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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]
https://www.youtube.com/watch?v=0SWGr2wWX-A	# YouTube ## Reason Pianos ### Video Metadata - Keywords: Reason, Pianos, ReFill, Propellerhead, Software, sound, library - Runtime: PT5M27S ### Description HD version available here: • Reason Pianos - HD "Piano Players. Delicate, sensitive artistes, known for their pickiness." This is the promo video for the Reason Pianos ReFill by Propellerhead Software ### Transcript piano players delicate sensitive artists known for their pickiness before these people can even think about playing they need everything to be just right such as a perfectly tuned perfectly prepared class a instrument placed in the perfect acoustical space when all factors are considered play they will [Music] M nice oh but wait a minute this picky piano player is completely ignoring that shiny $100,000 grand piano in front of it this can only mean one thing there's some kind of software out there that sounds and feels as good is the real thing reason pianos is that software the reason pianos refill is a collection of stunningly realistic hypers sampled pios in a box we've captured the sound and characteristics of three of the world's finest posos the Steinway D grand piano the Yamaha C7 grand piano and the Steinway K upright oh great just what the world needs you say more multi- sampled concert posos well these pianos have little to do with and more to do with the reason pianos are production pianos as a producer you need piano sounds that will sit well in your mix flexible shapable posos that will adapt to your production most piano libraries are recorded from one single position normally from about here which gives you one single piano sound the reason pianos do things a little differently our pianos were also recorded from this position and from over here and from under here see where we're going with this with your pianos completely surrounded by mics mics whose levels you control within propeller head reason you have complete control over your piano sound after just a few minutes of playing you'll soon discover that these are not your average sampled concert Black and Whites these pianos were made to rock made to rock do I really have to say this it'll be fine okay normally you record your live piano at one occasion and mix it later that's when you find yourself thinking darn it we should have used a ribbon mic for this or maybe a floor mic these guys have only two options now to get used to the sound or if they can afford it go back to Square 1 and record that piano all over again as a reason piano's user though you're never out of options simply mix between the separate mic signals and reason until you find a blend that fits your [Music] track and don't go thinking you need all the mics each of these posan sound rich and full with just one or two microphones such as the close mics or just the ribbon mic control the amount of natural room Ambience give your piano some extra presence or compression don't feel like sculpting your own sounds load up any of the excellent style patches play pianos from classic pop [Music] tracks these patches give you impressive complex sounds that make full use of Reason effects and routing capabilities thanks to rewire reason pianos and reason work seamlessly with software tailored for live instruments such as Protools with reason pianos hooked up to your digital audio workstation or audio sequencer you're using reason as a dedicated Standalone piano B so how did we do this how did we capture the so of These Fine instruments the propeller head software hypers sampling method that's how the featured pianos were recorded at all possible velocity levels using six sets of microphones the instruments were tuned and adjusted to Perfection microphones were placed at crucial positions at just the right angles nothing was left to Chance the end result is one box three brilliant posos posos that sound respond and behave just like flesh and what do you mean Flesh and Blood Pian what are they made of beef or something with okay just put real Pian just like real pianos pianos you can shape tweak and sculpt to suit all your piano needs and we mean all your piano needs reason pianos from propellerhead software
https://www.youtube.com/watch?v=ikKZnrd6cqo	# YouTube ## Welcome to Reason Studios! ### Video Metadata - Keywords: bandlab, propellerhead, propellerhead reason, reason, reason propellerhead, reason software, reason studio, reason studios, reason rack plugin, reason 11 suite, reason+, reason 11 plugin, reason rack, reason 11, reason 11 tutorial - Runtime: PT0M47S ### Description This is where you'll find the most entertaining music-making content in our galaxy cluster. Come along and explore unexpected creative paths, have fun and dare to be different - while trying to figure out how you can make your music sound like you. To learn more about Reason visit: https://www.reasonstudios.com Try Reason+ for free: https://reasonstudios.com/plus The Reason Rack is now compatible with Ableton, FL Studio, Logic Pro or any other DAW. Learn more about The Reason Rack Plugin: https://www.reasonstudios.com/en/reas... ### Transcript [Music] do you like long boring tutorials about advanced tech that sucks all the fun out of music making no you've got better things to do right like make actual music well then we've got you at reason studios were all about having fun finding and exploring unexpected creative paths daring to be different it sounds like this [Music] i'm making your music sound like you no limits no boundaries no rules just fun so go on hit subscribe and don't miss out on all the good stuff you can make magic with it oh boy i love magic you
https://www.youtube.com/watch?v=OZTIGbBpL60	# YouTube ## 52 Reason / Record Tips - Week 30: Using Neptune on Singer That Needs It... ME! ### Video Metadata - Keywords: Reason, Record, 52, Tips, James, Bernard, Production, Software, Propellerhead, Propellerheads, Music, Mixing, Neptune, Pitch, Corrector, Correction, Voice, Synth, Vocals, Singer, Off-key, Intonation, Tune, Formant, Harmony, 52w - Runtime: PT9M8S ### 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. Now that Record 1.5 has come out, people are experimenting with the Neptune Pitch Corrector and Voice Synth and some have been asking for tips for lead vocals. Still others have been asking how to activate the Voice Synth for some insta-harmonies. This week I'll attempt to answer both questions by putting Neptune to the test ON MYSELF! You are about to witness my debut as a singer... and my swan song all the same time. ### Transcript [Music] [Music] hi everyone and welcome to week 30 this week I'm going to show you how to use the Neptune pitch adjuster and voice syn that's included in record 1.5 and I'm going to do something that I have never done in any of my music before I'm going to sing yes that's correct you heard me I'm going to let you hear exact how bad my singing voice is without the aid of something like Neptune I know that from reading our forums there are quite a few people that haven't quite figured out how to use Neptune properly yet and I hope that this video and my upcoming embarrassing vocal tracks will give you all the info that you need to make your vocal Parts sound much better for this video I've created a sort of a dub reggae cover of the Tom York song Adams for peace which is from his solo album the Eraser I have only decided to sing two lines from the first verse so as to keep the torture to an absolute minimum and you're going to thank me later believe me okay so here in all of its glory is my vocal without any pitch correction or any effects no more going to the dark side with your flying sauc [Music] no more falling down a wormhole that I have to pull you out all right now let's add a Neptune to the vocal track as an insert effect for now I'm going to leave the correction speed at 12:00 as I listen to the vocal I can see that Neptune is showing the pitch that I am attempting to s in order to make sure that none of the other bad pitches come through I will only select the notes at the bottom that I want to hear and turn up the catch Zone size so that any notes outside of the range will automatically be adjusted to the notes I have selected removing any bum notes I probably [Music] s also you may want to try turning the wide ver switch on and off to see if the correction sounds any better if the vocal track has a lot of ver then Neptune may attempt to correct that ver and that could result in a lot of stepping and wobbling sounds I can hear that my vocal sounds better with the wide ver [Music] on no falling [Music] down next I'm going to play around with the correction speed since my vocal is not the best to begin with and I'm kind of going for a more robotic sound I'm going to turn the correction speed knob up quite a bit going to the dark side with your flying saucer if my vocal were of a better quality I would probably go more towards the 9 to 10 clock setting but it is not so I'm happy with about a 3 or 4:00 setting also I noticed that for the first line I had a weird pitch get detected in one of the Lower Keys and I do not want it to come through so I will create a scale memory slot that is for the first line of the vocal on the second line of the vocal I need some of the lower notes of the keyboard to be active so it can correct some of the notes I attempted to sing in a higher key for this I will create a new scale memory slot with those notes and also adjust the catch Zone size [Music] again now I'm going to need to automate a scale memory change for Neptune for this part so I need to create a track in the sequencer for it by right- clicking on the Neptune and selecting create track for Neptune while the song is playing back I can record the scale memory changes as automation no more going to the dark side with your flying [Music] saucer no more down a wormhole that I have to pull you [Music] out wiggling squiggling worm inside devourers from the inside out the next thing I wanted to do was add an effect of me singing one octave lower by selecting the audio track in the sequencer and using the duplicate tracks and devices from the edit menu which is either control D or command or apple D I will get an exact copy of that track now I just use the transpose function for Neptune on this track and set it to -12 and then adjust the format so it sounds a bit more [Music] natural going to the dark side with a flying saucer [Music] no more falling down a world that I have to pull you out one thing I needed to do with this particular vocal before applying any of the Neptune magic was to use the EQ the compression and some gating so that the vocal was as clean as possible with without any offending frequencies using the high pass filter low pass filter and the channel EQ really helped with that so make sure that you do that with any vocal that you're going to run through Neptune first as well now I'll add some effects so that the vocal is a bit more washed out to fit the vibe of the track no more going to the dark side with your flying [Music] [Music] sorcer no more fall down world I have to pull you if I wanted to add some harmonies using the voice synth of the first Neptune I would make sure sure that there is a midi track in the sequencer for that Neptune which we created earlier by right clicking on the Neptune and then selecting create track for Neptune make sure that the midi destination is set to voice synth and then with that Neptune track selected in the sequencer play the notes on your keyboard that you would like to be harmonies at the exact place in the song where you want them to be no more going to the dark side with your flying saucer no more find world that I have to pull you since this is midi note data that's getting recorded I can always go back and fix any of the notes that I recorded and try out different Harmony notes to see what works for me no more going to the dark side with your flying of course there are many other things that you can do with Neptune and I do plan on getting into more of the Tweaky stuff in an episode later on well that's it for this week again I'm I'm James Bernard from propeller head software and I'll see you all next week
https://www.youtube.com/watch?v=ujS7VN56LSs	# YouTube ## How to Use Kong for Triggering Samples #shorts ### Video Metadata - Keywords: kong, reason, music production, music production tutorial, reason studios, reason rack plugin, reason 12, reason daw, propellerhead reason, propellerhead, ableton live, fl studio, logic pro x, reaper, bitwig, kong drum designer tutorial, sampling in reason 12, chris reed - Runtime: PT1M0S ### Description Learn how to trigger samples and create unique beats using Kong Drum Designer. In this video, Chris Reed walks you through his favorite sampling techniques and provides a step-by-step guide for you to follow. For more sampling tips and tricks – watch the full tutorial here: • Sampling like a pro in Reason 12 ### Transcript reset the device open up our Show drum effects and choose the nurse Rex Loop player from there we just need to add in that Rex file that we created we need to do two things the first thing is to set up our drum assignment by changing all the pads to play on the drum one this will ensure that each of the pads are playing from the same nurse rex that we set up on the first pad secondly we need to change our hit type to chunk trigger which will be hit type number two so we'll set each pad to number two what this does is it creates chunks that will then be distributed amongst the different pads in chunk trigger mode you can select how many chunks that you want to split your Rex file into if you don't want all 16 pads you could separate the Rex file by four pads or any other variation of number of pads that you want to use in order to play your sample
https://www.youtube.com/watch?v=1Qvr4Ogi7wE	# YouTube ## Halloween Livestream and Remix challenge coming up! #shorts #musicproduction #producer #remix ### 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, remix challenge, live stream - Runtime: PT0M46S ### Description Join us for a special Halloween Reason Livestream to listen to songs and remixes by YOU! That's right! You asked for it and we loved it, so we've published the stems to the song Lisa, Maja, and Ryan collaborated on last week for you to remix in any way you can imagine. Get your remixes uploaded to Soundcloud by October 27th for your chance to win a year of Reason+ or to have your remix played on the livestream as an official-runner up. Ryan will be joined on this special Halloween Livestream by Erik Söderberg from Ekssperimental Sounds to check out some of his excellent Rack Extensions as well. https://www.reasonstudios.com/blog/re... ### Transcript after Maya Lisa and I released Our Song collaboration video last week think about how we [Music] used you all asked for the stem so you could do your own remix and get in on the challenge and so we decided to do exactly that visit reason studios.com blog to download the stems and reimagine it in any way you'd like in any genre you'd like and really just make it sound like you upload your remix to SoundCloud by October 27th using the # window remix Challenge and then on the 31st we'll all get together for a special Halloween live stream to listen to some of our favorites and hang out together plus I might just be in costume
https://www.youtube.com/watch?v=-c6m8jAwX3Q	# YouTube ## Reason Soul School: Using Soul School with Record ### Video Metadata - Keywords: Reason, Soul, ReFill, Samples, Sample, Funk, Record, Propellerhead, Software, Motown, Stax, James, Brown, Supremes, Marvin, Gaye, Cincinnati, Detroit, Memphis - Runtime: PT4M45S ### Description 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. More info here: http://www.propellerheads.se/products... In this video, we'll look at how to use the loops in Reason Soul School in Record's sequencer, and some of the advantages of using REX files in Record. For more info on Reason Soul School, watch • Reason Soul School or go to http://www.propellerheads.se/reason-s... ### Transcript [Music] hello and welcome in this tutorial we'll take a look at how you can use the reason Soul School refill in record if you have record and reason you can load the Rex loops and patches straight into reason devices like the Dr Rex Loop player just like you would in reason however if you use record Standalone you you can work with Rex files as audio in the sequencer which has some advantages over using Dr Rex let's start with an empty song document We Begin by creating an audio track now select import audio file from the file menu and browse for a Rex Loop let's select a drum Loop in the Cincinnati folder as you can see the tempo of the Rex Loop is indicated here in the details section to get the best audio quality when importing the Rex files to audio tracks and record the sequence or Tempo should match the Rex Loop's original Tempo we won't go into details why but it has to do with the clever way record handles Rex files now let's select import audio file to open the browser and load the loop we found now the Rex Loop has been rendered into an audio clip on the audio track sounds good a very nice feature with audio clips and record is that you can import several audio files or Rex files to separate com Ros in the same audio clip you can then comp the audio clip and have different segments play different parts of the imported audio files this gives you vir virtually unlimited variation possibilities let's import another Rex drum Loop to the audio clip that we have here open the clip by double clicking it now select import audio file from the file menu we're looking for a drum Groove similar to the one we already have in our clip but with a fill okay let's select this one as you can see the new Loop is imported to a new comp Row in the clip now let's switch to comp mode in comp mode we can switch between the two Rex files just by double clicking and we want the fill to be played here at the end of this part sounds good let's add a base track by importing a couple of Base loops on a new track and then use the razor tool to create some variation create a new audio track then import a Bas Rex loop as an audio [Music] file open the clip and select import audio file from the file menu and select another base [Music] Loop switch to comp mode and then add some cuts to create a bit of variation like so this comping technique can be used on all Rex Loops in the reason Soul School refill this way you can create really nice variations to your grooves and also because of the excellent Time Stretch in record you can easily change the tempo of your grooves so that's how you can work with the reason Soul School refill in record groovy as [Music] that [Music]
https://www.youtube.com/watch?v=xEMHoAqz-P8	# YouTube ## 52 Reason / Record Tips - Week 6: Multi band processing part 1 ### Video Metadata - Keywords: 52, Reason, Record, Tips, James, Bernard, Propellerhead, Software, Tutorial, Music, Production, Audio, Recording, 52w, jbmst - Runtime: PT8M30S ### 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 weeks episode James Bernard shows how to create multiband processors (like compression) in Reason and Record. He also shows a song file in Record using the channel dynamics in a mutilband spit for mastering. The files for this weeks episode are available for download at: http://www.propellerheads.se/stuff/JB... ### Transcript [Music] hi we're on week six now of our journey of 52 reason and record tips and in this week's episode I'm gonna show you how to do multiband processing some time ago I created a refill for reason called the JB multiband toolbox which you can download from this link for your registered reason using this week what I'm going to do is I'm going to show you how I created those multiband patches a process to get the splits in reason then we're going to bounce forward to record and I'm going to show you what you can do with that technique and creating some advanced ways of multiband processing for example we're going to use the channel and crescents on each one of the mixer channels with band splits to do compression as opposed to the m-class compressors and again since there's gonna be some patching and a fair amount of it actually my head's gonna disappear one more time in a bit to begin let's look at the basic process for creating a band splitter in reason I'm going to use an m-class stereo imager for all the frequency splitting as you can see here I have taken the output of the main mixer and connected it to an m-class stereo imager to create a simple tube and split just select the crossover frequency using the X over frequency knob I'm gonna leave it set to 787 Hertz when you press the solo high band or solo low band button you're deciding what band comes out of the main audio outputs on the back of the imager to get the audio output of the other band which is going to be the high band in this case just select it using the separate out selector switch now that band is coming out of these separate outs let's create a simple two band compressor create two m-class compressors holding down the shift key on your keyboard so they do not automatically get routed and connect the main outputs of the imager to the first compressor which we will call low band comp and the separate outs to the second compressor which we will call hi Ben come to have both of these compressors feed back into the hardware output as a stereo mix we're going to need to use a Spyder audio merger and splitter as a merger connect the outputs of both of the compressors to the merger inputs and then connect that merged output back up to the main hardware output of reason easy as pie right but what if we wanted to make a for band or even an eight band or a 16 band compressor using the same two band compressor patch that we just made let's split the bands even further create two more m-class stereo imagers again holding shift on the QWERTY keyboard disconnect the low band output from the first compressor and connect it to the third stereo imagers inputs which we will call low band 1 & 2 do the same for the hybin by connecting it to the fourth stereo imager which we will call high band one and two as well now is where things get a little tricky since we decided that the original tube and splitter cut the frequencies right at 787 Hertz we know that the low Bend only carries frequencies from 786 Hertz and below and the high Bend carries frequencies from 787 Hertz and above let's just cut the difference for each of the new imagers setting the low band 1 & 2 to the 340 Hertz as its crossover and the high band to 1.65 kilohertz as its crossover now following the same process of using the solo low band and using the separate out set the high band we will get frequency splits for each band of these values here connecting those two four separate compressors and the merger would look like this to make this usable in any song just pack the devices into a Combinator like this and save your patch now you might be asking why in the world would I do any of this I'll simply put multiband processing really allows you to scope your final mix and have the most control over dynamics of exact frequency ranges ever connected a compressor to the final mix and when the bass kicks in it sounds like you've just lost all the high frequencies of your song kind of like this yep that's because you are not using a multiband compressor and anytime the level goes above the threshold that you've set the compressor kicks in and bass frequencies in particular carry a lot of sound pressure level that's the basics of how you accomplish the splits of course I suggest you dial in different values for the crossover frequency knobs to achieve the splits and sound that you want just remember to keep track of where your splits start and end so you can dial in the correct frequency settings for the additional bands you're gonna use I usually keep a pen and paper handy to jot things down because it tends to get a little tricky when you do especially more than four bands in the multi band toolbox refill I created a patch called eight band parallel compression which is also included in the mastering preset folder for both reason 4 and record if you've never taken a look at it here it is that's some crazy amount of patching and routing I know I did it I'm not going to go into detail about what parallel compression is right now since we do not have the time just do a Google search for parallel compression and you should come up with a bunch of info but in a nutshell it makes everything sound huge well if I haven't fried enough of your brain cells yet let's take a quick look of what I'm gonna do in next week's episode here I have a record song which is using multiband compression but instead of using the m-class compressor is like we just did I'm actually using the channel compressors of a chord to get that sound on the compressors since this example is going to take a little bit longer to explain I'm going to save it for next week but I will give you this song file to play around with in the meantime the way it works is this load any audio track preferably one that you've already mixed down and not mastered into the track labeled load audio track here now play around with the amount of compression on each mixer channel and see what results you get try muting or soloing some of those channels as well and you'll hear the frequencies and if you really experimental and you want to stretch out try adding an effect to each one of the auxins on some of these channels like maybe a reverb on me hijack or add a delay on the mid ship and see what that sounds with lots of patching this week sorry about that if we weren't able to follow along as quickly as I went I've uploaded all the patches and also the report song file to this link here you have any questions send me an email and I'll answer your email to the best of my ability also keep sending in those emails for future episodes and requests for those because I am reading them and jotting them down and you will start to see some of those requests in future episodes as well once again James Bernardo Propellerhead software and thanks for joining me on this journey and I'll see you next week bye
