and this song actually seems to be pretty dead on as far as timing goes I think 106 might have been the right number but every now and then things are off a little bit so since this is just a reference track what I've done before is you can zoom in to where this I mean you you can see that right there that chorus starts actually a little bit later uh that click that beat right there that waveform so what you can do is turn snap off get the razor blade out and cut it and then just drag it over with the snap off you know it it there might be if you drag it to the left it's going to cover and you're going to lose some audio if you drag it to the right you're going to have a little gap of audio but it doesn't matter it's just a reference track you just want to you know go back and forth AB things and and listen and so it's okay that there's a little stutter there Zoom back out is saying that yeah there's some tape flutter on Old yazo what's that PF is saying that there's some tape flutter on the old yazu tracks oh yeah well we can run that all through a finalizing combinator and add the flutter yeah sometimes I do these recovers and it's like they end up sound I don't want to be pompous or anything but they sound better than the original and I think a lot of that has to do with with okay hear the sound this is what it sounds like but then there's like there's no tape hiss there's no you know there's no vinyl hiss and it's it's like something's wrong it's like too too clean um so it's like burning off to a cassette tape and then listen to it's like okay it's actually all right right that actually raises a question from the chat here from Mary Arland she wants to know about analog versus digital synthesis is it one better than the other radically different is it half of half dozen one six of the other um you mean like using actual analog syn versus recreating them with digital Sint or I'm going to all I have to go off of is her words analog versus digital synthesis but I I'm going to say yeah that sounds probably right you know you see syns now that are like even workstation syns that are digital virtual analog you know oscillators it's it's all recre but yeah and even stuff that's coming out today A friend of mine just showed me something new that cor came out with which is really cool but I don't think they put any Curtis electr music chips in there or you know it's it's it's a computer in there you they put a computer in a case and slapped a keyboard on it um so everything these days is digital I mean recording reason It's All Digital too so right um there's no uh analog chips uh that come with reason to record so for me it's a convenience thing you know uh I love the sound of old analog syns but I'd rather you know walk into a gig with my MacBook Pro on my arm and you know and pretty much walk in one trip uh versus when I used to play back in the 80s in my friends bands uh you know seven eight trips out to the car to get you know five keyboards that each weigh 30 40 50 lbs right oh no more um so yeah this is how I build this reference and structure track and so now I just start listening to um the song and recreating the synths um and you enter in rough notes for easy AB comparison so that's on my uh PowerPoint see if I can go back to the PowerPoint without crashing or anything so I've already covered this and then you enter in rough notes for easy AB so it doesn't have to be perfect just so you know if your ear's not that good just ENT rough notes and if you can find them easier said than done but um and then what you do is you reverse engineer the mental audio Thum print you made earlier of that specific instrument you identified now when you're doing it with a track right there and record you don't need to work off the mental audio thumbprint you took earlier you can ab it right there uh and here's the hard part you have to mentally strip away the effects you're hearing so learn your effects Reverb delay chorus flange phaser Distortion pitch shift filter like WWA stuff Lesly you got to be able to mentally pull that stuff out of what you're hearing and um try to get Beyond like okay like you're listening it's like okay what is that stuff doing try to filter it out mentally like okay I know I'm hearing Reverb so never mind the Reverb let's get beyond that then you mentally strip away filtering like cut off in resonance any kind of adsr envelope stuff going on like the filters opening up slowly and closing try to get to the heart of the sound and um mentally strip away that amplitude amplitude envelope uh you know it fades in volume Fades out volume uh mentally strip away modulation like portento pitch band Stuff Mod wheel vibr and any kind of adsr envelope uh pitch effects oscillator parameters like pulse with or uh detuning stuff like on the multioscillator and Thor and this is all that cloudy stuff like well how do you do that right I don't I don't know it's you just experience you know you learn how to listen to these things and you start stripping this stuff way mentally like eliminating all that other stuff and so the first goal is to dig down to the core of the patch you want to get to the raw oscillator uh which is either going to be a wave shape or a sample and like I said earlier standard synth wave shapes are like Sawtooth Triangle Square or pulse wave and then Advanced synthesis stuff like AM FM and like the PPG wave table stuff uh some of that corg wave station stuff the profit vs that all wave table kind of things that that's tough to recreate but uh the standards a lot of this old stuff uh it could be standards you know the basic three uh or S Wave maybe you can say four um oscillator synth um wave shapes and then you can get into like sampled things like the fair light CMI uh which um who's the refill by um Patrick Frid uh bitley awesome awesome awesome refill right uh tons of Fair light stuff in there and then he had another refill um he had a Roland D50 refill um which I won't cover now it's in my PowerPoint but back in the day when Ram was expensive uh the D50 was doing some very cool stuff where they would take a single sample and stretch it far left and far right and cover the entire you know 8 n 10 octave range and it it sounded fine it worked you don't see that anymore really uh there's all this multi-sampling stuff which is totally toally cool as well but there was a certain element to that stuff which uh is beautiful it's some of that that D50 stuff just sounds awesome
https://www.youtube.com/watch?v=Jiv0eXfHBJU	# YouTube ## Dubstep & Future Bass-Face-Melting Sounds Using Reason's BV-X Multimode Vocoder (Derocc) ### Video Metadata - Keywords: bv-x, dubstep, dubstep tutorial, propellerhead reason, propellerheads reason, reason, reason 12, reason bv x, reason daw, reason propellerhead, reason studio, reason studios, reason tutorial - Runtime: PT5M14S ### Description In this video, Bobby Dellarocco (aka Derocc) walks us through the new BV-X Multimode Vocoder and the various ways it can be used to create massive sounds-perfectly suited to dubstep, future bass or any heavy electronic genres. The BV-X Multimode Vocoder is included in a Reason+ subscription (sign up at www.reasonstudios.com/plus) and can also be purchased in the Reason shop at https://www.reasonstudios.com/shop/ra... Learn more about the BV-X: • Introducing the BV-X Multimode Vocode... ### Transcript welcome today we will be demonstrating the new multimode vocoder for reason the bvx [Music] what's going on everybody my name is bobby and today we're going to take a look at a brand new device for the reason rack the bvx multi-mode vocoder so i've had the chance to play around with the bbx for the past few days and i think it's absolutely incredible it's a wicked fun device super powerful and you can create some insane sounds with it so let's take a look at a few ways that i've used it within this song obviously there's first this beginning section here today we will be demonstrating the new multimode vocal reason which is just a weird deep vocody sound robot robotronics thing for this sound i use the autoplay function what this is is it reads the incoming signal for the modulator and will automatically play the notes on the built-in synth carrier for you so i use the built-in bode shifter to help really get that super deep sound welcome today we will be demonstrating the new multimode vocoder from reason the bvx then i use the pitch detect modulator to modulate the shift of that effect i also use the overall modulator level to adjust the spectral spread of the incoming sound so you don't have to use a voice as the modulator for your vocal you can use whatever you want in this case i use the little tom groove fill to modulate the sound of a piano [Music] it creates this cool pitched percussive sound to me it almost reminds me of like staccato strings in a way and i loved layering that in so i did make a little downlifter in riser out of the deep voice velcro as well all i did was i went wow [Music] in this instance you can really hear the pitch detect modulating that shift of the bode shifter as it gets down to the middle there it really slows down and then once versus at the beginning in the end where it's a lot where it's shifting a lot faster so one thing i ended up doing a lot within the song is using a dubstep growl as my modulator something like this and then using the built-in carrier within the bvx [Music] one thing that i really liked about the bvx was how many wave tables were built into it and like not just like boring you know pulse there was cool ones like robot ramp or phase folder or alien bell or transformer there's some really fun ones in there so just by swapping those out you can create some insane sounds and then with a little bit of modulation like in this case i'm routing the envelope to the wave shape so that every time i play a chord that changes a little bit if you listen to it [Applause] it gives it a little bit more variation and i'm able to come up with a bunch of different sounds easily and quickly that sound great you have some cool cv routing options on the back of the bvx as well you have your standard cv input and output you've also got modulator pitch out and modulator level out that way you can use your modulator to modulate things that need modulating yeah overall i think the bvx is a wicked cool device it's super inspiring it's really easy to use it sounds great i hope this inspires you to maybe go try out the bvx for yourself see if you like it i think it's a really cool instrument until next time take care welcome today we will be demonstrating the new multimode vocoder for reason the bvx [Music] uh [Music] [Applause] i know [Music] [Music] [Music] you
https://www.youtube.com/watch?v=rEm0VQyc89I	# YouTube ## Artist Interview: Olivia Broadfield ### Video Metadata - Keywords: Olivia Broadfield, Olivia, Broadfield, This, Beautiful, War, This Beautiful War, Don't, Cry, Say, Real, World, MTV, Propellerhead, Software, Reason, Neptune, Pitch, Corrector, Voice, Synth, Harmony, Piano, Singer, Songwriter, Vagrant, Records, Synthesizer - Runtime: PT5M48S ### Description More info on Reason: http://www.propellerheads.se/products... Olivia Broadfield would be the first to admit that a common question when people see her name is "Who is she?" But she also realizes that their common follow up is "Why is she outselling everyone but Owl City on the iTunes chart?" Olivia is a self-producing artist who is more than just a gifted songwriter. She's has a gift for music publishing as well. Where most bands finish their album, pile into a van, and start touring it around the country, Olivia takes to the modern online social networks to reach music supervisors and publishing companies. She has secured some of the most coveted film, tv, and commercial placements around, reaching audiences of millions with her music in the process. Most recently, Olivia was featured on Grey's Anatomy. It's a music placement which has made household names of artists like Imogen Heap. We sat down with Olivia to hear about her early songwriting, what inspires her, and see how she's using Reason to create synth hooks from her vocals. If you'd like to see the song she shows off in this video in more depth, "Say" is included as a demo song in the Reason 6 folder. Even if you don't own Reason, you can still see exactly how it was made and wired up by downloading the demo application from our website: http://www.propellerheads.se/download/ And don't forget to also catch her live November 21st on uStream: http://www.ustream.tv/channel/oliviab... ### Transcript [Music] i think like "Oh my god I went on to say and then you can't shut me up and [Music] action my name is Olivia Broadfield and I'm a singer songwriter from the UK i've just released my second album and I spend a lot of my time writing music for TV film and adverts i can't remember if there was