https://www.youtube.com/watch?v=dEtT2dia_D8	# YouTube ## Reason Electric Bass tutorial with Mocean Worker ### Video Metadata - Keywords: Reason, Electric, Bass, ReFill, Tutorial, Mocean, Worker, Adam, Dorn, Propellerhead, Software - Runtime: PT5M47S ### Description More info on Reason Electric Bass: http://www.propellerheads.se/products... Artist/Producer Adam Dorn (aka Mocean Worker) shows how to create real, living basslines using the Reason Electric Bass ReFill. ### Transcript hey so we're going to talk about the reason electric base refill and we're going to create a real Baseline so you can see how a real world Baseline will work with inside reason what I'm holding here is to some people a monstrosity but it's actually for bass players this is a gorgeous beauty of a Bas this is the 1963 K hollow body that's featured in The Reason electric Bas refill and what I'm going to do is I'm going to show you how you can create a baseline that sounds incredibly realistic within reason using the sounds that are hypers sampled from this base so here we go so let's uh all right let's play a simple Baseline here on the 63k and uh it goes a little something like [Music] this all right sounds nice I'm going to steal this pace uh now let's play it on the keyboard and let's just play it first with none of the articulations which will be what I show you [Music] next sounds pretty cool sounds very cool but one of the really cool things about reason electric base is the modifier keys and what I mean by that is all the Fret noise and glisses and little picks and articulations and gritty noises that actually go into making a real Baseline so let me just run through some of them for you now here come my favorite ones can't really hear them these are all the little dirty pieces and then my favoritest of all the real modifier keys and what is that that's this because a lot of times when you're playing a basine you slide into a note a little bit you [Music] know holding down C and hitting notes is the effect of a hammeron which would mean you pit the strings with your left hand so check it [Music] out also very effective in creating a realistic Baseline now let's record a baseline using the k 63k electric base um first I'm going to just record the notes and then I'm going to put in on another Lane the articulations so check this out [Music] yeah not fair so now let's record the articulations for this Basse part because even though it sounds really good and the bass basically sounds like a real bass what you want to do is add the articulations to make it sound more realistic and uh make it sound like a human play it [Music] so let's play it now with a drum [Music] beat pretty [Music] all right now that sounds that sounds pretty good actually I'm really kind of happy with that but let's even get a little more detailed let's go into the edit window and we'll listen to a three bar uh portion of this [Music] piece sounds pretty cool but this is what I want to do with the modifier key inside of the edit window here if you just go in and place just a little bit before let me make sure this is they're pretty small here but just a little bit before the notes are played let's get some glissando in here whoa now that sounds really good but there's a problem on the down beater bar six where uh I have a note and a gandoo at the same time which is physically impossible so check it out listen to [Music] it sounds kind of awkward but you know what all I need to do is go like that and check it [Music] out so there you go realistic Basse sounds inside of reason with the reason electric base refill what we've done in this tutorial is recorded a Baseline and added articulations and then furthermore done more editing by adding modifier keys to create a really realistic sounding base
https://www.youtube.com/watch?v=h-aZuN9haaw	# YouTube ## Custom Alligator Patterns - Reason Tips ### Video Metadata - Keywords: Reason, Propellerhead, Software, Alligator, Triple, Filtered, Gate, Trancegate, Matrix, Redrum, Pattern, CV, Control, Voltage, Shuffle, Drum, Programming, Mattias, Häggström, Gerdt, Product, Specialist - Runtime: PT7M13S ### Description More info on Reason: http://www.propellerheads.se/products... In this video, Reason Product Specialist Mattias Häggström Gerdt shows us how to turn off Alligator's built in patterns to create custom gate rhythms using a couple of Reason devices like the Matrix Pattern Sequencer and Redrum's step sequencer. ### Transcript hi my name is Matias and I'm one of the product Specialists here at propellerhead today I thought I would show you some stuff about the alligator some stuff you might not already know alligator may have 64 built-in patterns but sometimes you might want to go outside that and luckily the alligator has some really cool tricks for triggering it you can use both a matrix and a red drum for example and that's what I'm going to show you actually I'm even going to use an alligator to trigger a red drum so doing it the other way around so let's Dive Right In alligator comes with 64 built-in pad and they really are great but what if that particular pattern you want isn't available what if that shuffle field you've been working so hard on in your track doesn't quite match alligator Shuffle luckily we're not restricted only to the built-in patterns so let's take a look at a few different ways we can trigger the alligator first I'm just going to load up a synth patch something to use with the alligator it's one of the new patches in the factory sound bank it's a really big saw too pad-like sound so to start with I'm just going to record a quick simple chord sequence here perfect for our purposes and then I'm going to create an alligator as an insert effect the first thing I'm I'm going to do here is to turn off the built-in patterns if I flip the alligator around you'll see it has three gate inputs here on the left hand side one for each Channel if you want to control the alligator from other devices this is your go-to place note also that next to each gate it says what mid note is used to trigger the gate FP one G sharp 1 and a sharp one this is very useful if you want to record a gate sequence using any MIDI controller but like I said I'm going to use two other devices to control the gates going to use one Matrix and one red drum remember to hold shift when creating these and they won't UT out both of these devices has their own advantages when triggering alligator Matrix allows you to tie the notes together for example and with red drum you can use one device for all three gate channels or even use the flam function on both devices patterns can be exported to the sequencer track for further manipulation so I'm going to control the first gate the high pass gate using the Matrix gate out here so let's connect that and the second two gates I'm going to take the first two channels on the red drom so let's flip back around for the Matrix I'm actually just going to randomize a pattern it's really great if you don't have any particular pattern in mind or just want some inspiration just right click and randomize pattern so this is how it [Music] sounds pretty good and that was really quick on the red drum I'm going to program a pattern manually instead so let's just select some notes here if we listen back you hear the gate is really short for the red drum but if you quickly change gate mode here you can set the length [Music] manually that's better for the second Channel I'm actually just going to randomize again and adjust the gate length a bit and this is what we have so far [Music] that's pretty cool but let's take it a bit further I'm going to copy the red drum patterns to a sequence to track and apply a regroove patch to that track this way I can completely control the timing and the shuffle of this sequence so let's right click copy pattern to track and make sure you disable pattern section on the Red Rum in the sequencer we now have a red run track with our midi data I'm going to bring up regroup here and just open a regroup pack from the factory Sound Bank assign this track to channel A1 and listen [Music] back sounds really cool so finally I'm going to do one more thing I'm going to change the resolution of the Matrix pattern an advantage to using separate devices to trigger alligator is how easy it is to set up complex poly rhythms going to change the Matrix pattern here to eighth note triplets and I'm going to change it to an uneven number of steps this makes the pattern sound much less repetitive when paired with the straight 16 note patterns from the red rum [Music] another thing that's really good with the alligator is that it also has gate CV outputs what this means is that you can control other devices using the buil-in patterns in the alligator to show you how this works I'm going to trigger three channels of a red drum I have set up here so first let's create an alligator hold shift so it doesn't auto route when I flip the rack here you see it has a CV output section with Gate 1 two and three first off I'm going to stop the pattern running on the alligator so I can route them in without it making any sounds so let's take gate one connect it to the high hat here gate two to a snare and G three to the kick drum and if I turn the alligator on you'll hear what happens pretty cool right so let's go through a few patterns and see we can find something [Music] suitable that's pretty cool actually let's turn on the shuffle too remember you can also automate the pattern selector and the shift knob to get some really cool variation going try to experiment [Music]
https://www.youtube.com/watch?v=cu5TbgBUkMk	# YouTube ## Reason Accordions ### Video Metadata - Keywords: Reason, Accordions, Propellerhead, Software - Runtime: PT2M37S ### Description April 1 2008 - We are happy to announce Reason Accordions, the latest addition to Propellerhead Software's Reason ReFill Collection. Reason Accordions offers three stunningly realistic hypersampled premium accordions that will fit right in with any modern accordion production. ### Transcript accordion players delicate sensitive artists known for their pickiness before these people can even think about playing they need everything to be just right such as a perfectly tuned perfectly prepared class instrument placed in the perfect acoustical space when all factors are considered play they will [Music] M [Music] nice [Music] great just what the world needs you say more multi- sampled accordians well these accordians have little to do with and more to do [Music] with reason accordians are production accordion most libraries are recorded from one single position normally from about here the recent accordians do things a little differently these accordion were also recorded from this position and from over here and from under here so how did we do this how did we capture the sole of These Fine instruments the propeller head software hypers sampling method that's how the reent accordion were recorded at all possible velocity levels using six sets of microphones the instruments were tuned and adjusted to Perfection microphones were placed at crucial positions at just the right angles nothing was left to chance after just a few minutes of playing you'll soon discover that these are not your average sampled Black and Whites these accordion were made to rock reason accordians from propeller head software [Music]
https://www.youtube.com/watch?v=t1raSws6KrU	# YouTube ## Objekt for Hyperpop & Future Bass with Nitro X ### 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, nitro x, physical modeling synthesis, physical modeling, edm type beat, produce future bass, produce hyperpop, hyperpop tutorial, type beat - Runtime: PT12M39S ### Description Join us in this tutorial as Owen (Nitro X) demonstrates the features and functionalities of Objekt, our powerful new instrument that uses physical modeling to create sounds of struck objects. Owen takes viewers through the Exciter section, sound design strategies, and modulation capabilities of Objekt. He also showcases how he used Objekt in his own productions by breaking down a track and demonstrating how to create unique plucks and arps in the verse and chorus sections. If you're into any type of EDM, specifically Future Bass or Hyperpop this tutorial will give you lots of great ideas! Tune in now to learn how to create unique sounds with Objekt and take advantage of all the capabilities of this beast of an instrument! Get Objekt: https://reasonstudios.com/products/ob... Chapters: 00:00 - Introduction 00:18 - How to use objekt/how it works 1:27 - Track playthrough 2:34 - Objekt chord pluck layers 7:08 - Chopping up the chord plucks 8:12 - Objekt chorus and verse arps 10:57 - Objekt bass & dub sounds 11:30 - Objekt drums 12:22 - Outro Nitro X Links: : Linktree: https://linktr.ee/nitroxmusic Instagram: / nitrox_music Spotify: https://open.spotify.com/track/1JkmRt... Youtube: / @nitroxmusicofficial ### Transcript [Music] hey guys my name is Owen AKA nitrox and today I'm going to show you how I used the new object synthesizer in my own production let's get into it [Music] [Applause] [Music] it has an Exciter section which generates impulses that's fed through three resonating modules to create the sounds and then these sounds are fed through Global effects similar to the global effects you'd find in other reason devices such as Europa and green some sound design strategies include using the template using the randomizer and using different patches it has two object sections now in each of these individual Parts you can pick different templates and you can try pairing different templates around to create Unique Sounds along with messing around with the Exciter section so this is a recipe for great creativity and always creating a new sound every time with the Exciter section there is impact parts and noise Parts with parameters to control the tone attack and envelope of each part now sometimes with objects the instrument can get out of tune once in a while so it it has a very helpful tuned function in the top that you can use to make sure your sound is always in tune all right so with that out of the way I'm going to show you guys the track I made with object let's get into it [Music] it has always been I can't live [Music] [Music] all right so the first thing that I'm going to break down here is how I made the main cord plugs that carry through the verse here so what I did was I actually did a bunch of layers of object uh my friend Ben Lawrence who uh helped do the vocals on this song and helped write it he sent me some chord plucks a long time ago when we started this song and um he sent me some midi and he sent me like his actual audio files of his sounds so what I ended up doing was I kind of actually chopped up his audio files into a progression that I really liked and then I took the midi and I like mimicked that in object and then I did a bunch of presets in objects and then I bounced it all down and then I actually chopped it further to make like that glitchy hyper pop sound so let me play what the final product is of these chord plucks and then I'll break down each of the individual layers for you foreign [Music] so you can hear those little glitch kind of things in the background kind of panned and I'm going to show you how I did that later but first off let's get into these presets so first one I chose to use was the Kalimba preset Kalimba 1 to be exact under just the regular presets here in object I didn't really change too much in this sound all I really did was adjust the Exciter noise section just to kind of fill up the high end um I kept it a pretty short release in Decay just so it didn't ring on too long because otherwise it you know [Music] you get into this very Ambient sound which is just not what I'm going for in this track also I ended up shortening the Decay a bunch on the Reverb just because I wanted like I said a tight sound so the next preset I did was called glass wave you can find that under the bells and mallet section kind of left everything else the way it was um I really like the sounds so thought it made a nice layer in there then the next preset I used was one called liar of old elpis which you can find in the uh pluck string section so what I did with this one um again not too too much I brought down the diffuse shape here a little bit so it changed kind of the attack of the instrument [Music] and I brought up the time as well in the model section I actually ended up turning on the model I have the pitch up an octave so I left actually the same model preset that was in there on the original one even though it wasn't turned on and that's about all I did on this preset everything else is about the same I did turn off the Distortion though and turned off the Reverb as well because I thought it was a little bit too long and ambient and I didn't really like the Distortion that was on it then I believe that is all for the pluck layers now what I actually did here um if you listen in the chord sample that I played earlier you can hear this it's like bouncing sound effect [Music] what I did actually to inspire that was when I was adjusting benzold plucks in melodyne I moved the bottom note up to make a note that I actually wanted to have in it and it made this cool bouncing sound and I just loved it so I want to figure out how to replicate that in object so what I actually did in reason here was I took my note which is an A in the bass note I have the main track here playing the top two notes of an 80 sus 4 and then in the bass it starts on an A and then it bends up seven semitones quickly to make that bouncing sound [Music] and then I did that on all three layers however you can hear there's a bit of an issue so on this one here this preset because the Decay is so long when I went down to bounce the note again to go the doing on the second one you can hear it goes I just bounced that down and I did the same thing with the Kalimba preset and then we resolve it again by going back down to the A on the root note and just do a standard a yeah that's pretty much all the layers of the core plugs once I finish the layers I took it bounced the whole thing down and then that's when the fun begins because that's when I started chopping stuff up so what I actually did here was on this last chord or sorry not the last chord um this one right here just in the middle I took it um I went on 16th notes and just took the razor tool chopped it up and shrunk it back so you can that here and then took snap off and just shrunk it back to like there just to give it some more glitchy sound and then I do the same over here and then what I actually did on this one was I took a separate track and I chopped up this last cord I added a little bit of digital Distortion turn up the resolution and frequency it gives it like that digital sounding top end um and then I repeat that on the end of every phrase of the chord progression and um yeah that's pretty much how I put together the core plucks so I broke down the core plugs for you guys but there's another huge element of object in the song that I want to go through and how I made it which is the Arps in the chorus and the second verse so what I did was started with some different presets here I started with this preset called attached string the only thing I did end up changing was the parameters in the Exciter noise section I did bring down the release a little bit and then a little bit of EQ so I was just brightening it up and then um adding a little bit of tone in the mids and bringing down the low gain and then I turn off the Reverb and I believe I added some on the bus yeah I had some Valhalla super massive on the bus so I wanted most of these plucks to be dry the next one I did I actually did an original sound here I think I picked one of these it was something like one of the wood presets the Exciter I turned up the click and the hardness a bunch kind of trying to replicate the sound that is in a combinator patch called Norwegian boy and it has a really nice light tone to it so then from there just adjusted the Decay a little bit I want to keep it decently short so but not too long so I just kind of got to a place where it felt good and then under object one um I believe I picked another preset as well um I can't remember exactly which one I ended up picking the Collision I think I played with a little bit as well so I ended up using a preset called bright pluck next it was actually very much of a shorter like a quick attack pluck it was uh the diffuse time was very short so I actually brought it up to delay the attack [Music] um then after that I made another original sound here I believe I brought the midi notes in octave down for this one I think I picked one of the tines and then bell sounds over here and I also kept the Decay times pretty short on these with this one it is a very hard sound so I didn't end up using a lot of click on it it was very much just the hardness on the impact with a lot of velocity so that's just to kind of get that bell sound a lot of the stuff you do in objects is just a lot of playing around with Decay dispersion pitch mod and collision and the damping it's kind of just using these templates I find is a really easy way to get a start on an idea and then you can kind of mess those templates up to get your what's in your head and what you're really kind of going for in your sound design I added a few elements in the drop here most of these were just presets I found this one really cool distorted bass I really liked thank you and wow I was really surprised with the dub sounds actually in here um I believe it's under the base section the barks yes these are crazy good like holy they're fire so I just layered those on the basement another thing I did was I added a snare drum from the object drum kit here another thing I did was with the drums I found this hi-hat preset that was really cool so what I did was I took the LFO here and I routed it to right here you can see I routed it to the pitch on objects so it's doing pitch Automation and then that same pitch automation that I'm doing with the LFO I am routing that to the cvl1 on the back of object and then routing that into the pan on the hi-hat so the as it's pitch shifting it's also Shifting the panning of the I hat so I definitely recommend looking into the object drum kit if you're especially making like future bass or future pop and I think that's all I added with objects I had a lot of fun making this thank you guys so much for watching I hope you enjoyed it peace [Music]