like a moment when I went "This is my calling i must be." I don't think there was that it was always like for relaxation I would play music with whether it was with friends whether I'd come home and do my own i did love it but I as a sevenyear-old you don't know whether you do love it or you're doing it cuz your parents told you you must do it i found something I must have done when I was about eight help me get through and every night oh yeah my pillow gets wet with these tears I shed for you i can sing when don't cry got used on it was just an MTV show and they did this thing called chironing where they say now playing Olivia Broadfield don't cry the song played for maybe half a minute and from that everyone went who who is she why is she selling more songs than I think the only thing that was out selling me at that time was I think Owl City from that I then got a record deal if an album gets 10 20 placements that's the equivalent of it selling probably hundreds and hundreds of thousands of records with the second album you know the album's only been out what a week and we've already had two placements from it so I can't ask for more than that my music's kind of changed slightly now as you know it's kind of gone a little more back to Reason back to piano while still incorporating that kind of electronic feel whereas the first album I was learning how to use Reason i'd watched someone else use it and I kind of thought it was kind of fun and I had no knowledge but when I bought it it literally was I watch someone use this for 6 months a year surely I'll be able to use it i'm not going to lie i didn't necessarily think I'd have a hope in hell but I thought well I will just write and I'll produce it in a way that it it could work so what we're going to look at here is a song off my new album called Say so the song would have just been this [Music] so it's kind of it's nice you know but it's hasn't got much flavor so to speak so what I then did is I used the Neptune for example go and create a track that you can play in with so then this line then became can we stay here just a little bit longer please which was great i didn't want to overuse it but I wanted to kind of cut it more so we zoom a bit more into the song and you're getting a little bit longer and if you actually listen to one of them I kind of just was mcking around to be honest with you can we stay here just a little bit lower which doesn't feel like it should be good but when you listen to it in your ears every now and then you'll get like a high note just pop into your ears so long so the hook of this on its [Music] own that then became transform when I put this the synth on top of that i kind of really pushed the voice synth up on here and pulled down the pitch signal mix so it became which then when you put it back in the mix for me became a hook as much as much as the you know main vocal [Music] can you say things just to offer me some it's a very you know I can't touch it i can't physically twiddle knobs what can I physically do to imprint me onto this untouchable kind of thing and that like I said it's feel and it's musicality i'm kind of an old school songwriter pushing myself to not use old school technology you do have to find new ways nowadays to make music but I think that's why I liked Reason it just felt easy people have got shorter and short attention spans and you got 3 minutes 30 some cases when I was super lazy 2 minutes 20 that's still a song 2 minutes 20 you have to give something enough that when people leave it they're humming it i purposefully choose real sounds and then treat it like it's a piano and put the emotion into it and weirdly technology is quite [Music] responsive i go window cleaning on his work no didn't make it to America
https://www.youtube.com/watch?v=qb8gklUZ1QI	# YouTube ## Aaron Albano (Ming & FS) - Reason Artist ### Video Metadata - Keywords: Aaron, Albano, Ming, FS, Propellerhead, Software, Reason, version - Runtime: PT8M33S ### Description More info on Reason: http://www.propellerheads.se/products... A visit to Aaron Albano's (Ming & FS) studio in Hell's Kitchen, NYC where we learn about his Reason-centric workflow in his everyday production work. ### Transcript all right we're here with Aaron al bano aka me from reading FS he's going to show us a few things on how we use real names production studio in your in your productions you know you have a common theme of kind of combining both the electronic elements when you need a reason and then of course you being a multi-instrumentalist playing bass playing guitar rhymes like that so you are always adding some other organic sort of a material audio files Tito's and so on so how do you use reason in the way to combine those two elements together what are you using a conjunction with sure we will give you an example I have a queue up it's a post-punk cue the end up being an MTV piece ok so the way I'm using reason most of my projects whether it be electronic rock hip-hop whatever is I split my audio into two different mixing consoles so I have and both of those mixing consoles then get sub mix in the micro mixer so I have my drums on one channel and my music on another channel and the drums themselves are running through one mixing console into a mastering into the mastering unit what you want to get the right name of the m-class master mastering for the drums alone so that depending on how I make changes in the music the I don't get as much you know flutter and movement in my overall level and I can get my levels high going into my digital performer from from reason without having to boost all of us you know and kind of distorting the mixer itself and this is all running through digital performer the drums going here this total mix though is going through a mastering channel on my digital performer and I run pretty much everything i'm working on it's going to a master channel while i work so that i can actually hear what it's going to sound like with the compression with everything else on so that I have an idea of how much I actually need to add as opposed to over adding music I can program a lot last you the room that gets taken you know taken up by squashing this you know so overall program is there so that's generally a process so right now for this I'm just running drums please I have a lot of bass in the town here so my chrome file so your your technique of how you're running reason and doing your your final mixes is you're actually mastering as you as you range and as you're doing write songs so instead of doing the fix it in the mix kind of your you're continually mixing and mastering as you go I don't really believe in and fix it in the mix I don't know if that's aI don't normally use an engineer during the recording process I do the engineering myself so what I like to try to do is make everything sound the way I think it should sound now so in this case I have the drums that a program it a reason they're running through a mastering channel the vestry challenge reason then goes through digital performer where I track all my guitars and I have a guitars here and a base here and then so the everything together hmmm your next episode of cribs yeah I think when they do the painting and show all the stuff here's your music that but as what's going on behind there so but you know I to that note reason is so musical in the sense that i can go from working on you know post-punk track here to a hip-hop track to an electronic track to whatever it may be and i don't have to go learn another piece of gear I don't have to go you know find a different library all of my libraries all my sounds everything that I collect over the years is right at my fingertips every single time I work do you have any sort of templates or something that you always go to to start off when you're when you're doing your music or new production right i do what i found is it because i split my music and drums us to separate items within the reason console itself I've created a couple of templates and one of the templates that go to most often is this sort of subdivided template where I have two sections to mixing consoles running through mastering the m-class mastering units into the micro mixer and then of course I can you know map that out any way I want and so the way that works if you turn that around so you get a better idea is that I have my I have my mixer going into the mastering unit then into the line mixer and then of course the line mixer goes into the audio out or whatever this thing is called in region midi in the best yeah the thing on top of reason this well do I ever do anything and the way the reason why I do this this way not only because I'm able to manipulate the sounds and and compress each section of audio by itself if you want to end up doing something later on work for example I have the drums in this module here and i have my music in this module here and would say in dance music what if i wanted to do a filter sweep with an envelope filter or something on just the music itself I don't have to then figure out how am I gonna get you know I have 15 things input all over the place and then I want to sweep all of them as one I have it all summed up in one one mixing unit I can throw a filter on this after the after the victims are the the compressor the m-class series and then I can just filter that that Bank of sounds or I want to I want to roll off my kicks so I want to roll up my snares or I want to have an effect only on the drums and so that's a much faster way for me to work so you're you're trading reason in this instance as if you were in a big studio and here in Manhattan someplace yeah it's a big neva ssl console where you've got your subgroups so you're coming from this is more of an engineer's background you got a different head on here see it's almost like you're wearing two different hats when you're writing do you feel that sometimes when you're writing your the musician and then when it comes time to do this part you have to put on your engineers hat and kind of split it up what i think the way my brain works in music which i don't know if it works for anyone else way but is that as I'm writing I'm hearing the production so if I'm writing something on guitar even if that guitar doesn't sound the way I wanted to sound I'm already thinking about well this is how I'm going to do this and so it also in terms of tempo that's another good starting point for music so for example if you're working with a singer-songwriter and you're writing a pop song the tendency with singer songwriters is to play music slow so you get on a guitar you create this really kind of sweet piece but the reality of it is it's probably too slow for the radio yeah so I'll immediately go over to reason and then get my tempos into the temple area that I think we have a range of tempos that we're gonna work for a radio song so then I'll now take this guitar thing and I'm mortem are already working with reasons maybe I'll start programs and drum bits as I go and I think it also helps in the creative process because I can be so quick to have a guitar idea to programming and reason and having my drums come back to me and if I'm writing with say it's the two of us writing a song and you don't play instruments maybe you just sing I have to play the bass guitar the keyboards and everything but I can quickly then throw down a baseline doesn't have to be perfect and we can write a song and focus on the artistry and then you know when you decide that you're hungry and bored of me you can go get yourself a beer and and eat and then for the next 15 minutes I'll fix all the sounds yeah you'll come back and you'll be excited about piece of music that we just made because it's it's a quick very fast way to get that huge studio sound yeah and therefore you make better music you know right so we want to thank you erin for taking your time out today and showing us some of what you doin reason and gear and some tips and tricks with us and for more information if anyone wants to check out some more what you do you can go to my new website it's a hood famous music com it's h 00 d if amo us music com oh thanks again