https://www.youtube.com/watch?v=9QJU3Da7A5M	# YouTube ## Music Making Month - Control Voltage In Depth part 3 ### Video Metadata - Keywords: Propellerhead, Software, propellerheads, peff, control, voltage, cv, advanced, reason, record, thor, subtractor, synth, automation - Runtime: PT34M1S ### Description If you're one of those musicians who tends to think the back of the Reason rack is for pointy headed scientists and lab-coat-wearing madmen, then we've got a great event for you to introduce to you some of the most musical uses for Control Voltage (CV). Sure you can wire up an atomic clock back there if you really know what you're doing but you can also do some simple things that will expand your music-making abilities. Peff will show you how! ### Transcript sorry this isn't Basics anymore this is a little more advanced we have graduated no worries I mean I think this is stuff that you know it's a it's a slippery slope you start with this stuff you cover some Basics and and I think it's it's a good thing that once you get the hang of the basics you can move on to the advanced stuff it's it's not total rocket science it's just getting used to the idea that sinos soidal modulation is not a scary word once you break it down and understand what it's doing I hope so I I I've I you know I'm used to doing this kind of live with in front of people and I can usually look out and I can see the you know when I've lost everyone and on this forum it's it's kind of to deal uh and in that in those situations I'll adjust and I I'll compensate and I'll try to uh work towards getting something that's or or adjust my presentation so that's a little more palatable but this format's a little strange so I'm just kind of going with what I do and from this point when you're ready Ryan we had a we had a question actually I'm I'm got a couple of questions that came in I'll I'll shoot them at you here um I think it was it might have been Rob wanted to know if the presentation has a download link somewhere those handy references to understand what is CV input and output B and all that stuff it's going to be up right when you're going to post this up right well this oh excuse me this uh will be up but I think specifically keynote presentation yeah this thing yeah I suppose I could put a PDF of it someplace I'll put it here how's that uh up on the that that same link perfect okay um there was somebody else oh here's just a silly one somebody wanted to know where you got your shirt is the resolution clear enough to see [Laughter] it I always like every time I've met up with Kurt to do an event he always wears an appropriate shirt so when I came over to do the uh rebirth iPhone video he had his vintage rebirth shirt on always good coordinating your shirts for the day this uh I don't know if they have them anymore but I got it at robotspeak in San Francisco so it's robotspeak do.com cool but that was a while ago that was that was six seven years ago uh let me let me go through a few more things here if it's okay Ryan okay okay um I wanted to bring up something like I I've got a cousin he's getting into he's actually got a contract and I'm happy for him to but he's doing this pop music stuff and I I keep hearing he's very similar um uh how should I say it production techniques that everyone relies on like I think it's called preset production sorry Al uh but uh wanted to show you guys some of the different things we can do this and this is again not basic anymore and here's a a mom I've got a a filter sweep again this is a filter envelope I have remember that's generating a control voltage and I'm routing that to the filter cut off parameters and this is all happening internally so it's it's even more difficult to visualize but just so that you get the idea this is without any envelope modulation it sounds like [Music] this right and then as I apply the modulation there's that lazy gate slow to rise quick to rise and then kind of slow to [Music] fall and there's so you're hearing the modulation occurring there there one of the one of the cool things which is similar to what I was showing you with the the uh Slater octave modulation is is the fact that you can take um modulate this knob here right what would happen if we took this knob and as this thing is [Applause] playing all right doing this with my mouse and I could record that as uh automation but you know what it's not hard let's just program a control voltage modulation of it so uh sorry if I went too fast um here we go you give me a sense Ryan did that move too fast I I don't think so for the people that are with you I don't think so and for the people partially like myself we're just enjoying the ride okay um let me go back let me go back before I combined it so I'm going to select that device I and then I'm going to right click and select combine from the uh contextual menu I'll select that and then it gets wrapped in the combinator move over to show programmer and we'll click on Mom and then from the modulation routing list I'm going to select CV input one set the Target and from that contextual menu I'll go down to filter oh God where's my Visions going um filter envelope amount there we go so now I've got this routing from the control voltage input on the back of the combinator basically going down to this filter amount knob so now let's go and take um Matrix is always handy let's try the Matrix switch that to a curve and then connect the curve CV up to CV input one we have to switch this to unipolar [Music] mode okay so now you can see the Matrix curve is now modulating the amount knob that's the trim the scale knob and we're going to set that to maximum because I want this can you say that again we uh we broke up a little bit there did we glitch um so I'm going to on this modulation the the curve modulation was only moving the knob up to about halfway and that was because I had the scale knob set at the default value of 64 and I'm going to adjust that all the way up to 127 so now this Matrix Curve will open up we'll open up the filter and mount knob [Music] okay [Music] [Applause] [Music] Jus [Music] J so again I I've got this set up now so that the Matrix curve is generating this this pattern this series of control voltage signals which rise and fall along this according to the segment values here and it's going up into the combinator then through the combinator and being directed back down towards this filter envelope and mount knob so in essence I've got one control control voltage controlling another control voltage so there's a control voltage it's being generated by the envelope itself but then the amount is being attenuated by this Matrix pattern [Music] sequence so that's that's fairly basic stuff um what I'm going to do I think I I'll do one last thing here Ryan before we wrap it up so if there are any other questions you know kind of let me know now sure guys if you have any questions I've got a few on my list here uh and if you have any other ones shoot them in so what I'm going to do here is just touch on the whole concept of an envelope follower um let's see and for this we'll just I'm going to generate pretty standard uh drum beat for on the floor and I'm going to use the BV 512 see it and what I've done here on this channel I've sent the uh drum signal to the effects buses and I'm going to take the effects bus and connect it to the modulator input and so now um it's going into the vog coder and you can see how these bands kind of Rise and Fall with each Kick each one of these bands generates a control voltage right and we can actually slow it down we can make them react at different rates slow attack long Decay right and that's kind of a envelope follower this is actually a little more complicated than your standard envelope follower but the behavior is the same nonetheless it's just for this specific frequency band here um anyways let's connect that uh band level let's take three let's take three and we're going to connect that up [Music] into so this kick is causing this uh low cater band to rise and [Music] fall and I can actually uh not that level [Music] but so now I've got this Boer band and calling that filter on below [Music] M and it's being controlled by the uh signal from the CU drums off the [Music] red [Music] and then I can basically using use the effects [Music] bu so here what we've done I've taken the the the drum pattern and in a way change this this original patch in a in a a new way of that that kind of conforms to the rhythm of the track um by using theer of p512 anyway is very cool yeah it's kind of a neat way to just take something that's you know that's your average uh synth pad patch and kind of spice it up a little bit in a way that actually fit with the rest of the track because again this control voltage modulation is tied to the beat [Music] right so that modulation itself is going to kind of GrooVe with everything [Music] else [Music] really cool well listen I got a couple of questions that came in from the the chat and I'm going to um see which ones here I haven't already asked you um one of them came in very early on actually they wanted to know is there a way to use CV to control the mutes on the 142 mixer all of the mutes I don't know let's say yes there are okay or is no let's say no no wait Rob is saying yes let's say yes all of the mutes no how was that let's let's take the I mean there are CV inputs for the mute buttons themselves uh right of course you can always put it in a combinator and then route um the assignments to CV input one CV input 2 Etc and have them go to the mute buttons but you know that only limits you to four inputs for the CVS and then you can use the rotaries as CV inputs too and have those control the the meat buttons but that you're limited to eight at that point okay right the other thing you can do is to use the um Thor step sequencer and set it up so that the step sequencer SS out a series of of notes and then you wire that step sequencer back up into a combinator and then enable the mixer to receive notes and then what'll happen the step sequencer can open and close um the mute buttons but only one at a [Music] time does that make sense so you would need if you wanted to do them all independently you would need 14 you would need separate step sequen there yeah okay and which case you can have a matrix going to every channel and then just control the level input right the other option is to just set up a matrix pattern sequencer um you can use the curve go to level input and then make sure the fader is all the way down and then this becomes your gating system so while the curve is then up and open and when it drops to zero then the fader closes again that's a lot of work I think most people in the chat seem to be just impressed that you you pulled it off in in a minute or two this is like a Bart Trix you know stump the band right that's cuz I had it prepared because someone always asks that question all right um this one's one that I thought was kind of interesting um somebody early on was asking for an example of a practical use for audio to CV and I've seen this audio to CV come up in the chat a couple different times during this presentation so could you speak to the concept of audio to CV and then I mean pitch Tov good question I don't know uh guys in the chat uh let us know what youan because I I mean audio to CV is generally what I just showed you guys there with the um with the BV 512 because it was taking the audio signal you know and converting analyzing it into different bands of the frequency spectrum than spitting out control voltages um from from the a so without the audio coming into to the BV 512 I see what they're they're they're specifying now in the chat they're talking specifically about um audio in on Thor CV out it's fun okay wait this is supposed to be CV Basics yeah but we left that hours ago sorry no I think if anyone stuck around this long then they'll they'll take the advanced answer what do we have like two viewers now no no Rob and Hyde maybe Nathan third floor sound says we're hardcore that's right more hardcore yes we we are hardcore they can take it they can take it I mean you are getting to be pretty hardcore I mean audio input into uh into Thor gets pretty Tweaky I mean it this this is another one of those situations where you never know what's going to what you're going to get out of it um mainly because it's always to tell what's going in using [Music] something sometimes it's a little easier because at least then you get this repetitive um modulation and yes this is how um music is created with uh control voltages it always starts out as this annoying train of notes and then ultimately it ends up being something else but like noise so for those of you who who didn't really catch that I took the audio input from Thor and rited it into the oscillator frequency modulation input again you know Thor's modulation bust becomes a whole another system of control volted patching cuz that's all you're doing can you actually can you can you pause the um music while you're talking what you can't hear me over the over the dissonant noise I think it was uh skype's audio was saying I can't take it anymore it doesn't like the glitch okay so again I have this Dr octorex um going in through Thor and what I was trying to point out was that this Thor modulation bus becomes a whole another system of control voltage patching because again what you're doing here is you're setting a source and your target right or like filter the amount and there's your routing you know LFO to filter and an attenuation or scaling them out and so what I'm doing here the the the funny part about Thor and I didn't even listen to the presentation because with Thor you can now take any audio input and use it as a control voltage you know it's and but like I said what you get out of it it's always hard to tell there are some situations where you know if you have controlled oscillators doing FM um you can get some nice results but it's always hard to tell what you're going to get if you just use random random [Music] sound sounds like uh FM radio static like you can't quite dial in that station or maybe skyp I mean for people that that do sound design or you know film sound and stuff like that I mean there's there's actual not just musical implications to this but uh actual Advanced sound design implications to this as well sometimes you need that kind of sci-fi breaking up sound yeah and it's not really music making anymore um that's why I trying to limit this too that's going to be in June sci-fi sound effect month right not quite music making mon probably winter sometime there was a question uh that I wanted to ask it came in um I don't understand this one but if you do hey more power to you um binary monkey wants to know how does pf recommend pH shifting a modulation source for example taking one sign wave and shifting their offsets for two different targets stump the band thanks I don't know um I mean what is the application of this ultimately is what you have to to ask I mean if you're going to phase shift on in terms of okay for what for those of you who don't understand the the question and think that like this is It's one Vulcan speaking to another uh um when they talk about phase shifting what he means is basically the start point of the LFO wave you know um and if you're using Matrix pattern sequencers it's easy because you could take um you could take a curve switch this to bipolar mode all right so here here I'm manually drawing in um a triangle wave on The Matrix right so there's the start goes up and then finishes at the last step and then as it Cycles through it's sending out this curve rising and falling so what he's asking about is how would you take an LFO and do this like start moving the start Point around so if if you wanted to do an straight inverse that's easy but if you wanted to offset it so that it starts like at the crest of the wave or like somewhere in between yeah it's not exactly easy so again I have to ask how it's what the application is um I see um because if it is something that's audible then you can always render and then adjust the offset of the audio um you can feasibly and and I don't know if I recommend it because I've never used it that much but you can take any um Thor LFO R it to audio right let's go to audio output three then we'll take audio input 3 and Route it to U control voltage output one so I have lfo2 right and then we can go back here create a delay line so I've basically taken that control voltage and turned it into an audio signal running it through a an LFO and then I can adjust the the offset amount just by running processing it with a delay what are we going to get on it though that's that's the big question what's going to happen with this let's run it through the analyzer [Applause] right do you still use the analyzer your own that's why I built it but I mean even to this day like obviously you did at some point but it's something that you rely on heavily still yeah when you get stuck with weird questions like this sure so let's um let's uh let's see if this actually works uh I would need to I'll take lfo2 we'll only be able to see the positive phase on this but is it actually being delayed yeah it is what do you know there you go and so that's five sequence wants to know that's pretty much how toay any CV correct yeah if you want to interesting so here's the original Rising edge of the sine wave and then this is the offset of the sine wave that's passing through this delay line not so basic anymore [Laughter] man excellent Tempo Tempo sync delayed but yeah yeah you can make one hell of a baseline with that kind of uh modulation how do you mean well having two different filters and having the filters kind of or even Dynamics rise and fall but on different you have the initi bump on one and then the follow up on another then you get this naturally occurring or you get this artificially created modulated beating going on gotcha now see binary monkey in the chat feels Vindicated there's a musical use for it this is not just a technical question we not just delving into the theoretical this is practical right excellent it's a great question thanks B monkey there's um yeah there's uh you can and you could take it that's that's where I didn't really want to go down this route because you know it was mentioned to me let's kind of keep it basic because there are a lot of people who don't use control voltages the problem is you know the basic stuff you know we covered it it was easy to you know once you once you get your head wrapped around the idea behind the different behaviors of what's going on then you're right it's just like easy you in fact you probably already understand a lot of the the stuff through General use of synth patches um then that's when you start to think about of more complicated ways of of using these things one of the reasons I put these delay lines in this patch um was to maybe see if anyone caught on to the idea of what would happen if I actually ran sound through that while that LFO is changing the delay time you know it's it's one of the more crazier uh effects that you can do with with delays andos right and just to give you an idea it would sound something [Music] like like that [Music] and does that little slowdown tape slowdown or record wind down type of effect and all it is is just that delay time increasing wow it's being triggered very cool very very cool well listen we have munched up all of your morning here so I thank you for giving us all this time I'm sure I speak for everybody but uh we'll let you have your Saturday now and you too as well let you feed the early it's early for you so you can actually get out for a change oh even that's true that's true yes I'll head out tonight but thank you so much Kurt um and if anybody doesn't know Kurt's website it's pf.com pff.com and if you want to get lost in in synth geekery head there because there's a whole library that you have yet to discover and it's really great stuff so that's it for us tonight we are off tomorrow we're back on Monday we've got two sessions on Monday we've got a Q&A with an artist named Olivia Broadfield from the UK really talented uh producer songwriter uh check her out she's great and also Al uh Matt Piper who's a product specialist reason product specialist for line six is going to be showing us how to sort of create sounds from objects around your house and make tracks with it so you want to check that out too very cool we're very happy to have Matt with us so uh and that's it and all you need to know now is to tweet your songs I want to get more tweets I want to get more songs I'm going to open our sessions with your music during music of Mak month so it's # mmm prop songs that's mmm prop songs or post it on our Facebook wall either way we'll get it uh we'll check it out put it up on Soundcloud send us a link and awesome have a good night guys and uh thanks a lot Ryan we see you tomorrow no we won't see you tomorrow my God I just screwed it up we'll see you on Monday [Music] all around the world
https://www.youtube.com/watch?v=yiqmxJ0GwNE	# YouTube ## Reason 13.1 – New Browser, Rack, and Sequencer Features! ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT11M6S ### Description Reason 13.1 continues to build on the Rack, Browser, and Sequencer improvements to Reason's creative workflow. In this overview of new features for Reason 13.1, Ryan Harlin walks you through what new and how it will impact your creative process and music-making going forward. Contents: 0:00 Intro 0:41 Device Tags 3:11 Device Categories 4:16 Browser Tags 5:49 Tempo/Length 6:17 Browse Patches 6:53 Rack changes 7:30 Sequencer Changes ### Transcript reason 13 brought a whole new browser and several workflow improvements to The Reason Music making experience that doesn't mean reason 13 is done delivering new features and improvements just like the music that we often make then build upon further and find new parts to add down the road reason 131 brings some new features some popular user requests and key improvements to the already improved reason 13 workflow in this video I wanted to primarily focus on those new features so that you're up to date on the latest and greatest that recent 13 has to offer and in another video I'll be doing a deeper dive on the new Player devices in reason 13.1 note tool and random tool but okay let's talk about reasons browser in 13.1 the big headline comes via user request we heard you we agreed and now I can show you a few ways that you can personalize your reason browser experience to start off with the device pallet in the reason window expands upon the predetermined rack device categories like Distortion or Reverb and now includes tags from the start there are two tags favorite and hidden and they do what their name suggests if I have reason rack devices that I use all the time I can now rightclick and favorite them in my case I'm still in love with algorithm and I use it frequently along with polytone and radical piano now that I've added them to my favorites I can click the favorites tag at top the devices to filter my list down to those go-to devices if I have a device of my favorites that I want to remove like sorry Medi device but I'm not an external hardware guy I can always rightclick and uncheck its favorite status and it will disappear from my list the opposite of the favorite tag is the hidden tag this is for devices that you just never really want to have showing up in your device list ever since the channel Dynamics compressor arrived in reason I just don't personally find myself using the comp 01 half rack compressor that dates back to reason's earliest days if I want to I can hide that to pull it out of my device list and just like our favorites tag I could always filter to see my hidden devices so they're not gone they're just out of the way if that's what I want but favorite and hidden devices is just one way I might want to filter my device list I might have my own groupings and tags that I'd like to filter my devices with for example when I'm mixing vocals I have a standard set of effects that I use all the time the first of those is the channel EQ if I rightclick and go down to tags you'll see I have the ability to assign a new custom tag that creates a custom tag up in the list where I can name it vocals and I can now add more of my vocal chain devices to that same tag for example I'll rightclick MC dsp's frog compressor go to tags and now I've got my vocals tag available I'll do the same thing for their e670 equalizer soft tubes Fe compressor liquid Sonic's 7th Heaven Reverb and selig audio's very excellent dser when I click the vocals tag now you'll see that I've got all my vocal chain devices ready to go custom tags can be created for repeated workflow items like this but you might also want to create custom tags for devices you're using on a particular album project or perhaps you have a set of instruments you want to see when working on a particular genre the cousin to tags is reason 13's category filters previously these were predetermined by metadata tags inside a rack devices code so for example if I filter to my Distortion effects I'll see reason devices with Distortion but I made a whole video about reason other Distortion effects that you might not even know are there and in reason 13 there's a new one to add to that list Ripley has its own Distortion section that is both unique and worth considering when you want to add Distortion to a sound so now if I go down to Ripley in the device list rightclick I can manually assign it to the Distortion category so that when I filter for those devices it shows up just as I think it should and this isn't just useful for subjective category opinions about rack extensions VST plugins often have weird or no category metadata at all here trackspacer shows up as miscellaneous but it's very much a Dynamics processor these tags and categories aren't just for the filter buttons they also impact our search field so if I search for vocals I can also access my goto vocal chain devices categories and tags have been improved inside the browser as well the tags filters are still in the browser like they have been but there's a new section called user tags that works just like the device section we've seen click to add add your own user tag like I'll type in sci-fi now I can rightclick any patch in the browser and add it to my user tag if I wanted to add a standard tag to a patch 2 I could still go to edit info and enable or disable any tags that I want but if I just want to quickly add one tag as a one-off right clicking the patch and going to tags gives me quick access you'll also notice in the left corner of the browser we can now see an info overview of this patch telling us the device with the categories and its tags another element you'll notice in the info area is the patch author and these authors can be searched now too so for example one of my favorite patch creators in the reason soundbank is SPO which shows up as DSP in the patch names but now searching for SPO will show me all his patches and there are other additional elements of metadata that can help you quickly find the sounds you want for example reason plus sound packs now show up in the browser if I know I want a sound from Adam fielding's cinematic toolkit sound pack I can search cinematic and there it is soundpacks is just one new type of search container if I search for something broad like drum I'll see the usual name category and Patch kind matches but I'll also now be able to filter down on rack extensions refills and even folder titles that match my search for Rex loops and samples the browser also includes new display columns for length and Tempo information if that metadata is embedded in the file it's also worth a quick mention that when you sort columns in the browser now it will also sort secondarily alphabetically by name that means if I'm sorting these Rex Loops by length then all the eight bar Loops will be here sorted first by their length and then by their name as you can see here with the A's the E's and the K's the browser's ability to float on top of the Rack in a way that still lets us interact with the rack below has gotten some new efficiency improvements too one of the most noticeable is if you're browsing patches on one instrument like this object synth find a sound you like and then you want to browse patches on another instrument previously you had to click okay to commit your choice to object and then open the browser up again on this polytone to browse its patches but now if I find a patch I like here I can simply click the browse patch button on the next device I'd like to work with and my choice is automatically committed to the previous device those are the new workflow features and improvements to Reon 13.1 browser but reason Studios has made some improvements to the reason rack as well in the rack itself there are new plus buttons above and below a selected device which help with understanding how devices fit together in a typical rack arrangement for example players have to sit on top of an instrument for them to do their work and so if I click the plus button Above This friction modeled strings instrument you'll see that my choices are limited to the various players I could place into the chain clicking the plus sign beneath the device excludes players since they can't go below an instrument and instead allows me to choose for example an effect or to open the browser already focusing my browsing to effects and lastly but certainly not least reason sequencer is seeing some new tricks in reason 13.1 if you're somebody works a lot in the piano roll you'll appreciate new arrow and quick key capabilities as I use Quick Keys like command or control up down to transpose notes or the left right keys to select notes in the piano roll I will now get the same audible feedback that I used to get from clicking on them with my mouse the other new workflow features and reason sequencer feel like reason Studios put them in just for me and even though I realized they were designed with all of you in mind and after talking with many reason users I might still pretend that they were a gift from Stockholm to me because I really love him that much as a video editor who is constantly moving around a timeline and finding clips that I want to split into I've often wanted the same efficiency and reason now using the menu option called split Clips at song position I do exactly that so let's say I've got this audio clip I can see pretty clearly where I'd like to cut it and instead of switching to the razor tool I just place my song position marker at the right spot and use the quick key that you're going to want to remember option x on a Mac or alt X on Windows now my clip has split exactly where my song position is this is a welcome addition not just for precision splicing and editing like this but if I'm listening to a sound file I can execute the shortcut in real time to splice up an audio file into sections and phrases we can now now also split an audio clip into several evenly spaced Clips based on a note value so these drums could be chopped up into eighth notes if I wanted to or this musical phrase could be chopped up into quarter notes and I could play with juggling these clips around and even reversing some of them to arrive at a cool [Music] sample the same chopping applies to mini clips just as it does to audio clips in the sequencer but it also applies to notes in the piano role here I've got a chord progression with long sustained [Music] chords if I select all these notes right click and choose chop notes to 16th notes we've split our sustained chords into a pulsing rhythmic progression you'll see one of our chop duration options is snap value that means that whatever your snap value is set to will be the duration of the chop that's useful if you like to have it automatically set based on your level of zoom in the sequencer or if you'd like to choose a specific and perhaps less conventional value like I don't use a lot of triplets in my Beats but I probably should because if it's this easy it turns my progression into a really nice triplet feel if I use the velocity ramp feature and drop some drums underneath my beat is already off and running [Music] so you can see reason 13.1 has a lot of new features packed into it and that is just on the workflow side of things in a separate video I'll be walking you through note tool and random tool the two addictively fun Player devices that are new to reason 13.1 as well so make sure to subscribe to our channel for that and many other reason tips and tricks to come I'll see you soon [Music]
https://www.youtube.com/watch?v=f7doYRJ5J9M	# YouTube ## First Time Reason Set Up ### Video Metadata - Keywords: Propellerhead Software (Business Operation), Reason (Software), Beatmaking, Music making, Recording software - Runtime: PT3M56S ### Description Before you start using Reason, you'll need to do a little set up to choose options like which sound card you're using and any keyboards, drum pads, or mix controllers you might have hooked up. Windows and Mac users can follow this dual split screen tutorial to set up their machines and get onto the cool stuff : Making music! ### Transcript [Music] congratulations you've just got reason and you're ready to make some amazing music but first you've got to do a little one-time setup and let's face it the setup screens are not the most exciting process but in a couple of minutes we'll walk you through the process and get you onto the fun stuff and as a reward for sticking out the boring stuff with us we just might show you an adorable puppy at the end of this video the first time you launch reason you'll need to download the extensive sound libraries click the download button and reason handles the rest this will take a little while so while the instruments sounds and patches stream in you can either watch these progress bars listen to let it go on one song repeat or read wikipedia's lengthy but rather scientific study of toilet paper roll orientation once completed you'll be asked to set up the inputs and outputs for your audio and midi hardware first up is the sound input and output here we see every sound hardware option we have available to us this includes any external audio interfaces with custom drivers we may have installed or it could be as simple as the built-in sound card on your computer we'll choose the built-in sound card and for the sample rate we'll leave it at the default setting if you have a midi keyboard a hardware mixing controller or a drum pad controller you can set it up for use and reason if you don't have any such hardware simply click skip many popular brands and models of keyboards will be recognized and set up automatically simply by choosing auto detect like this but what if your particular controller isn't auto detected fortunately setup is still a breeze choose your manufacturer and keyboard model if your manufacturer or specific keyboard isn't listed you can always choose other as your manufacturer and midi controller keyboard as a generic profile when choosing your controller manually you will also be prompted to specify any midi input or outputs that are available on your device reasons main window uses the f5 f6 and f7 keys for switching between the mixer rack and sequencer views on mac computers you may want to change your system preferences to activate these keys which are reassigned by apple for control of itunes and keyboard backlighting the next screen helps us improve future updates by having your copy of reason send us error reports and usage statistics to make sure it's performing as expected we're not collecting any personal information and certainly none of your music but if you're the private type you can uncheck this box to disable it the last screen is where you choose what you want to do next you can open a demo song to start looking around a finished song and getting inspired or you can set up a template that will be used every time you start a new song i like to choose a new song template set it to empty plus effects and click finish this sets me up in reason with a blank song ready for me to do my thing but it also pre-wires some basic effects devices into my mixer which i use all the time when writing new music and that's it you're set up and ready to go if you're wondering where to go next be sure to check out our other getting started video with dj lucky date where he makes your first beat together with you good luck and enjoy reason oh oh i nearly forgot about my promise okay you earned it here you go [Music] you
https://www.youtube.com/watch?v=8OPlD4N11vM	# YouTube ## Reason 5 & Record 1.5 - Blocks ### Video Metadata - Keywords: Reason, Record, 1.5, blocks, sequencer, pattern, programming, beats, arranging, arrangement, music, production, audio, recording, Propellerhead, Software - Runtime: PT2M40S ### 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. Many musicians tend to think of music in terms like intro, verse, chorus, breakdown, buildup and so on. With the new Blocks mode in Reason 5 and Record 1.5, your sequencer does too. Blocks lets you sequence your songs using a more pattern-based approach, with the segments of your song as individual building blocks to be laid out in your arrangement. ### Transcript [Music] intro chorus solo bridge for as long as music itself has been around people have thought about it as segments segments strung together to form songs no matter how your sequencer feels about it us humans tend to say take it from the chorus not take it from Bar 82 and that's why we're bringing you [Music] blocks blocks mode gives you a pattern-based approach to arranging your music build your music in segments or blocks then tie them together to arrange your song couldn't be fasten start out building your track element by element in blocks mode when the time is right switch to song mode and build your Arrangement by simply penciling in the blocks to play even in the song mode Arrangement view the contents of each block are clearly visible and accessible allowing you to create variations and fills on [Music] top and when you record a vocal line or a guitar bar solo use blocks for your backing tracks and the linear song mode for your free form performances couldn't be [Music] easier you can always move between the linear song mode and the block mode you never have to commit to one or the other but the magic doesn't end there whenever you go back to add elements to say your verse block your changes will automatically be manifested in all your verse blocks if you prefer building your song around a single beat or four bar Groove drag your four bar block out to make it Loop throughout the arrangement now arrange your track by adding or muting elements in song mode easy quick and inspiring blocks a whole new way of composing and arranging your music for
https://www.youtube.com/watch?v=vj1QOENrwMU	# YouTube ## Toro Y Moi talks being inspired by Paul McCartney and starting songs on the bass #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, toro y moi, mahal toro y moi, paul mccartney - Runtime: PT1M0S ### Description Watch the full video: • Toro Y Moi Interview \| "Mahal" Produc... ‪@toroymoi‬ #reasongang ### Transcript the goal for this record was just to capture everything and sort of just go away from samples for a sec this is my my bassist record like i've never really if you listen to what for any of the other guitar-based uh recordings like they're all starting on guitar or piano uh but this one i started straight up with just the bass i knew i wanted to really channel that mccartney style songwriting and as we saw on like the documentaries um what is it the abbey road docks oh get get back or get back yeah yeah um paul's just starting on the base a lot of times too and like i it was cool to see that but a lot of these songs were already started um before i saw that doc but it was it's cool to just know that yeah he really is just starting with bass yeah i'm happy to hear that that is how you were approaching this new record because to me just as a listener popping it on and taking a listen i get that right away and i think that's great job well done
https://www.youtube.com/watch?v=6y0Ro2M1Sh4	# YouTube ## 52 Reason / Record Tips - Week 34: Automation Clip Toolbox ### Video Metadata - Keywords: Reason, Record, 52, Tips, James, Bernard, Production, Software, Propellerhead, Propellerheads, Music, Mixing, Automation, Flying, Faders, toolbox, waveform, pan, volume, filter, cuttoff, beatmaking, music, production, SSL, mixer, 52w - Runtime: PT7M7S ### 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. Whenever I'm working on music, one thing that I've had in my personal bag of tricks is an "automation clip toolbox." Basically, it's a palette of controller data curves and waveforms which can be applied to automation lanes like level, pan, filter cutoff, etc. Thanks to the new "stretch clip to tempo" function (Option+Drag for Mac or Control+Drag for Windows) I can resize these automation clips to whatever speed I want. This week I'm giving this toolbox away and showing you how to use it. These clips will breathe new life into an otherwise static pad or provide the creative spark for a new idea entirely. Enjoy! File download: propellerheads.se/stuff/JB34.zip ### Transcript [Music] hello everyone and we are at week number 34 this week I wanted to share with you a few tips and tricks of things that I use in my own production and it has to do with automation now automating parameters in devices or mixer channels is really the way to breathe some new life into your tracks and tracks that you're working on and while automating parameters is pretty easy in reason and record there may be instances where you've recorded a gesture or some automated parameter and you want to use it either in the same song on a different device or maybe use it in a completely different song but what I've done for my own purposes is I've created an automation toolbox of sorts and I use this in many different songs when I want to repeat a gesture that I've recorded and what I'm going to do is show you how I created it and how you can use it in your own Productions I've uploaded a Reason song file that contains all the automation clips that we will be going over and you can download it from this link this is a Reason 5 song file and can only be opened in either Reason 5 or record 1.5 as you can see by looking at the song there are quite a lot of different types of automation Clips available I've created everything from signs saw and pulse type waveforms to exponential and logarithmic curves and many others notice that the clips are all on a 14x two mixer and are assigned to the channel levels this is just so that I had a place to put them the automation data that's contained in each clip can be used on just about any other parameter and can be sped up or slowed down according to your needs let's start out with something simple I have a subtractor playing a chord progression and I would like to have the filter cut off frequency open and close in a sinewave pattern that completes a full cycle every bar to automate that parameter I can either right click and select edit Automation and an automation Lane will be created on the subtractor sequencer track or use the track parameter automation button in the sequencer window right here now I just drag copy the sinewave automation clip by holding down the alt option key while dragging the clip to the automation Lane I can change the speed of the automation by using the new stretch clip to Tempo function which is is accessed by holding down the alt option key and while holding it down clicking and dragging on one of the clip handle arrows to the right to go slower or to the left to go faster I can copy and paste this automation clip as many times as I need and also choose different automation Clips if I want a different effect [Music] notice all the different types of automation clips that I've created some are a full value change from 0 to 127 and some are in percentage ranges of 75% 50% and 25% I mentioned that even though these clips exist in a mixer automation Lane they can be used to automate any parameter there may be an instance where the values of the parameter that you want to automate do not follow a 0 to 127 value format let's say for example the pan knob on a mixer Channel let's take this decreasing sign automation clip here and apply this to the pan of the subtractor mix Channel notice that when I drag copy it to the automation Lane I created it has all these different colored bars on the clip that means that the clip is considered an alien clip which means that it has values that do not correlate to the value format of this automation Lane we do have the ability to correct this by using the adjust alien Clips to Lane function you access this by right clicking on the clip and selecting adjust alien Clips to Lane and just like that it will fix it so that it works for the automated parameter [Music] since you can have multiple songs open and can copy and paste clips from one song to another I usually have the automation toolbox song open in the background while I'm working on another song the logarithmic exponential s-curve and linear fade in and out Clips are great for using with mixer channels for audio material and also for the master fader on record when you were doing the Final Mix and need a fade out or fade in to a song or a track again you can adjust how fast or slow you want them to be by using the stretch clip to Tempo function now for fun I created a little mixer level demo automation that simulates a sine wave and also did the same for the BV 512 to control the band levels as you can see here the way I did this is to use the same sinewave clip and copy it to each one of the channel level parameters that I wanted to automate then I shifted the clip forward by 1/8th note for each ascending automation Lane like this and any extra clip info that resided outside of theop Loop end point I spliced it off using the razor tool and moved it back to the beginning of that clip to fill in the empty space from Shifting the clip forward and now when you set up a loop for let's say eight bars the cycle never ends this automation clip toolbox is really great for anyone who has been looking for a curve tool to draw in automation like is available in some other DAW software and again you can get this from the link below just make sure that you type it in exactly as it appears using capitalization otherwise you're going to have problems downloading the file well that's it for another week of 52 reason and record tips again I'm James Bernard and I will see you all next next week [Music] bye
https://www.youtube.com/watch?v=oA3xiEWa4Ds	# YouTube ## Objekt – Create Instruments that don't exist. YET. #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, adam fielding, physical modeling synthesis - Runtime: PT0M34S ### Description Watch Adam Fielding create a textural pad using Objekt completely from scratch while explaining the ins-and-outs of getting started with Objekt patch creation, Objekt parameters, and general creative decisions along the way. This video is perfect if you wanna get deeper with Objekt and learn how to design rich otherworldly sounds. Watch full video here: • Create Cinematic Textural Pads with A... ### Transcript I'm just going to adjust the exciting noise just to hear how that affects the sound [Music] [Applause] so we've got this interesting kind of it sounds almost like a bowed glass instrument but with something bouncing on it or even you know something that's being blown through it's very it's it's an instrument that has a feel to it but you I mean I can imagine it existing but I can't imagine what it would look like
https://www.youtube.com/watch?v=4Xo4YmEGlxY	# YouTube ## PolyStep Sequencer Player for Reason ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT2M27S ### Description Create, jam and perform music in ways you’ve never tried before with PolyStep Sequencer–an evolved polyphonic step sequencer for your Reason Rack. Create sequences by drawing in notes, record in real time or record with step input and then let the magic begin. Transpose your sequences in real-time from MIDI input, always in scale. Grab single notes and drag them in the horizontal or vertical to create boxes. These boxes transform into chords, repeats, arpeggios or strumming. Create up to four variations of each pattern, switch between them manually, randomly or in sequence. ### Transcript Creating compelling chord progressions traditionally requires an advanced understanding of music theory. Not to mention the skills to play complex chord voicings on a keyboard. But the new PolyStep Sequencer from Propellerhead makes creating professional-sounding chord progressions, arpeggios and melodies easier than ever Pair the PolyStep Sequencer Player device with your favorite Reason instrument to start writing chord progressions in a whole new way. Create chords in the step sequencer window and use the drag tool or the modifier keys to change note length, alter chord voicing, and adjust pattern probability. Add more chords to create your own progression, or use the Alter button to take your track in an entirely different direction. Switch to Arp mode to add a melody without ever leaving the Rack. Or enable record mode and overdub your own melodies using your favorite MIDI controller. Fine-tune your performance with velocity controls for all 16 steps. Explore new musical ideas and improvisations without interrupting your creative flow using four Variations. Create full dynamic arrangements that build and evolve over time. From the intro, to the verse, to the chorus and beyond. Or swap out instruments to experiment with new sounds for a fresh perspective. You can even modulate synth sounds in perfect synchronization with PolyStep Sequencer’s two customizable CV curves. And if you don’t like what you’re hearing you can instantly take your arrangement in a whole new direction by changing the key or scale. With an innovative workflow and an intuitive interface, PolyStep Sequencer makes writing chord progressions fast, fun, and easy. PolyStep Sequencer - now available in the Propellerhead Shop.