https://www.youtube.com/watch?v=5IQ9LIPsFMk	# YouTube ## 52 Reason / Record Tips - Week 50: Thor's Multi-Osc, Noise Osc, and Filters ### Video Metadata - Keywords: Reason, Record, 52, Tips, James, Bernard, Production, Software, Propellerhead, Propellerheads, Music, Synthesizer, Synth, Synthesis, Thor, Polysonic, Moog, Noise, oscillator, bass, sounds, lead, sound, design, beatmaking, music, production, multi-osc, noise, filters, formant, ladder, LPF, mixing, jbsyn, 52w - Runtime: PT11M26S ### Description More info on Reason: http://www.propellerheads.se/products... PLEASE NOTE: Record as a product is discontinued but all of it's features are included in Reason 6 and above. Anything showed using Record can be used in Reason 6 and above. If you've made it this far into Synth School without dropping out or changing your major to something less technical, then congratulations. You're nearly ready for graduation day. Today we'll be picking up where we left off with Thor's oscillator types, namely the multi-oscillator and the noise oscillator. There's a lot to these simple looking modules! From there we'll move over and take a look at the filter sections in Thor and I'll introduce you to the semi-modular routing buttons which help move signals through Thor. ### Transcript [Music] everyone welcome to week 50 we're continuing on with Thor this week and we're going to cover the remaining two oscillator types as well as cover things like oscillator sink and amplitude modulation then we're going to have a look at the oscillator mixer section and also begin to take a look at the filters and the routings the multioscillator is a very versatile oscillator and can simultaneously generate multiple detuned waveforms of a specific set type per voice it's really great for producing complex tambers like thick bases and Lead sounds and can also generate a wide harmonic range of sounds like a symbol or bell sounds the following basic waveforms are available Sawtooth Square soft Sawtooth soft square and pulse you can switch between waveforms using the button on the lower left hand corner or by clicking Direct ly on the waveform symbol the amount parameter sets the amount of Dune between the oscillators that will be applied turn it clockwise for more dtune using low amount settings can produce subtle dtune variations that make the sound shift and move endlessly like an advanced chorus effect whereas higher amount settings can produce some pretty wild D2 and [Music] tambers [Music] the Dune mode parameter sets the basic operational mode of the duning if the amount is set to zero only the octave and fifth Dune modes actually change the sound as these modes start off with dual waveforms tuned one octave and a fifth the part [Music] respectively the fifth up and octave up down modes Dune waveforms as the names imply between zero to full amount [Music] settings linear will change the amount of dtune according to where on the keyboard you play in lower keyboard ranges the amount of Dune is stronger than in the higher keyboard ranges and vice [Music] versa the other modes interval and random basically add multiple waveforms and dtune them in various ways that will produce different results the noise oscillator can not only produce white and colored noise but can also be used either as a pitched oscillator or or is a modulation Source it has the following basic parameters there is a single noise parameter knob apart from the standard tuning and keyboard track knobs this is the noise modifier parameter that controls different parameters depending on the selected oscillator mode and I'll cover them all in a second the waveform selector button in the bottom left corner is used to set the oscillator mode the following modes are available band in this mode the oscillator knob controls bandwidth turn fully clockwise the oscillator produces cure noise turning the knob counterclockwise gradually Narrows the bandwidth until a pitch is [Music] produced the pitch will track the keyboard normally if the keyboard knob is set fully clockwise sh stands for sample and hold which is the type of random generator the oscillator knob controls the rate of the sample and hold with high oscillator knob settings it produces a colored noise with a slightly phase sound quality with lower rate settings you could use the oscillator as a modulation Source like an LFO with random values we will get into how you can do this when we cover the modulation Matrix in one of the next [Music] videos [Music] static as the name implies this can generate the sound of static interference if you use low oscillator settings the oscillator parameter controls density or the amount of static highdensity settings generate [Music] noise color this produces a colored noise which is basically noise where certain frequency areas are filtered for example cutting or boosting certain frequency areas in the noise the oscillator knob controls color with a maximum color setting you get white noise and lower settings produce noise emphasizing lower [Music] frequencies and the last mode which is white and produces Pure White Noise where all the frequencies have equal energy when using the White Noise mode turning this knob will have no effect since there are no parameters Associated on the left hand side of the oscillator section you can see a few sliders and a couple of buttons that we have not covered yet these are oscillator sync and amplitude modulation oscillator sync is when one oscillator will restart the period of another oscillator so that they will have the same base frequency if you change or modulate the frequency of the synced oscillator you get the characteristic sound associated with oscillator [Music] syn a synced oscillator that resets the other oscillators is called the master and any sync oscillator that is reset by another is called the slave in Thor oscillator one is the master so it controls the base pitch of the oscillators and oscillators 2 and three can both be slaves you enable oscillator sync by clicking this switch here the sync bandwidth sliders to the left of oscillator slots 2 and three allow you to adjust the sync bandwidth this allows you to change the character of the oscillator sync the parameter basically sets how abrupt the reset is high bandwidth settings produce a more pronounced sync effect and lower settings are more subtle amplitude modulation is often referred to as ring modulation an amplitude modulation works by multiplying two signals together in Thor oscillator 2 amplitude modulates oscillator 1 the ring modulated output will then contain added frequencies which are generated by the sum of and the difference between the two signals just like we learned in the subtractor this can be used for creating complex and harmonic sounds and you set the amount of amplitude modulation by raising the slider [Music] here [Music] the mix section allows you to adjust the levels and the relative balance of the three oscillators the two sliders control the output levels of oscillator 1 and two and oscillator 3 respectively the balance knob sets the balance between oscillator 1 and two and can be modulated using an LFO or some