https://www.youtube.com/watch?v=3GG1KMIrc1k	# YouTube ## What is "Reason+ and Companion"? ### Video Metadata - Keywords: companion, propellerhead reason, reasin studios companion, reason, reason +, reason and companion, reason companion, reason plus, reason plus subscription, reason propellerhead, reason studio, reason studios, reason+, reason+ companion - Runtime: PT0M23S ### Description Join the Livestream this Wednesday! • Reason+ Livestream ReasonTalk forum members have already caught something in the latest Reason update and have begun speculating about it. We've got a lot more to say this Wednesday on a special Reason+ Livestream. Join us! ### Transcript well i gotta say you guys are fast because a reason update came out today and within minutes the reason talk forum was buzzing with the questions what is reason plus and companion yeah what is reason plus and companion well we have a lot to tell you about it and we're really excited to tell you this wednesday on a live stream join us to hear all about it
https://www.youtube.com/watch?v=-4abwHOmG7k	# YouTube ## Music Making Month - DJ Lucky Date Live Sound Design part 3 ### Video Metadata - Keywords: Propellerhead, Software, DJ, Lucky, Date, Luckydate, Sound, Design, Synth, Sounds, Bass, Lines, Dubstep, Complextro, Big, Room, House, Wobble - Runtime: PT27M58S ### Description DJ LuckyDate is a master of sound design and his experience in some of the largest clubs in the U.S. gives him the insight to know how his musical decisions will play out on the dance floor. Sometimes a build or a drop can feel one way in the studio and another way in a club. Sometimes a bass sound is big and nasty in a home listening test but overwhelming when it plays out. LuckyDate will show us his sounds to share the considerations he has in mind when making them. ### Transcript although here's a cool thing to do um if you're doing a big room song do your first drop so it's just the kick the synth you're using as well as white noise and then when you bring out the white noise incorporate a new element so that means have the white noise in your face maybe for four to eight bars and then once it cuts out bring in the hi-hats or bring in a snare so it really gives it that change and then cut the white noise out completely i think a cool thing to do is keep people wanting more white noises especially one of my roommates out there he's like obsessed with white noise if you give him some white noise and it goes away it drives him crazy because he always wants more but he likes that want to get more i think a lot of people do in the club so it's really cool a really good idea production idea to to tease people with white noise because people love it it sounds great on a huge system but you don't that's really important i think that's something that that is kind of it's not unique to you but i think it's something that we can learn from you which is you have a perspective in the producer's chair and then you see the result on the dance floor as a dj and and in the same way you also uh can look at other people's tracks and see what works and what doesn't work and then take that back to the producer's chair um and so i think that's really kind of a neat thing so you're saying uh white noise makes the crowd go nuts it seems simple i mean but not in every with big room house music or club music because if you do white noise the same way i did it in this track on like a heavy electro song you're not even going to hear the white noise you really only want to use it on songs that don't have that much going on so you need something to give it more energy like um [Music] i don't know if i have a good example but like say you have a song that's just a bass drum and a tiny little synth underneath it might be a really cool line but it might not have enough energy to be the full drop if you just put huge white noise on top of that it's gonna fill in this space make people go crazy and by the time you take it out they're going to be so excited by it that the next element that you add to the synth line is just going to keep up the energy that's the way it's it's a good energy filler gotcha gotcha um there's another question that just popped in uh quickly yeah they're asking um you say that you first twisted knobs but you didn't and then then you decided to actually learn about what each knob does and they want to know how did you go about that like you had the desire to learn what each knob did but what how do you actually then figure out what that's a common question i get like on youtube messages and stuff like that is is there a book i can read or a class to go to and i'm sure there's a bunch of great books and a lot of great classes but i've never been a very academic person so going through classes and reading books is never or i like to read regular books but not like music production books nothing like that has sparked my interest so what i did was i just let's take a look at a thor i would be like okay i keep going back to this oscillator and i like how it sounds and then i would search in the manual what this is i'll be like okay that's a sawtooth all right now i know what a sawtooth sounds like or this is the noise box that was obviously easy to learn and then these guys i was like okay i keep playing around with these but let me learn what they actually do so i realized okay if i take this a up it takes longer for the sound to come out and then i read oh this is called attack all right so attack means that uh there's going to be some how long the space is before the sound comes in and then decay i was like all right so decay is going to be how long the synth goes before it fades out and the sustain is sort of similar to the decay if you have it all the way up this the sound's not going to fall out until the decay falls out and then the release was how long will this note last if i just press it down so i just i learned i learned just through playing around with it so it was still trial and error while i was learning but basically i was taking mental notes as to what i was doing frequently what and why i was doing it until i figured out what it was i don't know if that might have been too confusing no i think that makes sense okay um there's there's a comment um yes actually okay so uh you know gooney uh asks something he says question that's not really a question but there's a question implied he says jesus look how long that rack is um and i think it relates to a question that came in earlier from someone which was do you have any tips on organizing a rack of that magnitude okay uh don't take any organization tips from me that's that should we get your roommates in uh to uh give their opinion on you an organization yeah i mean you you don't want to do that i'm not organized but i mean like i know that a lot of you don't invite them in there yeah no no no yeah but um they're what i basically have zero organization method i don't label anything i don't put anything anywhere and it takes me forever to find something but it works for me i would recommend and i wish i would do this but i'm just too stubborn or always for lazy i don't know i would label every single thing you do i would put all your drums in one section then all your sense maybe from the start of the song to the end that would be practical um but by no means you can be disorganized and make a song like i i obviously finish my songs the organization has not held me back but it does take me a lot longer than it should so don't don't do it how i do it and this is i know this is a completeness and that's just that's just how it goes it's unfortunate all right if it makes sense to you it makes sense right yeah so it's all good right um well this actually uh i got one other question then we'll jump on to anything else you might want to show us because we're thirsty for knowledge but um related to this i mean the idea you've got a lot of layers going on and uh i think it was a banana face uh wanted to know uh how much layering happens after the structure is written do you do you kind of get the structure of the song done and then add all your layers or you kind of add all these layers and figure out what you're going to do with it [Music] see this is always it's always difficult for me to remember how i write my music i think what i do is i start with i'll i'll probably just start with the normal house beat uh kick clap high heads in between or something like that usually it won't end up in the final version but just something to give me the rhythm for it and then i'll work on the main synth in this case i worked on that uh that bass sample with distortion and i'll layer until it sounds right i think if you're asking if i mix my tracks as i go or if i just lay everything out and mix later the answer is i mix as like hey while we're on the subject uh there's been a question that's come up 50 bajillion times in the chat yeah do you mix in headphones uh i do i'd say 90 of everything in my headphones sometimes 100 um and that's that's due to two reasons one because i'm on the road a lot i don't have access to my monitors and two because my room is a reverb haven and it's not not easy i'm looking at a very lovely uh standing wave parallel corner right uh a parallel corner you're not a parallel corner but you know what i mean yes it's it's not it's not meant for uh production but i could make it a lot better and one of my roommates always questions me about it because he's a sound engineer um would that be dj saying i can i can fix that he's yes that's jet set exactly that's him um yeah so i do but i mix as i go a lot of people will will write their music finish the song and they don't care about the mixing at all they don't care about the compression the eq and they feel like they'll do it later but what i do is i work on everything as i go so by the time i finish my song all that's left is mastering gotcha gotcha cool okay um no hesitation i think we just answered that mixes and headphones more than studio monitors so yeah um i've seen a couple of um a couple of people asking about your refill and uh is there a way you can point people to where it's at okay if you okay my site right now is a little buggy it looks like all the pictures don't work on it but if you go to dj www.djluckydate.com refills it'll direct you directly to the refill center gotcha cool and then and likewise youtube i mean is your are you dj lucky date is your youtube channel no my youtube channel is lucky date videos lucky date videos cool okay yes um there's a couple i've pointed a couple of people to those some people have been asking you to build up sounds from scratch and stuff like that and i think given our time not that we wouldn't mind just you know camping out all night and and watching but um okay well uh you got you got it in uh some energy to do one more little something something and then we'll yeah let me let me see if there's anything more i want to do from this track and if not i'm going to go to a different okay [Music] [Applause] in a second i want you guys to listen to the white noise here and you're going to hear i'm going to take it out at various places and i'm just going to do little spurts of white noise and that's what i meant by kind of cool little spray sounds you can make [Music] okay and so for the stuff [Music] [Music] [Music] [Music] turn it up all right i don't think there's actually any if anyone has any questions about that section same now [Laughter] i think that's uh i think that's a no while you move on to another song uh question there's one question question you can you can you draw you notes slot or use keyboard uh i think that there's uh an analog delay on your keyboard as you're typing there but uh therefore no okay i'm gonna skip that question because rich one i'm sorry i didn't understand it so um okay anything else are we uh someone wants to know do you start with the drums first the lead or the bass um totally depends but usually the bass i'll have some sort of drums to just give me a little bit of structure but the base is with the first thing that i really like about my time a couple people have asked we don't know if you're even allowed to say um but they're curious to know if there's any uh names that we would know that have have used your refill uh the names yeah uh some names that you guys might know are you may have there's a song called like it like a g6 by uh farce movement in the cataracts and their producer from the cataracts uses my refills um david guetta has used my refills um there's some huge german hit that had was like just taken directly from my refills they even used the demo song i gave them there's been there's i'd say david is probably the most well-known producer who's used my repos gotcha cool yes all right i'm gonna get out of here as an as an aside uh to people out there um the the producer you're talking about from the cataracts nile star is also a uh reason user uh reason and report i guess user so yes he is all right let's do we want to look at electro or do we want to look at dubstep for the last one um yeah okay throw in your votes guys i'm seeing a lot of electro oh that's funny when the when the votes fly in this whole screen just goes bonkers really so what are we doing it looks to me like electro has trounced everything okay this one's gonna be sort of a complex stro happy song okay what and what what would how would we define complextro complextro is a term coined by porter robinson he must have been so happy when he came up with that term wow i'm sure he was he he likes to emphasize that he was not the first complex joe artist but he was the one to first make the name complex joe complextro has been basically just it's a jaw it's a subgenre of electro with usually made by base samples but not always base samples but basically it's a lot of bass lines into turning into one bass line so it's the really really choppy bass line style of electronic music and i don't make much complex show even though i've kind of been put into that team of people i don't consider my music complex joe i don't i wouldn't even necessarily consider this complex show but the fact that it has about six or seven different baselines going on and i guess would put it in that category um but yeah let's let's dive in there okay [Music] it's not really built yet but here's the baseline [Music] [Applause] [Music] [Applause] [Music] so [Music] [Applause] [Applause] okay so that is my oh my okay there's a lot of stuff going on in there now the main thing so what i'm going to show you is i'm going to sort of play the break a little bit i don't know how this might sound like a total mess because i haven't been in this project in a while but here's the synth progression that i'm going to have some vocals over [Music] okay and so then as you can hear if you listen to this bass line one more time you can hear that synth line kind of going in and out of the bass line every time you hear that synth that's directly coming from the that original part now i'm going to talk a little bit about the importance of making sense when you're making complex show my biggest problem with a lot of the complexion right here today is that it does not make sense and what i mean by that is it kind of just sounds like people are taking 12 different base samples not even worrying about what key they're in throwing them on an npc having their pad and just like clicking different pads for each one and i think that that can sound really cool but the problem with it is that it's not memorable because there's not a melody to it and you don't always need a melody but i think it's good to have something catchy enough that it's in your head because if you just have like blah blah blah or something like that you're not going to remember that it's not it's not catchy enough um a question that came in related to that actually from uh rish one uh he wants to know you mentioned you're not the most musical but how do you come up with those chords and melodies that we're hearing i mean they're very catchy and very cool they're just trial and error really and when i say i'm not musical it's not that i don't know how to make a good chord it's that i don't know what i'm doing so when i play a chord for you or i guess i don't even know where the sentence is but if i were to play a chord for you it might sound really cool but i couldn't even i could not tell you what notes i was playing or anything like that so i'm not classically trained by any means but from doing this for a lot of years i have get like i can make chords sound good with other chords just from my head but i don't know what i'm doing i couldn't tell you what i'm doing gotcha okay so for this bass line what i would do if i was going to make it if i was going to tell you guys how to make a song that has a really cool uh choppy bass line but still makes sense i think the best thing to do is create a melody such as i did any kind of melody and then once you drop it into the bass line take out little sections of that bass line i mean of that synth line and add in bass shots or bass samples or just stabs of synths that are in the same key but are a different synth so that way the line set it still has the same melody to it but you're getting that crazy contrast of sense whereas so it'll still make sense to the ear so as you can hear all of these synths are going to be in the same key as the main set that's playing but i'm just taking out the synth so every time i point at the computer i'm going to be like playing the main melody and then when i release my finger it's gonna be a new synth coming in so whenever my finger wasn't there that's where i replaced it with a new synth or some sample i have vocals something like that but i think it's really important to make sure everything's in the right key and um yeah it's not it's not it sounds complex but it's not the most complex thing to create it's actually really simple to create there's like [Music] these are all little shots i put in um at different different times [Music] yeah this one's the this is the second slip that comes in wow oh and once again guys i did i put white noise during the first part i really want to emphasize this white noise thing i know it's probably getting annoying no no no here's the white noise here and it's it happens when it first hits you always want that [Music] i took it out right after those first two hits so it's only on the first two beats you're saying uh uh this song it's only one of the first two boots it's right here it goes like this and it's out but it has reverb out [Applause] wow i mean i think it's i think it's great and i don't think you're driving the point too much i mean you know it's like white noise is one of those things that if you if you're learning and you and you just pull up the noise generator on a synth you'd be like why the hell would i want to use that that's like that sounds dumb so i'll never use that and and i think it's great for people to kind of realize that actually that's like a very important component to modern sounds you know definitely definitely very cool so yes are there any last last questions we want to take how or is there anything about this song couple of questions about i see oh how long do you make your builds and do you stick to a minimum length um no i don't um i don't i think i i would stick to a maximum length i wouldn't go over a minute on a build i think that's a minute is a little bit too long i mean it's not necessarily too long anything over a minute can be too long and i think that people love crazy builds but if you're going to make a build that goes on for longer than a minute you might you better back it up with an amazing drop because it's really easy to make a build really really exciting but it's not that easy to make a drop that's exciting so you could create this build that's like you think the most amazing thing is about to happen and if you don't counteract that with an amazing drop then you just lost the dance floor the dance floor is gonna be let down okay so i'd say make if your drop is pretty good if it's not that energetic don't go over 15 seconds if it's if it's good it has a lot of energy to it do about 30 seconds if it's great do a minute but um the less energy the song has i think the shorter the build should be and the less crazy the build should be like maybe the build maybe build should just be a sweep up and a little bit of a drum roll but if it's going to be a crazy drop really add some reverb synths add a lot of automation to samples and stuff coming up make it a really big build but the biggest problem i think people have with builds is that they make up the build better than the drop and that's a i'd rather the drop be better than gotcha yeah so listen there's a question that has come in um the entire night and i i haven't asked it because i think it's a really simple answer but i'm going to ask in case what if it's the most amazing answer we've ever heard so david chony wants to know what about what do you do about clipping do you just turn down the master fader like how do you prevent clipping well maybe maybe it's not that's all your question that's actually my question for you for you or anybody is is it actually clipping if it's above that zero here um which it or is it clipping when it's above here well oh wait let me go to your let me look at your screen hang on is it is it clipping where where and where when it hits that this is okay well you're so you're looking right now in vu peak mode so vu metering is different than peak that you're mo probably more used to peak metering so if you hit that mode button a few times um at the bottom well this will turn into a tech support session uh there until it says peak peak that's going to be that's going to be a meter that you're more attuned to for like so where where where on this meter is zero okay all right so i i guess i am clipping in all my songs but for some reason when i bring them into logic it's not clipping gotcha okay so i that's what i look for i always master my songs in logic and if if they're clipping once i bring them into logic then i turn everything down inside cool yeah um yeah the you know and the uh just as another answer as i understand it this could be wrong so nobody i i'm not a programmer so i but as i understand it the audio inside of the mixer um is all has enormous headroom it's like 32 point floating bit blah blah blah it's it's got a ton of headroom it's the master fader when it all gets summed together where clipping is ever an issue you can you can crank the gain and the levels on all the channel strips till the cows come home and it's not until it gets to the master fader before things you need to worry about clipping so if you want to just pull the master fader down you'll keep all your other levels in intact you'll be fine so anyway all right well listen um jordan thank you thank you so much um i think this has been awesome and i can tell you from our uh from the engagement in the chat and the the viewer numbers and every other way that i can look at this we have just been uh soaking up every every word and every minute you've given us so awesome well thank you so much for having me i hope everyone enjoyed this and learned at least something yeah i think yeah so the the the big takeaway uh white noise is your friend and uh and experiment and and get to know these knobs and and practice and you know cool that's right that's really great okay well thanks so much and everybody do check out lucky dates tutorials online because they are this good but in five minute form so you can uh you can check them out and learn really quickly um and uh that's uh that's it for us tonight so i'm just gonna let me just wrap up here i'm gonna um let me just tell you guys we're gonna be back we're not on tomorrow night we are going to be on friday night again with dave brown from boyinaband he's going to be building us a modern pop song he's actually been doing it all week in fact you don't need to wait for our session our live session on friday to do this you you can head over to boyinaband.com now and see this track being built um he's going to be putting up i think a video every day and he's going to be showing you different elements of the song and then he's going to come on with us on friday and reveal the final song take your questions walk us through in a little more detail um all of what he did so uh that's it otherwise you know standard stuff applies keep your songs coming tweet your songs to mmm prop songs or post them on our facebook wall and i every morning it's now like i come in i check my email and then i go to twitter and i check the the tweets and i look for your music so it's it's it's actually far more fun than checking my email believe me so um excellent all right guys have a good night and send your music because this could be you what the um [Music] [Music] yay [Music] so [Music] so [Music] you