other mod Source note that the oscillators have to be connected to the filters via the numbered routing buttons here for the mix section setting things to have any [Music] effect okay on to the filter section Thor has three open filter slots two in the voice section which act as per voice filters and one in the global section which is global for all the voices since Thor is what you might call a semi-modular synthesizer meaning that some of the signal path has predetermined routings the following rules will apply filters are pre-wired to the filter envelope which we will cover in another video filters 1 and two can be used serially meaning that the output of filter 1 goes via the shaper to the input of Filter 2 or they can be used in parallel meaning that one signal goes to filter 1 and another one can go to Filter 2 as with the open oscillator slots there are certain parameters which are common for all filter types these are as follows all the filter types have large knobs for both the filter frequency and filter resonance parameters except for the format filter which works a bit differently the keyboard parameter sets how the filter frequency tracks incoming note pitch data some filter types ladder State variable and comb can self oscillate and be used as extra oscillator sources the envelope parameter sets how much the filter frequency responds to the filter envelope the velocity parameter sets how much incoming note velocity affects the filter envelope amount the invert button inverts how the filter frequency responds to envelope settings the dry parameter allows you to adjust the input gain to the filter by driving the filter harder you can add some character and Distortion to the sound any parameter settings as well as any modulation assigned to those parameters will be kept even if you change the filter type on the pop-up menu you can select between four different filter types and also a bypass mode the available filter types are latter low Pass State variable comb and [Music] forant we're going to cover the filter types in more detail in next week's video but in the meantime if you want to experiment with them a little bit remember that in order to pass the oscillator signal output on in the signal chain you first have to activate these three buttons that are right in front of each filter in order to Route any of the audio from the oscillator to the filter input well that's it for another week again I'm James Bernard from propellerhead software and I'll see you all next week with another video [Music] [Applause] bye-bye
https://www.youtube.com/watch?v=67q_6hY1OyA	# YouTube ## Ambient Pads with Objekt #shorts ### Video Metadata - Keywords: music production, music production tutorial, reason, reason studios, reason rack plugin, reason 12, reason daw, propellerhead reason, propellerhead, ableton live, fl studio, logic pro x, reaper, bitwig, objekt, nadia struiwigh, produce ambient music - Runtime: PT0M49S ### Description Make ambient experimental stuff together with Nadia Struiwgh and Objekt Modeling Instrument. Nadia breaks down her track and will show you her favorite features and workflow tips and tricks. Full video here: https://studio.youtube.com/video/AmE4... ### Transcript and I think this is one of my favorite sounds I created out of it it's so warm it's unbelievable I really love to use different kind of pads and for me it's the the base and the most important um ingredients for an ambient track or actually any track because without that I don't I can't create I need a feeling you're probably here like hey it's not just one sound and that's true because I was stacking up different objects onto each other and that makes this region wreck so powerful you can stack up like just different instruments and create basically your own scent thank you
https://www.youtube.com/watch?v=LNQcWwOuOEo	# YouTube ## NAMM CAM - Kurt Kurasaki & Josh Mobley ### Video Metadata - Keywords: Propellerhead, Software, Reason, NAMM, 2008, Josh, Mobley, Kurt, Kurasaki - Runtime: PT2M46S ### Description Interview with Josh Mobley & Kurt Kurasaki at the Propellerhead booth where they delivered daily demos. ### Transcript [Music] okay so I'm here with uh Kurt PF kurasaki and Josh Nee Mobly and you guys been doing your demo in the propeller red Booth yes how's things been going awesome been going great yeah it's been going really well so this demo is based upon the DVD you have out now yeah and uh you know also the uh you know Pep's remix of the song and um and uh and just the original song it's not it's not just about the DVD okay yeah okay so tell me more about the DVD what can you expect to find on it well the DVD is about uh covers the production of Josh's song narrow Escape which is one of the demos on the reason for installation and we basically went back through the sequence reversed engineered it from an empty sequencer and and an empty rack and started filling in the devices and you see Josh you know go through every step of of producing the track including um how to dump your vocals into reason and how to mix it and how to master it and and put out a finished product so it's a great way for people to not just see you know well see how Josh works to see how a pro actually uses reason how he goes through in sequences and uses all the devices yeah I've been check it out very educational very professionally made it's beautiful production thanks a lot no CT is a consumate producer so guys your PF and your neoverse you think I should get me one of them names me too yes yes you you you got to have a nickname oh yeah any any suggestions um ZZ junor right okay weird Santa boy okay cut so Josh uh uh we know you like reeson but you sort of went over and Beyond with this I know yeah I'm I'm I'm committed now for life okay you want to show us yes rock on rock on that's hardcore I just I had to do it you know I mean I guess if I had a nine-to-five job where I had to worry about such things it would have been you know unpractical but you know I I just if I was going to get it you know it's just like I was going to get it so have we told you we're going to change the logo you know you don't get a tattoo for where you're at it's from where you've been don't do it man