https://www.youtube.com/watch?v=1U5dVETnHcw	# YouTube ## Reason Livestream – Bassline Generator with Mattias and Ludvig ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT107M44S ### Description The word is out on Reason's latest Player MIDI effect, the Bassline Generator, and the basslines are already pouring out of studios and laptops around world. Everyone is as excited as we are for this new addition to the Reason Rack! It all wouldn't be complete, however, without a livestream from Stockholm to get even deeper into Bassline Generator. Join Ryan, Mattias, and Ludvig as they showcase some advanced tricks you can bring to your own basslines with Bassline Generator. ### Transcript [Music] okay [Music] guys it is stream o'clock chris hello from new zealand hello how you guys doing down there i don't i think it's my maybe if it's tomorrow is it wednesday in new zealand i think it is guys let's do this let's go live simon let the fun begin on your q simon i'm letting the fun begin hey what's up guys how's everyone doing let's turn the music down a little bit dug that down this is the snooge how's everyone doing welcome to another reason live stream these are becoming something of a tradition when we drop a new feature a new product a new an upgrade a new device all those sort of things it's almost become sort of expected in fact when we released baseline generator but before we had announced this live stream people were commenting on youtube and saying can't wait for the can't wait for the live stream and so they're just now it's it's expected and for good reason because they're super fun they're fun for us to do and hopefully they're fun for you guys to watch um alexander sup from the bay area oh hi neighbor i'm bay area as well um i'm one of the i'm i'm the i'm on the outside lands if i can use a bay area reference i'm on the outside lands of the reason studios world everybody else for the most part is over in stockholm we got a couple other people australia los angeles but um anyway well it looks like everything's working i'm keeping an eye on the comments here just to make sure as we kind of get going here that people are hearing things they're seeing things and i'm seeing a lot of hellos hello from massachusetts um and uh we got some people asking how am i i'm quite good thank you very much um you know pop that one up there you go like hello ryan deep trance hey how's it going um greetings from ireland there we go okay so everybody is making their way i'm glad you know we it's always such a moving target to try and find the right time of day to do these and we've sort of hit upon this time and i'm sure some of you watching are going like the right time of day it's four in the morning in insert country here but um you know for the most part this seems to kind of hit the right targets you know maybe you're having dinner and watching this over in europe maybe you're having brunch here in california maybe you're slacking off at work after your lunch break in new york or you're having breakfast in hawaii it seems to kind of hit the right targets so um so listen we are here to talk about uh a new player that dropped was it last week it was only last week it wasn't even a week ago it feels like a long time and you know why it feels like a long time ago because i've been seeing so much discussion about baseline generator just in the last four days it really seems to have struck a nerve with people in a in a cool way and i think when i saw the first demo for it i my first comment was this is going to be useful for a lot of people i was really excited about it myself included you know i talk about this i released a tutorial video and i say that like you know i'm not immune from struggling with baselines myself you know it's it can be a kind of tricky thing to get right and this player has just really leveled up i think what i do but also i think of a lot of other people and i'm seeing what they're doing and people have been putting out videos on youtube and there's been clips on instagram and stories and all sorts of stuff we've been seeing and it's just been this flurry of activity that's been really cool really fun to see and we're gonna dig into it uh even further today in fact i have you know sometimes it'll be me and matthias this time we've gone for a threesome because we really have uh i mean i may i might over hype him but i i don't think so he might humbly under hype himself um that i would call him the brains behind baseline generator uh the the inspiration behind it and really uh one of the key drivers that made it as cool as it is so we're going to talk to him and we're going to bring him on right now this is ludwig carlson ludwig say hello to the internet hey have i have i over hyped you or under hyped have i gotten my is it goldilocks just right i i think you're uh yeah okay i've been deeply involved you have these line generators thank you so much this is that is very unsweetish of you to to uh joe you know what actually yeah i have been very involved in this that's uh and it's correct you you really have been uh the key drive so much so that when i've gone to matthias early on during the development when i went to matthias i had questions he got like ask ask ludwig i don't i mean i he knows better than me all this stuff so um so let's talk a little bit about baseline generator i wanna we're obviously gonna show baseline generator give people some tips and some tricks but i think it's probably worth uh taking a step all the way back to the why of baseline generator why did this happen and uh why is a player you know and and sort of just where it all came from you know sure i mean the decision always comes from matthias doesn't it but but in some way but but the many players we felt we had first of all we really like doing players because players are you know you get very close to the music with the player uh you kind of you can really do some difference to the actual notes coming out and that's that's fun it's fun to and also we kind of we like the thing you know creating giving inspiration and making you know creating new ideas that's that's kind of one of the key things we like to do and players are excellent for that but we felt i mean we already have what is it two at least two drum players right right beat map and drum sequence and we have the the the poly step which is like more like for chords and stuff like that we have an arpeggiator we have petty mutate which is like you could probably do baselines with it but it doesn't really help you do that you sort of have to bring the baseline to the player and then then it'll take it further right yeah we didn't have something specifically for base so that was kind of the starting point plus the fact that we knew that in base it's it's not always easy right to do base so it's a good thing to to look into what i love about these players when whenever you guys so when in recent i think it was at nine nine i think we introduced players right reason 9.0 and um when we did it we introduced three players originally scales and chords dual arpeggio and node echo yep and i in my limited non-product designer mind was like great we got it all covered we did it guys we're perfect and just the beginning it's just the beginning and then so every time one comes out i'll go like oh yeah drum sequencer oh that's actually that is a super handy okay well now we got it cool cross players off the list we've done it and we're good to go we got the whole collection and then pattern mutator comes out and i go oh right of course of course you want to do that and so this was another one it was just like a massive blind spot well as soon as you guys said i was like oh yeah of course of course we we should have a baseline player and um and i hope hopefully it's as for people out there these are as surprising i think there's something about them it's not just maybe the obvious oh we need something to generate baselines but actually really your specialty and i think partially if i i hate to toot our own horn here but i do think i'm gonna say this as a as a reason user of many years not as a reason studios guy um i have always been impressed with the design decisions that you guys have been making for years so far before my tenure began with the company and this is another one of those things where it's like of course you can make baselines but to do it in the right way and the way that you came up with the solution you came up with is really really elegant and uh maybe we could talk a little bit about that what how did it how do you approach you had the idea we need to help people make baselines but where do you what's your next step well we had a few like requirements that we came up with we didn't want it to be random for example because like you know like quad note generator it generates random stuff it won't sound the same the next time you go back to it but for a baseline reader you really you really want it to sound the same you set it and then it should stay that way so that it couldn't be randomly generated also if you do random stuff you can get interesting things but you typically don't get bass lines bass lines are not random really they are right they have might have a strong root note might have a strong downbeat and some yeah there's a kind of form to bass lines which there might be many forms but there are lots and lots of note sequences that won't work very well for right lines this is a classical i know as a guitarist there's a sort of truism that basis always think which is that basis will say all guitarists think they can play bass because it's like it's you know similar and you know it's got frets and i can use a pick and i can you know it's the same tuning it's just only four strings i can do that but to think like a bassist and bass lines are actually a whole unique thing unto themselves they're not i mean they can be melodic but they're not melodies and they can be you know they can be chordal but they're not chord progressions you know they are their own thing sure exactly they to me a good baseline kind of has a direction you know it travels and it kind of pushes forward in some way there are a lot of baselines that are that don't do that but i don't find them very interesting you see what i mean by because and that brings me to you know let me back up a little bit because we wanted to find a way to kind of yeah we couldn't actually just do it parametrically from we couldn't come up with rules that create baselines out of nothing because we could probably but our the results weren't very good so we didn't do that so we found out okay we want to start with existing baselines we're going to do some some stuff and then we're going to kind of mutate them or let the user change them or mix them or in some way right yeah make them their own so you you don't you you don't want to get the feeling that you're kind of i don't know using a loop player or something like that right you there's a certain element um you know when someone i i remember there someone making this comparison once to certain music making tools where they said that um if you go back 50 years in photography taking a photo was a a fairly complicated process you had to understand the relationship between the lenses and the light that's coming in and this the amount of silver particles on your film that you were shooting on and how long to expose that relative to its sensitivity and how changes on the camera would affect focus settings like it was a lot to it that you were doing then the instamatic camera came out and you could point at something click a button and it figured out the correct all of that and figured it out and just took your picture and what happened when you did that in a lot of ways a lot of the complexity was removed but what wasn't removed was the sense of ownership that you got in that i took this book this is my photograph i you know people that take photos on their phone now they don't go like oh well the camera did all the work i mean the phone did all the work i didn't you know i just pointed at the lens right they still take the artistic ownership of what they have created and in a similar way i think the players like this one and there's some others out there too as well beatmap being one of those two has that same relationship where it's yes it's removing complexity but it's still retaining the artistry and the ownership of what you do with it so that when you're done you don't feel like you didn't just load up a midi loop and go like okay that's my bass line you can actually really craft it exactly clever i was going to ask you there's a there's a picture so i've got a couple of pictures i wanted to to chat with you about this um i have some of those early we put these up on the blog and so i i brought them up here so we've got this early iteration referred to as bass face can you tell us a little bit about bass space and was it was this the first design test i mean this is not a proper design this is just like a sketch i did but but we did prototypes of it of that basically um the thing here is that we kind of try to split the bass lines into rhythm and pitch so you could have independent control over the rhythm and which pictures we're playing with some kind of xy thing you see pattern and mask we used to kind of gate mask that was right okay i don't know kind of deciding where in the pattern should i so my notes play and where should it be silent and so on it didn't work it sucked pretty much it no it didn't suck but it turned out only a few combinations seem to work so so we left we abandoned that idea because the thing is you don't want weird pictures all over the place and you it didn't really it didn't really gel how do you know when you're in this process how do you know when like how do you not get pulled into that sunk cost fallacy of like we've been working on this design for two weeks and it's not there yet do we are we just a week away from seeing the success of this design or when do we scrap it and go at it with a different approach yeah um but it depends i would say i mean it depends on how house hurry we you know what what kind of state of harry we are in and so on and what and also how far i mean i will i had a feeling that we were on the right track so worked on we had some good results but we just this particular you know this this combination of rhythm and pitch that didn't really work and all that thing you saw under the the two xy pads there was an early idea of mine which didn't really it wasn't really necessary it was a way to yeah that weird kind of display down there with the reflected steps the chromosome display or oh yeah yeah um that just so that was a way to kind of create patterns that repeated but was slightly different each you know everything every second time or something like that but it wasn't necessary so so um no well luckily we had the time to kind of go back to the drawing board and think a little bit more about it and so your your second uh iteration if you want to call a sort of milestone iteration um still this is still a sketch wireframe right this isn't a absolutely device our graphic designer andy it's not involved in these weird attempts i just have to say to defend him i mean he does the actual things and then and also of course a lot of the design the actual uh graphic user interface design that that's him because he's it's very very experienced he's basically done every single recent studios device right almost almost all right yeah yeah so this is much closer because we have come up with a beat and the unbeaten offbeat it says beat here but it's the same thing sure we don't have that diamond shape but just two big knobs for him instead but it does the same thing basically and we also came up with having some kind of sequencer display separating the pitch curve and the the notes right right actually this is pretty is it pretty close to what we have there are some things right this would if we if we weren't so lucky as to have andy this could be a functional version as we know it of a baseline generator so exactly it's uh everybody should send him uh flowers and chocolate for making our reason rack that much prettier i mean i mean we we are continuously when we do this we are continuously kind of developing and discussing and bringing things to the table and the so it's mathias and andy and i and also niklas backlund of robotic bean who's been at that point he was already involved but i just had to stress one thing because at an early stage it's pretty much pretty fun because we have the the new combinator the updated combinator for reason 12. yeah that makes a huge difference i mean i use it for prototyping i've actually i did the prototypes in as combinator patches early on to uh using using pattern mutator as a as a built-in sequencer actually to just try you fed the bass lines into pattern mute like you yeah i recorded bass actually at the pattern mutator and i made combinators after that and just tried all the accommodations and how things worked so before we did actual rack extensions we just did combinator patches interesting they couldn't do everything of course but it could you could get a sense of what what worked and what didn't right right well so should we maybe we should pop the actual device up uh on our screen here and and kind of instead of looking at wireframes and sketches um maybe we'll actually look at the the real baseline generator talk a little bit about what it is now a lot of people will have seen our tutorial video that we put out last thursday but not everybody will so maybe we'll kind of give people a quick uh what do you call it a a once-over as to what it is and then we'll we'll start digging into um exactly some extra fun things we can do with it so it's cold out here says matias is he is he wanting in on the fun yes he is it's cold all right matthias all right all right you want to come you want to say hello i'm bringing you on for a second let me get your screen up uh while i've talked to matthias [Music] [Laughter] i was i was hanging out with you you were having too much fun you're i would just i could just hang out with you super fun mathias we had such a fantastic time yeah i know okay fine well now now you're here what do you got to say well you got you got something you need to add i got nothing all right now let's look at baseline generators i've been looking at questions in the chat um there's a lot of fun stuff to talk about living before i uh bring you uh bring your screen on i'm noticing off to the side that you're you want to share just reason only because you've got the whole uh your whole monitor going and when if i switch over to it now we're going to get sucked into a feedback vortex of visuals i think i only have reason i believe i think i do let me try again my screen says otherwise all right there it is there there you go okay sorry now it's there okay so uh here i'm going to pop this up on screen here okay so i i'm going to leave it to you to try to describe this a little bit but maybe just kind of give people the the the need to know quick once over of really what baseline generator is how it works and what's kind of happening maybe behind the scenes so they understand kind of the mechanics we'll see you in two hours then no sorry i'm kidding okay so um right i just started by adding a monotone bass synthesizer which would sound something like this [Music] mute your mic you're typing see this is what happens when you come on too early horrible so i just i just i'll just walk out of here no no just meet your mom no no no no i just added a baseline generator here okay cool and this loads like the the default patch which sounds like this just so you can hear it but if you skip the default patch and go back to the very yeah you're just going to reset the device like this then we're going back to a very very basic and simple pattern which would sound something like this [Music] and you right away can notice that down here we have green and blue notes or dots or whatever you should call them they are actually notes and the green ones are reflected up here it says on beat and the blue ones are off beat and this is kind of the key to how we how we kind of you know how you reconstruct bass lines out of whatever is in here so the on beat that means things that are on the eighth notes like even stuff i can we can turn down the velocity and turn off off bit all the way so you can just just hear that it's a good trick to know actually that you can turn down velocity and they're off right yeah i didn't i hadn't picked up on that it says all fair right so because damn it just get me i've never learned to read ludwig no sorry you've just outed me anyway so uh as you might have heard over the insane laughters we that was very straightforward just eighth notes no sync hopes no is that a word syncopes it's it is in sweden yeah it's no syncope didn't know syncope syncopes uh maybe people out there that are more uh all right theory-minded concern co-op in swedish anyway so uh if we instead turn off the the on beat we only listen to the off beat those are the notes that sit in between on the like off 16th notes yeah this is gonna sound really weird because you only hear those right it's not really useful on its own but i might am i correctly saying that these are the notes that really kind of give a bass line kind of its interest it's uh it's feel yeah at least if you want it to be like funky or or right driving i talked about direction earlier that the way a bass line kind of strives forward and and also kind of pushes against the beat because the beat is fairly straight here right really really simple you know what i thought i said often this i think that's when i was doing the tutorial i thought about um the uh another one bites the dust baseline is this interesting thing where it's half of it is on the beaten half of it's off the beat so you got a dun dun dun that's all playing off these upbeats and it's it becomes interesting because you realize it's the back half that makes that interesting if it was just done done done and vice versa if you would remove the proper exactly we'll see this in many patterns actually both me and the play a lot of music of course i play a bit of bass and other plays bass with all instruments he can get his hands on i think and that was like a key thing that like a good baseline they tend to kind of have an important like this beat matters right right matters and this is the thing that bass players do in not instinctively necessarily but they do it it's based on years of experience and i think that's what's interesting about the lines that are fed into baseline generator as a starting point were fed from your experience i mean they're they're baselines that you play we had we had some outside help as well but but yeah we can't they're human but they're human baselines they're not they're not algorithmic and they're not random and they are based on the experience of bass players who understand that on and off relationships yeah and the reason for that actually is is because we found out that that worked best even though you kind of split let's say we we record a bass line that sounds something there's a mix of unbeaten offbeat notes and then we split that and make make two separate one on beat and one offbeat pattern and they might not end up on the same number here they might sit in different places on these scales because they are kind of sorted on on how dense and how many notes there i'll be coming there but the interesting thing is that since they were made together and they actually started out as a proper really play the bass line they kind of work for some reason uh i i wouldn't have been able to do that just by kind of guessing and plotting right and drawing notes that's what killed all the all the kind of random generation ideas too because there were too many like instinctive little rules and and baseline things right that's just randomly generated you know play them it's like you just play them exactly when i'm trying to learn swedish and i ask someone a grammar rule how do you know it's this and not that you're like you just know you i don't know how to tell you i just you know um it's these things you learn as you as you're gonna of course that that's all based in this case i mean on listening to a lot of music over the you've certainly played in your fair share of bands and particularly with a certain emphasis on kind of these feel-based and funk-based type of jazz as well you know um really things that have essentially it's going to happen i'm going to just be known to funk i'm going to fly through a couple of comments here um just i want to see make sure oh yeah so um rh was asking is it any good for drum and bass um that's a i think that very much depends on the type of drum and bass that you do i mean the traditional kind of you know old-school drum and bass that i tend to like they often just have long notes right and it's really the base sound that does it it's yeah right it just goes through the entire track yeah oh i see so there's something yeah the dmp drone base here and there's also another one called rumbling the jungle high bpm which is something i i won't be able to kind of showcase it now because i don't have paper like rhythm loops or whatever right right i think it can definitely do those but in many cases i mean to be perfectly honest sometimes you don't need that we talked a lot in the beginning about what baseline generator is supposed to do right and two things we kind of removed from the equation was a base that was simply functional so base that simply tried to follow along with the chords and the structure of your song uh you know playing particular note of the chord yeah exactly what you're really doing if you're just holding a note from the entire measure on the root note of the chord yeah like you don't need a player just having like eighth note right then you don't really need our help i think it's more like okay let's let's figure out the chords i beg to differ i didn't need your help i just didn't know i needed it on purpose try to not not be that really right i don't think it can do the the very basic like pop com pop rhythm you know i don't like something from the 60s or something i don't i don't think we can maybe it can of course it can i mean you can you can clearly draw in the notes notes but you're right but then you're just using any other sequencer right but that's really important actually so based on generator was kind of made for you know music and genres where the bass line was more or less prominent and important right that's still a wide range i see a lot of people saying like techno and acid bass lines which honestly most of the raw material was the complete opposite direction there was a lot of funk and soul right those kinds of bass lines i could should be surprised of course tend to be quite similar actually gary in the comments says it's great for dmb so gary uh assume has made some dmb with it says it's great for dmb also um another question to to make sure we're clear on this avenue says this baseline generation is synced with tempo yes it is yes um and and you can you can hear when ludwig actually uh i keep interrupting us from actually playing but when he does play um there's a little drum beat there that's that's happening um courtesy of reason as well and and everything is synced up with tempo absolutely i see swedish hot synth quintet is in the comments asking if it's good for stuff from the 20s [Laughter] if you didn't know that's analog sint orchestra yeah we've been playing vintage jazz on video synthesizers since 1998. so cool anyway uh so let's get back to the yes yes yeah sure so i started with let me start over so i just gonna start from this very very very very sparse [Music] now a way i like to use this i can of course just do it like this and drag in the diamond but maybe if you want to really find something you you like you might want to try just do one thing at a time start with the on beat and see where that takes you see so like this so maybe i'm gonna [Music] that's interesting i'm gonna take that one and then i'm going to kind of move just do the same thing with the offbeat here and see what we can [Music] it was okay it's effective in its own way okay that that's something at least so now at that point i can start maybe doing stuff with velocity and note length like i'm going to zoom in just so people realize what you're doing there so the velocity are those changes were you changing the knob or were you changing them directly in the sequencer oh you're changing the noise changing the the knob so it's just like a velocity scale control for the on beat and for the offbeat and that's a global is that a global setting for all on beat and yeah it scales it scales whatever is in the actual yeah oh i see so if you've got two different green notes but different velocities they'll go up but they'll go relative to each other yeah okay cool yeah because the the baseline the patterns that are in there have velocity information so it's not like they have nothing but you scale it up and down so and you can actually see that because you see this those black the bigger the black dot is the the higher the velocity so this last note is pretty it's pretty intense now you can i think you can hear that yeah all right so i can change the note length a little bit as well [Music] okay it works actually i'm curious what happens if i raise this pattern length the number of steps to 64 instead which is the maximum [Music] not much oh it went down at the end so is it that these patterns were written as 64 length patterns and then okay so there may if you see a pattern and there's 32 there may be something behind the below the fold or behind the curtain or whatever you want to say right but you might want to go down even further right related to that i just i'll throw the question at you because i've seen it come up in the comments a couple times people are asking um are there do we do you think that it'll ever go to less than 16 some people seem to want eight steps only and that's there yeah well yes um yeah yeah that in retrospect we should have done that and maybe that will come as well um i i i agree we had we had a discussion about that and we had kind of different opinions let's leave yeah but being the resident techno sequencer i was no it's not really about that it was just like i felt coming from my perspective the the bass lines didn't kind of it didn't really become bass lines until you had a bar there's one thing yeah i'll show a bit of that later when i do some demoing but you'll find actually that if you turn down the length to say eight instead you're you're not left with much like these bass lines are written as as like you said as bass lines with uh really focus on the root note and the octaves and the kind of fifth and the seventh and you'll find that you get very very s kind of similar starting points for example if you go down to eight i would almost think that by the time you're at eight you could be doing that in pattern mutator and sort of rolling your own without too much effort but yeah especially when you go down to four or five right right and stuff but um definitely a cool thing a little housekeeping here uh one question uh is this only available with reason plus the answer is no it's available in our shop as well as an add-on for reason and that's true of reason 10.5 and up right am i correct in my assumption i think it's 10.2 but 10.2 thank you that's what that's one point it's like an auction do i hear 10.0 10. go on 10.1 okay so let me show you one more thing before if it was okay yeah could i just there's another great question that came in i want to answer somebody asked about the velocity which we didn't we sort of took for granted that everybody understands what's happening there they said is the velocity like bending the tone and um okay no uh but it's patch dependent right what the way velocity impacts a sound is so velocity just means the well go ahead you you're the expert yeah it's like every midi note has a velocity value and that kind of originally like emulates how hard you were playing on a piano or something so and that what what that does that that that depends on the instrument you're playing and the settings there so you can have a note with low velocity and that typically can sound a little bit weaker or darker in if the filter changes with velocity as in this case or it could do something else or it could sometimes it doesn't do anything at all because the the instrument isn't set up that way i can actually show you let let me just play this again yeah so if i [Music] turn off velocity like this all notes will sound the same now i can turn up the blaster here instead so things got quieter now because now i decided to let the velocity affect the level the amplifier oh i see amplitude and i don't want that i want my base to be loud and strong but i want it to change tone character depending on how hard i play a little bit i'm going to show you more about that it's something you can basically say that higher velocity is typically more intense sound yeah right right you'll find in just the well-designed patches it's not just level then it will something more will happen maybe the filter the sound that he heard as bending the note as he described it was the filter relationship that sort of gave this the sound a little bounce to it when it from the the filter changing okay cool okay carry on all right so now i felt okay this is okay but i want to take it further and see what happens and we got something called the variators those are probably the the hardest to to understand that in the beginning but it's basically a way to use other numbers in the same baseline now i have number eight here number 26 the on beat is 8 and off bit is 26. all well and good but let's say that i want in the second half of this pattern i want to go to another on beat pattern and i can do that by first of all selecting a variator shape that's tells me that okay the second half of the pattern i'm going to do some i'm going to change i'm going to change to another number then i'm going to turn it up here and you can see up here that we're actually moving a kind of a range if i go down instead i will go to the other direction like this but and that basically means that after half the pattern i will select another it it will select another on beat for me so now it will sound completely different in the second half of the pattern so even though we're seeing in the diamond i'm sorry even though we're seeing 8 26 representing the diamond what we're kind of going to be hearing is more 8 26 and maybe 15 26 or whatever the number ends up being right right exactly okay so so now we're still on the number eight and now [Music] that kind of turned out like two different bass lines struck together that might not be what we want you can also select that you only want to vary the very this the last quarter of the of the pattern oops sorry my bad [Music] no i cannot keep missing here him i'm just being stupid sorry [Music] a little upwards motion a little bit disco at the end but then i'm not very happy about this thing at the end so i'm going to do some variation here as well at the variator shape for the offbeat this is a ramp so it's going to continuously change from the half from the second half of the pattern i'm going to change it maybe like this looked interesting [Music] okay you can go on like this until you find something fun there are no guarantees sometimes you find stuff that are not so inspiring of course but then the nice thing is you can just i mean that's kind of the point here [Music] i'm not really happy about that you can also do have variator shapes that do two changes during the course of the pattern that's where the the okay the 25 to 50 mark and then the 75 to 100 right so in this case it would do let's take that one instead this will kind of do change this part and then this part so uh it's kind of it it does changes to two times over the pattern and this is kind of it's so hard to explain in words but i think if you just yeah play around with it a little bit it's i think what you need to think about is really that it changes the pattern to another pattern by fusing different ones right and they generally do that at the end of the pattern someone asked in the comments before if oh why can't i do that in the beginning of the pattern you kind of can because it's inverted too right you can go to the more busy thing at the top and then turn the amount down sure we could we could absolutely add shapes that do the stuff in the beginning of the pattern the thing is that this comes from how you think at least how i think about bass lines that you kind of as you said mattias you anchor them in the beginning you kind of anchor them and then you vary them at the end so that's why they are shaped this way that's just the boots but but matthias does offer a it's something i hadn't thought of so i'm just going to highlight it because that is for people that for whatever reason want to have maybe a busy variation at the top half and a simple variation at the um a biter dusts another one like you know right i'm flipping the words for people who want to do that they they could set a high number on their default setting and then actually dial back the amount knob for more simple things yeah which which will lead to yeah more bass in the in the beginning less busy in the end right which is which sometimes it's really cool i i think it comes it comes to a point as when you want to do a very very specific thing eventually you want to ah but i i just kind of oh if the beginning was more like this right that's when you actually go into the note display and you know remove notes and add them right right and re-pitch them right that's why we added it too i think bass lines much more than than what what bitmap did really needed to have a sequencer for the kind of define control the like it's it's almost exactly how i want it and i want to put my own touch and i want to just this little note right right uh a question from evans he's asked um any patterns for club music i think we're going to be hearing some stuff you'll hear quite a few yeah yeah or edm stylist says yeah so um and again i want to reiterate that i think what we found out when we when we started using this and trying the patterns is that the patterns for for club and edm and funk and house and and neosoul and whatever they weren't actually that different they were often the sounds that were different or the length i mean i was actually surprised because if you took like some funky a little bit house something something pattern and then you turn the tempo down to 80 something and then you kind of just moved up the release on your base synth and then worked pretty well as like a hip-hop or something slow funk it was the same basically it did no big difference and you probably had an 808 right sound to it or something there are some that kind of surprised me a little bit there's some comments from some people um that are uh requesting new bass sounds so maybe this is a a good transitional point um for us i actually have one thing i would like to show you if you're if you're okay with it because i tried to do some electric bass sound i just took the reason you'll need to hang on a second if you're switching windows you'll need to uh stop and reshare with a new window that's hello everyone big screen big screen we're on the big screen now yeah all right no worries i'll just check in um with the comments so related to that somebody's asking for electric bass i think we're going to get there because people have asked about um you know in my tutorial i use sort of synth basses and so people were asking in the comments on that video how does it do when it's uh dealing with electric bass so um okay cool we are with you now uh we're looking at oh there you go i'll write on cue electric bass right happily it even says electric face this is electric maze reason like the bass the classic instrument uh so it sounds something like this i just selected 1817 which turned out pretty okay so [Music] some kind of i don't know slightly funky but and now i try to do the variator thing i selected variator shapes like this and i i have actually preset these so i wouldn't have to look for them so now things are not happening a little bit but even better i found that if i could turn up the note range i haven't talked about that note range basically expands the range from the root note and up or kind of brings it all together closer to the root note right so and you can see it's not very scientific it's literally just further away or closer yeah but it stays in some kind of musically reasonable intervals at least so yeah it's going to sound all weird but but it might sound wrong in another way like this [Music] i don't really want this video game music this very very happy notes like that yeah you don't want that don't do it i know that's great and that's why we have this minor-ness thing which basically decides that oh you can't have no you can't have the the major seventh that will be that become the minor seventh and you can't have the major third that will become the mine are you and so on and the sixth and the second this will be fair enough you can actually see the nose move in there you're right that and peter's asking just are you saying what is the small grill under the diamond that is exactly what we're talking about i'm going to zoom into a disgusting resolution here yeah but this is a yeah this is you cannot actually do anything it it sort of illustrates what's happening with both with note range and with the minor-ness because as you see some some intervals are kind of forced to their lower version so it's a feedback thing just a like a visual feedback just to let you know yes and that i like to say that it's also because it looks a little bit interesting and cool this is a an andy thing and i like it a lot yeah but but but it doesn't really i mean it it might help you and see what's going on a little bit but you're not you're it's not something where you click and re-route no dots or anything like that no right exactly so now it sounds like this which i thought found pretty cool so this is the same no range is up but minorness is up ooh all right let's let's listen to that for a second i like that turnaround [Music] exactly [Music] it's giving me the less clay proof vibes [Music] right so that's and i have one more electric bass example actually i'm going to do this stop sharing again are you ready oh i i will be i am ready i will be now we're going to change the to this one and here we go again right um okay okay cool i'm going back to cali okay here we go right this again electric bass it's the same sound actually without auto wow but so now we're going down to much lower tempo [Music] let's see what was what was the fountain here yeah i had some offbeat variated here as well this is a good example of this is like not club music this is and it's not funk either it's like just it's just a basis laying down a feel behind a band i think it's a just a good utilitarian baseline and i want to show you two interesting things here uh on the back i just pressed tab for those of you who were surprised uh to flip the rack around and on the back we have some cv outputs as we usually have on our devices series control voltage meaning you can connect things to and from the baseline generator for various interesting results i know that matthias is going to talk about a bit more about that later but so we have the the gate and node cv outputs here and you can use those to to connect another device if you like to control two devices at the same time so i did this so just to get some i'm going to bring up the level for this [Music] so [Music] nice in a way yeah yeah so now it this one plays both the electric bass and the algorithm i'm getting flashbacks to when i was like 11 or 12 and i got the roland i think it was gr09 guitar synthesizer and i could i put a midi pickup on my guitar and i was like this is great i'm now i can play piano on my guitar and then i tried it and then i realized i hadn't yet asked the question should i play piano on my guitar the answer is no hello yeah seriously yes that's right but for bass no actually in all seriousness for bass it's actually an entirely different thing the idea that you could layer synth stuff with bass and real bass and synth bass actually it's a classic cool sound so to be able to do that it's actually fun but let me instead connect it to this i have a like an nxt sampler with a slap bass sound loaded i'm trying so hard not to say the the phrase the old uh [Laughter] all right all right but i'm going to move it instead of the regular gate up i'm going to put it on the accent gate output and the accent in this case means that it only sends out the gate signal whenever the velocity of a node is above 110 the maximum is 127 so only the loud nodes will trigger this one now so i don't think there are any loud notes so far but but here comes the opportunity to actually do some editing i'm just going to drag up here on this yep okay so i get that that's like the pop sort of sound of like not the slap but the actual the pop yeah it should be like a pop it doesn't really sound perfect what's that thing you called with not the slap but the other thing it's the slap and the pop is it called a pop okay i'm asking our resident uh slap expert in the comments over there well it is a ponytail right so that was one thing you could do at least you can actually yeah there's a there's a sneaky way to kind of trigger two things with one baseline generator dynamically right exactly that is interesting that is really interesting and of course not just for slap pass you could you could do that with anything right it could trigger a drum hit or a cord or anything yeah i've been using it to to just trigger um to raise the amount of reverb briefly like a reverb sound so you get on the loud notes you get like an extra sport reverb you know another bass sound uh not not necessarily done as an accent thing but maybe as an accent i know a lot of things a lot of times uh trap producers like to take their 808 baselines and layer a kick on it so every time you get a a kick yeah sort of transient on top of your i mean it's it's almost funny to say that you get a you get a kick on top of your 808 bass because like anyway bass is based on a kick but you know what i mean yeah yeah i think um yeah i think that's i think you need to see something else now though okay adam adam says oh wait that was not the one adam says there is no one term for uh what we just talked about so uh oh here we go wait wait wait wait wait you got more info a pull a thump a slap etcetera okay there we go also just maybe no best possible timing now you'll also probably hear a very excited cat greeting my girlfriend come home so i'm going to try to focus on the baseline generator okay are you ready for me i am one step ahead of you yeah thank you pull your screen down so what we're switching over matthias are you um you got some stuff i i think i do yeah i want to show some uh some kind of using and abusing the baseline generator yeah some kind of tidbits that you didn't cover in your excellent tutorial this is something we talked about when when the three of us were discussing this live stream and sort of tossing around thoughts and ideas of what we might talk about in the show and i i have a vested interest in showing people ways to misuse uh all i always like showing people ways to misuse devices or maybe maybe maybe misuse this the wrong term but sort of push what the obvious use is for a device into something else and i i think hopefully matthias you're gonna show us some of that stuff um a little bit yeah so i'm now looking at your screen yes you are uh a little zoomed in part of my screen so basically what i wanted to kind of show was some of the cv connections in a in a different way than ludwig did basically what they could just do to add something to your sound uh i've i've got some help here from the compare cv scope oh sorry same person who's uh helped us do the baseline generator nicholas buckland from robotic bean oh yeah robotic bin sorry i mix up the names there uh so what i'm gonna show you is just using these outputs to control things on the synth i'll remove them for now so don't look at them and basically this is the the line that i have going [Music] not supremely exciting but the rhythm is pretty good i like it yeah what i want is kind of to change up how the groove works with the sound rather than the actual the actual notes i think that's really important for many genres rusty says sorry rusty is saying uh what i was referring to is off label use i think that's correct yeah exciting to do some offline waves yeah so i've prepared some just see the inputs here to oscillator mix and stuff but i'll remove this just so you can see from scratch what i'm doing i'm gonna route these cables i mean you would route them directly to what you wanted to try right you wanna go oh i wanna control those little mix but just for the purpose of seeing what's going on i'm gonna write uh root them through the cv scopes oh so this is this is a just a visualizer for us today yep not a very quiet output here and then there so what does this mean well it means that now if i play this back you can see this red scope line you can follow it makes sense yeah but it mostly makes sense but walk me through like i'm an idiot because what you're actually going you're sending the tide gate output so this is just sending a gate it's just a gate it's not actually setting yeah so it's a yeah it's a signal that's high or low okay that's up or down okay and that's being said correct me if i'm wrong a little bit because i'm not exactly sure but when uh there's a tied note uh that the changes pitch so not when it's tied like this but when it's tied from a pitch to another pitch i have that here and here and here and here and that's great because suddenly you can add some accents when you do like a slide it was added so that when two notes are changing you can you know turn on a slide thing or change something that does turn on portamento but i like to use it for just other things wait but hang on because i've seen a lot of comments of people asking if there was a slide function and you're saying this is your gateway to slide town well there are many things that like the most common gateway to slide is that most synths especially in reason have portamento auto and auto just means that if you have a tight note that changes pitch it will apply portamento i see so that is slightly that is that's generally in the instrument but anyway i want this light to be more pronounced so that's yeah exactly so open the filter when it's light let's do that actually so i'll just take this to the filter frequency and i'll turn down actually i can do this on this thing instead so [Music] now it opens the filter when it slides which you know it doesn't do a lot of difference what i like to do is kind of use it for something big so i'm going to use it for oscillator mix which just means it will go from i see just hearing the first one here thank you for doing this at the rate of my learning because i'm getting this yeah okay to this fifth that's what i want to do so now whenever i do a slide it actually changes to the fifth the other oscillator now to me this instantly has like moved into like you know the sort of like justice cross era bass lines yeah there's a lot of that kind of mixing between sounds yeah the mixing between the best example was a lot of that yeah uh i'll take some more like the accent gate out wolf cry says this sort of he says did he turn it into an envelope follower that's sort of what ended up i mean not really but that to the listener that might be a similar sort of effect that you were getting when you had that hooked up to the filter that there was a a a rhythmic filter action that sort of felt a bit envelopy but it wasn't actually envelopy i'm going to use the the accent gate out that ludwigia's show too and i'm going to use that to control the noise level so basically whenever the velocity is really high you can see some notes here i'll turn up the noise you can follow that on the blue trace so another kind of [Music] good point so let's go back it becomes a little bit of an accent there and it doesn't have to be dispronounced and then it's good to know that uh of course we just we can have a lot of cv that makes sense and that is related to this but we also have several proponents of random cv in the office including myself and the visual designer and um luckily also can i throw it again we all like that can i throw a curveball again um yeah briggs says needs distortion so if we can if i can put in a request to add some distortion at some point i'll do some filter drive instead you'll have to live with the filter drive i don't want to go overboard but basically baseline generator also generates one random cv signal that's the same length as the sequence both as a bipolar so it goes both positive and negative or unipolar so i'm going to use those two so the unipolar and use that to control the fm level and the let's take the other one and do the filter i guess so now you can follow what's happening like if you look at this little section here that you have put comments on now so maybe it's hard to see i'll move it but here you'll see the cv signals coming out of baseline generator and you can hear the difference in the bass sound where it moves the filter it adds some noise it adds a bit of the fm envelope and it changes the oscillator mix [Music] you can unmute drones now i think it is time to unmute drums you get a much more kind of dynamic bass line by using those different signals right now this is the kind of thing you know when i when i listened to music or certainly when i was learning and i think even still to this day i might hear a line like that and assume that it's multiple synths on multiple tracks right you know that noise is his own little accent track and maybe there's a filter sound and then there's the the unfiltered sound that's the power of modulation uh and i'll i'll get into another trick because that's a cool bass line but someone asked before about shifting the pattern which we generally think is a good idea and we're a little bit sad we didn't get to it yeah but there are plenty of ways around that some uh do it a certain way some do it another way and i'll show you a few because i have an idea for the rest of this little track so to make this 100 clear for people uh watching so one of the things people have said when using this is they they like the baseline but they might like it they'd like it to start on the fourth step of the baseline or the the 40th step of a baseline to sort of re-center where it's sitting and i think that's what you're talking about right away exactly so just completely ignoring all the time we spent on getting the one right now just kind of shifting things around but the good thing about players i think is that they're kind of building on each other they're stackable uh there's a bunch of nice things you can do but i'm gonna actually just copy this entire stack i'm gonna remove this cv thing which i don't think i need so now it's just the very same baseline with the very same base sound but without the modulation okay i guess here i think it's fun to use a bunch of things but note echo has kind of sailed up as a real hit in the office when we've tried this because what you can do is basically shift the note line so in this case i'll tempo sync and this means that every little echo of this bass line will be you know in sync with the song a quarter note in this case right and i won't pitch it so it will be the same pitch and i'll just repeat it once uh if you didn't know you know these repeats in no tech you can actually turn them off and on which is pretty nice to get rhythmic delays right you can do that with the dry signal too so to speak so now it's basically just shifted a quarter note in time because that's the the step length setting you have exactly so it says i'll see if you can see on the screen yes you can so now if i play this you'll just have the same bass line delayed with almost the same sound which is just messy because it's the same sound but imagine if you will that you race it an octave and you change this sound to something else that i prepared because i'm like a chef and now you'll get this column response thing from you know the same baseline being played so just so we've got the original the base we were working with is still happening yep and then down below we're working on a copy okay and i don't even have to change it an octave here i can actually funnily enough change it to an octave in the note that go in case but it doesn't really matter either way but you get this call and response kind of rhythm [Music] you can hear it kind of triggering off each other right [Music] and this of course gets more fun if you add a little bit of effects so i'll quickly add some reverb and some delay from my sense film score and warm echo classics okay [Music] so here you're getting this kind of interplay between them right [Music] then of course you could go in and change some of these look let's say you want to kind of change the rhythm around a bit and say this go up to a g maybe and this one kind of goes up to a high c here and a tip if you didn't know shift means you get a better control over the the pitch display oh when you're moving moving the notes yeah so you can do it to get slowly more granular resolution on your mouse space find exactly what you want cool i love this being uh being up in this octave you know so i one of the first things i actually did when i started playing with baseline generator was making lines that weren't based at all i was just moving the octaves up and it really became like rift generator hook generator right now right it had a lot of really just i think that's the key first like changing the octave and then i think just doing a little bit more yeah and also the thing you've done with the effects too i think that's something i noticed too is that if you left it pretty raw just sound like oh why is that bass playing so high but once you add some delay and some effects it suddenly becomes like a cool thing was that your camera yeah yes he's well aware that things are happening but let's listen to the music and not him i kind of started with the same bass line but now it's playing a bit differently right i'm back with some drums [Music] right uh another thing that i found really interesting like this note echo trick is nice uh for shifting uh but one of my real favorites right now is still the pattern mutator oh here's a cat where's he jumping yep he he turned on the music again i'm sorry about that he's very friendly he just wants to say hi all right we gotta for for your cat we gotta go full screen look at this guy what a weirdo well he just said someone someone someone just became a father during this video what he says look venus i got son my wife have birth during this video no we've been part of something great really wow born into a world where he will only know baseline generator yes so so please turn off this stream wow that is uh congratulations that's cool okay he now we've got of course of course now we've just got uh cat cat comments flooding in oh perfect circus podcast that cat is hella ugly yeah he's my new enemy you know perfect circus podcast whatever you want you won't get it but to show you a little bit about just pattern mutator in combination with baseline generator i think that's a really fun combo okay you can do a lot of stuff so and there you go got a tiny tiny dog what what name are we referring to the story freddy freddy there you go no it's actually it's freddie mercury oh right didn't you see i i can't believe i didn't catch the resemblance there all right sorry mathias sorry i got sucked into pets on screen basically i just wanted to to show that uh one cool thing that with pattern mutator in combination with this is that you can kind of capture ideas so like baseline generators very much built you know you do patterns and you find the nice one and you sequence it and if you do a variation you kind of go in and copy that to another pattern and do some variations and it's not really thought as a real-time thing like that it's more finding a nice bass line right but one thing you can do is shove a pattern mutator in between so if i just have this you can just turn on this pattern mutator and just record this and now i have this recorded version i just turned this off of what i just played you might notice that it's not recording the the glides the the what do you call it the overlapping notes yes that's that's a little bit of a of a design thing with how patent mutated works it just looks at which note is coming in right okay and maybe we could change that but the key thing is kind of getting the the actual note data because what i want to do is take this and