https://www.youtube.com/watch?v=lFzTXWaYLYI	# YouTube ## Meet the Propellerheads ### Video Metadata - Keywords: Reason, Record, 1.5, Kong, Octorex, Neptune, MPC, DAW, Recording, Production, Sound, Design - Runtime: PT7M54S ### Description Why did Reason turn out like it did? What kind of thinking was behind the latest version of Reason and Record? Meet the Propellerheads and get some of the inside story on how we create our software. ### Transcript Music making, it is a really complex activity. But there's a bit of confusion about where the complexity is. People think that the actual tools have to be super complex. You can make complex music with a guitar, but it's actually a pretty straight forward device. It was a three man operation to start with. The three founders: Ernst, Marcus and Pelle. Yes, I was number seven to join. I think I joined just after the "two guy's in a garage" moment. We wanted to do a great music product. We loved synthesizers. It was that living room feel to that office. People were there around the clock. You'd find Marcus and Dan in the middle of the night as you went home from the studio and you'd find some other people there in the daytime doing work. ReBirth grew out of a private project of Marcus. When you ask Marcus he says that he started coding seriously when he was thirteen, before that he was only playing around. It was really a very, very early vision of Reason. Reason is the program we wanted to do when we did ReBirth because at that time computers weren't fast enough, latency was a big problem. Marcus came one day and said "we should use cables" and Peter and I immediately said "No way, Jose." You're crazy, we can't do that". So instead of going experimental and doing something that was just half working and incomplete, we decided, "ok, let's cut down the features and do something that really works." It was totally unheard of, seeing software that behaved like that. And then after ReBirth was done, they went back to the prototype and did the real thing. The rack metaphor made perfect sense to us because we loved the hardware. There are literally two sides to Reason. It's the front and the back. If you give yourself those limitations, then that's actually a liberating experience. Totally free signal-routing. You can connect stuff anywhere you want. It's a metaphor that works. And the cable, everybody understands a cable. It only has one plug in each end. One plug can go in one hole and one plug can go in the other hole. You should feel at home in the program and know how it works. I've been seeing all the versions coming out. I've been here since Reason one and before that and I've never been so excited about a new version as I am about this one. I think this is the biggest update we've ever done. Yeah. Yes. Yeah absolutely. Yes this is a pretty cool update. [Both] It is. I think we crammed a lot of stuff in there. The hardest thing is not coming up with nice ideas for features obviously, it's picking the right one. It has definitely more of the toys. I think anybody interested in great sound, actually creating great sound, is really going to appreciate Kong. We wanted to build a machine that's really easy to use, but then also very deep. Kong is more about rediscovering the sound making abilities. Kong is like a toy-store filled with audio toys. It does really make a difference. It is a different beast. In this version we have Kong, which is getting the drum sounds that you want. And then we have Blocks which is like the pattern sequencer feature of the MPC. When you use them together, the overall experience is going to be like that of an MPC. That's a feature that I didn't know I wanted as badly as I want it now. It's a hard feature to describe because it doesn't take up much space, and it doesn't flash or anything. It's just there. When we looked at Dr Rex, we saw people using it for two completely different types of purposes. One as a starting point. This is going to be my loop that I'm going to use as a foundation for my writing process. So, the basic idea was to make it better when you have loops that are variations of each other. You can actually play the loops as an instrument. The other thing we saw that people used it for was as a creative tool to create new sounds. Then we put in the slice edit mode. When people start using it they will realize its creative potential. So, we sort of went in two directions. It's just a whole new instrument. If you are recording vocals you will at least apply a gentle amount of pitch correction. Almost in all cases. When we talk to professionals in the field they say "I really don't like that sound, it's becoming too overused. But...of course I use it." Parts of it are standard tools now. You really need to have them in your toolbox. So how can we take this one step further. Neptune is one of the things that has been living on Pelle's computer for years I think. He sits and tinkers and comes up with amazing stuff such as the voice synth. If you tell him something is impossible then he'll do it. His brain is wired like that. Some new features are old features that we have resurrected, like sampling. It's not made to make a perfect rendition of that grand piano, but it's made to capture those "spur of the moment" ideas that just pops up. Going back into the low tech way of doing sampling. You can reach points where you had no idea that you would end up. If you listen to old records based on samples you can definitely hear that there might have been a plan TEXT but it sort of meandered through the process of actually capturing those samples. If it's inspiring and fun to work with the end result will become better. Must be. I mean how can it not. It is fun. It is creative. A lot of the requests from users, we have listened to them. A lot of the things are in this update. One of those principles that we try to follow when we make decisions to use the machete and not the swiss army knife. All of these different devices have a specific purpose. So, hopefully you will have a swiss army knife filled with machetes. We take our time, that's true. But in return we try to think hard on what we're doing and we try to make things very stable. The most important thing is this comment that we get back from people "I finally got your program a week ago, and now I've made more music in that week than I did in months." In a way we'll just keep doing what we always have done. And that is to try to figure out where we fit in and where we can help the most. What can we do with technology, what do people actually need, how do they use their stuff, wherever that takes us in terms of features and technology and platforms, we'll see.
https://www.youtube.com/watch?v=fzE2GYKD-2w	# YouTube ## 52 Reason / Record Tips - Week 24: Live DJ Mixing ### Video Metadata - Keywords: Reason, Record, 52, Tips, James, Bernarnd, Production, Software, Propellerhead, Propellerheads, Music, Live, DJ, Mixing, Crossfade, Dance, Club, Transition, 52w - Runtime: PT7M5S ### Description More info on Reason: http://www.propellerheads.se/products... PLEASE NOTE: Record as a product is discontinued but all of it's features are included in Reason 6 and above. Anything showed using Record can be used in Reason 6 and above. Get ready to wire up your DJ mixer and sound card together for some killer live DJ sets. Reason and Record's stability and efficiency make them ideal tools for live DJ mixing. In this week's tutorial I'll show you some wiring and creative strategies to blast your mixes up to 11 and crossfade between song files for a non-stop mix. ### Transcript [Music] hi everyone and welcome to week 24 I am actually still on the road and I'm in New York City at the moment so this week what I wanted to do was cover some tips and techniques on how I use reason when I'm playing a live set um since you can have M multiple song files open at the same time and reason you can either do something like a DJ style set where the music never stops and you're able to fade between one song Or Another or you could use it to have a number of songs in your set if you going to be replacing some Hardware syns or Samplers with reason and be able to open each set or each song on the fly so this week we're going to cover how to do a DJ style set so let's get right into it [Music] now the concept and process is the same for both applications basically what you'll be doing is playing one song and while that song is playing load up the next song this can all be done on just one computer provided that your computer is powerful enough and the songs that you are loading don't use a ton of samples which would chew up Ram of course to be able to queue up the next song while the first song is playing I suggest using an audio interface that has at least four outputs if you're playing in a club or venue just connect outputs one and two to one channel in the DJ mixer and outputs three and four into channel two now you can treat your songs just like they were either vinyl or CD or MP3s the trick is to Route the songs output to the correct channel on the mixer here is a quick diagram on just what that would look like when you connect it up for an example here I have a song which is 128 BPM and it's playing on Channel one of the mixer and coming out of outputs one and two on my audio interface I had the cross fader of the mixer set to channel one on the left and the Q or headphone output set to be Channel 2 while that song is playing I open up another song and make sure that it is routed to outputs three and four of my audio interface using the hardware device at the top of the rack now when I have that song window selected I can adjust the tempo to match the first song and when I press play I will hear it on the second channel in my headphones with a bit of practice you'll be able to lock up both songs right away by just restarting from the beginning of the song and pressing play and possibly nudging the tempo of the second song plus or minus 1 BPM until they lock up this can be assigned to buttons on a remote control surface or if you have a numerical keypad just use the plus and minus buttons since they are already assigned to Tempo plus or minus if you're using a laptop you can get an inexpensive USB numerical keypad and use it just for this purpose and you can also assign other functions to those keys if you want using keyboard control control and the keyboard control edit mode to make assignments sometimes I'll do this while a song is playing back for some quick tweak on an effect or parameter if you are using a DJ mixer then all you would need to do at this point is to move the cross fader to the second Channel and you can start to mix in to the second [Music] song once you have switched over to listening to just that second song just close the first song and open another and repeat the process making sure that you always check to see which set of outputs the song is assigned to before pressing the play button otherwise train wreck [Music] [Music] [Music] a cool thing that happens when using a USB controller when you load your first song the controller is actually assigned to it when you load the second song the USB controller stays assigned to the first song Only and then when you close that first song it jumps over to the current song that is playing and is assigned to that one so you could be doing some tweaks on the first song while fading it out then when you close it start doing some tweaks on the second song if you've practiced this a bunch you may even find that you don't even need a four output audio interface or a DJ mixer the trick is to control the master output fader of the song which has the USB controller assigned to it from either a slider or a knob and you can make the assignment in real time using the remote override edit mode and then fade out the level of that song while the other song is playing I've actually had a few live performances where all I used was just the Quin stereo output of my MacBook Pro laptop and the trackpad and Cy keyboard for any tweaks but it is much more fun to use a DJ mixer and controller for [Music] sure one of the advantages of using reason to record in this way is that since I'm not locked to a Master Tempo I'm able to change the tempo and feel of my set at any time if I wanted to start off a bit down Tempo and then build up the energy over time I could just bump up the tempo of each song as I play Slowly if there are any audio tracks in a song using record to play the set will allow me tojust their Tempo in real time as well [Music] if you're the kind of artist who likes to play a set of music that is totally improv and not based on playing back any fully composed tracks you can do that too A lot of times in a set I will have a fully composed track that is playing and then load a song that is just an eight bar Loop of some parts and some tracks then I will start to build the song in real time by muting or unmuting tracks and tweaking some of those settings or those devices this allows for maximum creativity and also is lots of fun since you can decide just how long a break or intro of a song needs to be by gauging the response of the crowd using some of these tips and techniques that I've shown you you can easily see how you can use Reason Record to do a DJ style set and since our software is Rock Solid you're not going to have to worry about it crashing on you either well that's it for this week I'm James Bernard for propeller head software and I will see you all in a week bye [Music]

End of preview. Expand in Data Studio

README.md exists but content is empty.

Downloads last month: 1

Size of downloaded dataset files:

6.08 MB

Size of the auto-converted Parquet files:

6.08 MB

Number of rows:

796