do you know some effortless variations of the very same thing so i can turn on some swap and density and octave and this all kind of throws throws things around right [Music] pretty nice but even if we go back someone asks about shifting and lower length this can very much do just that right so you can see the length here right and go i'm gonna go 10 steps and now you've set up a poly rhythmic [Music] you can kind of keep taking whatever raw material you had right and another nice thing is even if you go up to the the length we can have this one can also shift so you can go okay so this is another method of pattern yes exactly pattern offset yeah it's another there are several methods like the most the some of the easiest methods involve of course getting the stuff down to the recent sequencer right just moving sure automating the pattern i really like stacking players like this right and there's been some discussion about um basically why there's no scale setting uh on the baseline generator scale setting not you don't mean note range because that's a form of scaling yeah yeah no rather rather like a c minor right okay smart scales keeping the notes in a certain scale yeah why is that i think it's it's worth talking about that because there's a couple of reasons well first and foremost i think this builds from uh baseline material and and as much as the rhythm is important the pitch is important like if you do i'm gonna have to get something to play on her here etcetera maybe remove some of the excessive delay so many of these like bass lines they wouldn't sound the same if you restricted them to scale and part of their character is that they have certain notes that are like going through so you can have right right this goes back to the non-scale notes this goes back to the notion that ludwig sort of came out early on in his development process which is that base is not um it it breaks rules and over the years a basis learns when and how to break those rules and one of them's or or none there's a little bit of that yeah yeah but the other thing is like the the things that sound the most good or the most useful in the most types of music tend to have a very restricted uh number of notes and a very similar number of notes and for the music we kind of looked at and aimed for there's a lot of electronic music a lot of hip-hop a lot of funk a lot of that kind of stuff right it it they had bass lines and not functional base it was really important to make sure that that was the center of the tension this doesn't mean we can't add it of course but that's kind of was thinking i don't know if people out there are watching this or not but but during the pandemic a very very famous uh session bassist for years named leland square lis glar he started putting out videos all i think on a daily basis where he would play through i mean he's played on so many songs and so he would just be like okay here's this you know doctor my eyes with uh jackson brown okay here's this james taylor here's a linda ronstadt like whatever he you know genesis i mean he's done a million things and he'll do these playthroughs where he plays the line that he played on those famous recordings and one thing i was struck by was how restrained he is in his no choice because of course he's got the chops to play the wildest craziest stuff but you watch him sitting in on these tracks and he's playing roots and fifths and octaves and you know the occasional fourth and and flat seventh and like they're they're really pretty yeah like you say it's a restrained set of choices that that he's making on all these songs and it's it was fascinating what we thought was we really wanted the baseline generator's core kind of promise to be that that the bass lines are are immediately kind of usable and sound good and something you kind of build from or add as a groove right right and since we have scales and chords built into reason that was part of the reason why we didn't add it too is like because it's really quite close to just go um but okay i'll do it in c major instead i mean in this case it doesn't even matter right because it's all fifths and quarters yeah right right which kind of makes that kind of my point the thing to kind of clarify what happens is if you have a bass line that are have a few intervals [Music] or something uh that sounds fair enough when you're playing in in c minor c dorian or whatever you are right now but then if you want to add a chord change to that so we changed it so we played this you want to go down yeah and then suddenly sound [Music] and it sounds like an old i don't know it doesn't sound like an harmonic pop you don't stay in the scale you suddenly move outside your scale so and that can of course become a problem and there but the thing is that either you can just add a scales and chords like mathias just did so you and force it to stay in the scale you mean you can still play a ch change the root note but the notes coming out will stay in that particular group of notes that that is a scale right or you could say okay this type of music might not work very well with that type of of bass line for example because if you just if you restrict your bass line to something that only plays the root notes which is not uncommon at all you can place them [Music] that's only the root note and now you can suddenly move it around any way you want [Music] or whatever and it won't go outside whatever scale you are in you're playing right so that works well and to help with that there are two things you can do to get to that if that's what you want is either you can load a patch we have several patches that i only play the root note could maybe your maybe you could try this it's one called root note only because that illustrates another that is a very illustrative name yes it is so okay so it only plays a single note but it has a rhythm of some kind of rhythm the thing is as you can see the manual pitch light is on down to the right right i don't see it now because it kind of disappeared from screen you haven't zoomed in on it right oh i'm sorry wait oh this one now that that's what you're talking about right that's right that's on and that that means pitch stays as it is in the sequence that it's manual you it won't be effective what by whatever you do up there in the with the settings the pitch is going to stay flat at all times right it's gonna say whatever you put it to right yeah yeah in this case flat but you can still move that try try moving the diamond shapes around that selecting different objects and off bits so the rhythm will change so you can still use it to to find whatever you like in in terms of rhythm but you will ensure that you're still you're playing the root note only and this is of course this is of course good if you have a keyboard in front of you like i happen to have right now so let's say we have this pattern uh you have you can see here midi to pitch and meditative velocity means that you're controlling whatever the root note of this thing is by placing your keyboard so that's a way to just restrict it to whatever right so it's it's just doing root notes here right and so you're controlling what that root is root note is on your keyboard you're playing the melodic contour you can see it's playing the rhythmic contour yeah you can see this root note uh section here where it's c2 as to start and then i have uh pitch midi pitch here and triggered by sequencer you can have it triggered only by key too so only by holding down the key do you play it which is really nice if you want to do you know just play with nothing in particular you know start an endpoint isn't that important it just starts when you start playing so you can see that a live transposition going on there yeah and also live drink but this is another way to do 50 patterns because you did find where they start scroll back up there's a question gustavo asked a question i think we've talked about but he says is it possible to offset the anchor meaning the whole set of dots the nth step in any direction so we've talked about that gustavo a few there's a few there's a lot of different ways to skin that cat no offense to your cat there uh matthias um but um he's all skin you don't you don't have to skin him he's all skin don't worry um but um the the other there's a lot of solutions and if you back up about probably 20 minutes we cover a couple of them there's a way to do it with node echo there's a way to do it with pattern mutator there's a way obviously to do it in the sequencer if you actually just write the pattern into the sequencer and offset it and now there's a way you could do it using this trigger method as well manually just by triggering that i'll show it by just doing a pre-con so you can hear me starting late right [Music] so it's a way to just kind of right start it whenever you want start whenever you want to right i saw an interesting uh interesting comment in the in the chat from a joe i love playing with these toys but when i'm doing actual music production i usually fall back on just playing the music in myself i think that's kind of what we're trying to help with with players it's a lot of when you fall back i think this is really interesting when you fall back you tend to do something similarly because you have a set of skills and you have some knowledge like it's like whenever i do demos with ryan i play everything in c minor because that's the first key i learned that sounded good c major was so i learned c minor and kind of stayed there when i was a kid right and you tend to end up there right with your regular thing oh i had a side chain like this and i take this part of why we do players is not to replace you but rather to give you a different entry point right hey i wouldn't have thought of this rhythm or i wouldn't have maybe you know the thought of these pitches i'll play my own rhythm but it got me some inspiration maybe you even get a bass line build an entire song from it and remove the bass line and have another one right but it's a lot of getting to that idea and getting to the idea like in a different way i think right part of why why we like players so much is that sure you can make an entire song and just kind of let the players do the work but they bring you to some new ideas i think right really key you know in a so in a weird this is a sort of very philosophical producer sort of way as we have all moved in the box and into home production and sort of we have these amazing tools that are capable of letting us do everything and if you go back even 30 years you needed other people to do if you needed base on something you needed a bassist to do it if you needed drums you needed a drummer to play it and um what we lost in the shift to being able to do everything is that it's your own input your own artistic instincts that you're putting on the song and you're losing the outside influence of someone else kind of coming at it differently on this particular player it really does feel like i'm getting in a weird way ludwig i'm getting you to play and collaborate with me because you and and sean you know who contributed some bass lines as well i mean but i'm getting someone else's perspective on what a bass line can be and and it does it it's not it's not the same as true collaboration but there is a collaborative element of knocking me out of my own routines and i've really appreciated that when i've been just to back up joe like i took his comment as an example because i thought it was interesting but he totally agrees like that's that's what he thinks too right that it's it's fun to play with this because you can get stuck in your uh in your things so it's not like he's like no i don't like them just to be clear for right right gustavo says as another workflow method he says the baseline generator is a starting point for me then you send a track and tweak to whatever you need and that's a totally valid way to do it as well you know that you can and i think that's that's something i want to kind of show off too is that everything's a starting point in many ways so let's take this little track that i've been kind of abusing that's still pretty basic [Music] i want to use this for something completely different just to show that that can be done so i'll add in a baseline generator and and answer one of the questions in the chat who said why is there an id8 when i put in the baseline generator exactly good question um always connected to instruments because they send media data to an instrument and if you drag it in without an instrument so there's no instrument attached to then we create one and id8 is just a simple one with early on the the first the first time when players were first released we just didn't let you drag a player in unless there was already an instrument there and that was almost weirder people would want to start they'd want to start by dragging a player and they'd be like why is it not exactly working exactly so you get some sounds to start with and you can just the sweet thing about reason here is that you can actually take another instrument or another patch or whatever and just drop it on top of it exactly what i was replacing i'm gonna go and find some kind of this is a i'm going to find this cross-browsing thing it's actually a very very kind of overlooked feature i'll just try some some different plugs because why not this cross browsing thing where you have a device you can just drag in any patch whichever device might have made it [Music] and see whatever it is right it's you're not needing to think oh first i need to change to a combinator and then load the combinator yes exactly anyone who's followed our streams will know i'm partial to this patch so i'll use it but this is just uh to show you that you can use baseline generator for whatever reason anyone who's followed streams as well matthias will know that we've now entered plucktown which is a yes very popular destination but if you just try some different patterns here i'm not going to listen to the bass line quite yet but [Music] let's take the velocity and make sure that really affects this [Music] now all the high velocity notes the blue ones will kind of increase the fold amount here that's the area that airy sound is coming from the high velocity yeah exactly so without it just sine waves can be a little bit boring bomb toy says it's sign of the times again he's on to you matthias yep uh but this is just to showcase that kind of this might even work because the root note is c2 and there's a lot of minor-ness in the different things but let's see [Music] okay but what i wanted to show is just another way of stacking players here so i can use the scaling chord to restrict it to whatever i want so c minor but i can of course also remove some note side out of c minor if i wanted to and i'm going to use this to generate some chords too so i'll do some open chords here one thing you quickly learn is that less is more so i'm just going to do two notes [Music] good enough and i think you can keep on doing this for quite a while this is just showing you what happens with players so use one of the aforementioned note echos set up a little delay and maybe just repeat once and pitch that up maybe an octave see what happens [Music] that yeah exactly so we're pretty far from a baseline generator and my favorite thing about this is of course yeah that was a cool thing we came up with this is a big stack of course i can send this to track now and just be done with it and go i'll do stuff later i can also of course record it in pattern mutator because why not now i have this loop that where i can even remove all of these players [Music] that's a pretty good rhythm [Music] yeah there go good i was gonna tell you to filter it good [Music] michael wants to hear this going through an alligator can we indulge him sure but then i need to add some shuffle to the baseline too i'll just take the shuffle off the elevator both work okay [Music] yeah you kind of get my point i wanted to really show that the one of the fun things when you have all these players together is that like from a baseline you can end up somewhere else and vice versa if you start with you know scales and chords and then you go and okay i've restricted it but now i'll have that feed pattern mutator and then i'll let the bass line generator oh that becomes super weird maybe that's cool export you know that kind of building block mentality i think it's really fun and that's like you know to just to jump back to our previous conversation like that line is not something you would ever to go back to that idea of like okay when i really when it really counts i'm gonna play it myself it's like well you wouldn't have played that you wouldn't play something close to that i would never ever play this just the octave jumps is too fast and too much for my poor hands right [Music] right now if i like this i just save that to a pattern and maybe i mutate it again [Music] and then i start all over again the baseline generator and you know try something else what about these vibe things [Music] i'm just going to answer a question here um julian asks why not release base generator baseline generator it means as a vst plug-in so we can use it in any daw the the official answer to that is it is available in any daw reason runs as a plug-in in any daw the reason rack plug-in is a plug-in it's a u it's vst it's aax it runs in any daw um i think maybe what is behind his question is why not make it a dedicated singular vst and that's because we like re we like the sum total of reason what you've seen matthias do here of putting scales and chords and node echo and and alligator underneath europa and creating this whole sound that's that's what the creativity reason is all about it it's the sum total of all of its parts and so there's a lot of of that thinking i think like the rack it's just great for doing that kind of quick add-on experimentation kind of thing but it's important to note that it doesn't only work inside the rack as a player like you can send it as midi out to ableton live or right so you could right you could hook this baseline generator up to an arturia synth if you wanted to yeah right right exactly i've done it with hardware too which is really fun in the studio where yeah that's going to take a baseline generator to do a innovation base station when you when you do that i saw the ig story where you did that where was that um how are you getting out you're just going out midi out into midi in on the hardware or is it yeah it's basically just using a midi out device instead of another instrument and choose whichever output i only have a key step connected but right whichever media output is available uh sends you to the interface exactly that's actually one of the the cooler things with with players if you happen to be a big hardware user is they basically add sequencers to all your gear which is really really kind of fun because a lot of these old analog style since they didn't have a piano roll with you know hundreds of notes and infinite time that's right how you sequence synthesizers right so you get a very different result from just having this 16-step thing right 504 you know epic slap baseball yeah i saw that that is the question that is the question probably not i think i think you can try i would say no or maybe it turns into one of those crossroads things when it plays lots and lots of notes and the bass line generator just like plays the the essence of this i'm going to try whatever ever so can i can i do let's see i'm going to attempt special effect here can it slap there we go there's the old game all right that's my best quick attempt at uh doing a debut five before um well guys it is uh i do believe that it is uh night time over in sweden and coming up uh yes it is midday over here in california i think it is uh time for us to to maybe wrap up a little bit here um anybody i'm just gonna just we're gonna throw out some final thoughts here but i'm just gonna give it to the audience throw out your your last final questions if you got them or comments and we'll throw them up on the screen here but um oh here well here's one to to correct why is this not in reason 12 and just in reason plus it's not only in reason plus uh alan it's uh it's not standard in reason 12 it's an add-on available in our shop but it's not uh not only in reason plus so but of course if you are reason plus subscribed you you do get it it's part of it just comes with that's that's sort of the uh the promise of reason plus that you just get all the stuff and the latest stuff as it comes out but you can certainly if you have reason plus and you want to add this you can definitely do that so um let's see oh here's uh paul said that he was uh i was sending bass line generator signal out to my mini nova this afternoon so there you go i hope you liked what you were getting classic one i just before we came on just for the audience just before we came on matthias and ludwig were lamenting that they found out that uh the uh arp 2600 is back ordered now so your hardware dreams are going to have to or not back what do you call it not back ordered really it's like they can't make them fast enough chip but it's like it's part of the whole chip shortage right is that yeah yeah it's well it's part of the global just supply chain i i'm happy we're not doing hardware right now it feels like every single oh man i know it can hardly be shipped around the world and if it could you don't have the parts to build it anyway so here's a question just uh scale setting please final thought maybe this is worth saying so i we've talked about some features that are not on baseline generator i'm going to put you guys on the spot and sort of ask you are these things that may come in an update or not uh and i'll throw them out the big asks are a scale setting a pattern offset and i think there's another one too wasn't there maybe i'm forgetting a third one i have lots of others yeah exactly we thought about this quite a bit i'm sure you have i'm sure you have uh whether it comes or not whether we will do an update or not of depends less than 16 steps that was the other one that's the third one i mean anything's possible uh there's no like immediate yes we're going to do that next week and that's our christmas plans but all this feedback is of course super good and the really important thing i think when we're thinking about what we could add and not this do not kind of make the device uh too complex or compromised so like it does too much right i think i saw one request for example that i thought was interesting to comment on was that they wanted to be able to record into the sequencer baseline generator which which to me i think that's a that's a thing i could say for certain that won't be added right because the purpose of the device is kind of to generate some starting material for you and for you to then edit it right you would use it as just a baseline baseline retainer or baseline yeah we like we want our players and all our devices to have their own specific character and purpose and and so on it would be possible to create a device containing almost everything but but that's not you know that kind of robs the device from its personality plus of course it kind of robs us from the any future plans of making more devices because everything is already done if you know what i mean so and you'll see if you look at the the history of gear you'll often find that the things that become legendary and survive and good and the people love are not the things that try to have every feature you don't hear amazing tales of those early workstations that had all the sounds and could record an entire song right right no you you hear about the sh-101 though right tb303 which its initial reception was like what the hell do i do with this and then a couple of producers guitar pedals you don't you don't hear about the multi-effects pedals with every possible effect right the distortion delay reverb compressor yeah boss ds1 just you know the most basic distortion because they tend to to breed some kind of creativity uh people could think that having less features restricts creativity right that's i see a comment here why restrict creativity and it's actually it really is the opposite the the metaphor i always think about for whatever reason is uh holding your thumb on the garden hose where you when you sometimes when you restrict things and this is true for the way my creative brain works sometimes restrictions actually create you know these outlets of increased creativity rather than uh the other way around but that's certainly but it's not only about restrictions so we don't want to account we move stuff yeah we don't remove things on purpose i mean just to make things when you mention like a boss ds1 iconic very very simple guitar pedal but it has some kind of character or almost personality it's like and and since we i mean recent whole brand the whole idea reason is the rack with the devices where each device is kind of special our devices don't look exactly the same they have different kinds of looks and different i almost as if they were made you know had come from different whole parts of the world or whatever but so right and that kind of plays into this we want each thing to have its own flavor there's a reason why we almost never do you know uh and this is a straight copy of this thing right like like the company started was like that right with the three which quickly became like okay yeah exactly and anyone else could do the very same thing and many people did what's really hard to do is you know do something that feels like its own instrument right right right hopefully has its own legacy well in that in that regards hank says that this player really brings the platform to a whole new level of creativity so i think that's uh that's cool i'm glad it's working for you hank i agree with you another a question from rudy i missed the whole demo will this be uploaded to your channel yes it will rudy so worry not in fact as soon as i hit the end broadcast button you can well you can even jump back right now and start from the beginning but uh it's going to be archived absolutely on our channel um a couple of times people have been asking um in fact sometimes multiple times uh will this come to ios will it come to ios will this come to ios so uh for lens sake um you wanna answer three times uh no no no and probably not we have no no immediate plans for you more mobile development right um cool i'm just scanning here to see if there's anything else that uh we need to handle um oh breaking news evanes says his son who was born during this livestream will be named thor because i love reason um excellent i would say also quite a normal name he could be called scream four and that would be pretty strange right that's right scream for mimiko but i mean that's obviously like a supervillain so i would like to uh just float out there evidence that middle name is still open so ryan matthias or ludwig i mean i don't want you to have to play favorites but uh you know just saying i think maybe also also talk to your partner there before yes maybe also do that maybe first to do that what does new seed buff oh of course new seed oh that's a great question because i don't know the answer what does that do guys all right you saw the cv outputs on the back earlier in matthias demos and so you have it here in front the random cv output so you can get a random um like cv track going along with your baseline and pressing new seed on the front just generates a new one if you don't find that oh this particular random wasn't very good click new seed and then you get a new yeah okay i can show that super quickly i'll show you have attention the randomize button the randomize button yeah i'll show both exactly okay okay so you can see down here you you'll see that channel 3 and 4 on this little scope they will play a random cv curve you can kind of follow it along here if i click music it will change the shape of this curve pretty much repeating so there won't be one random value for each step but for each step there's a new note on it that's interesting even without anything else that baseline generator does that's interesting because sometimes i'll use the random waveform in like pulsar for example but it's always random it's forever random and so and there's times i wish that it were repeating so that's really a neat yeah yeah so that's what that does and something we didn't touch on at all it's the randomize button where it basically randomized the entire pattern generation [Music] pretty good actually yeah [Music] let's try a few more times a bit boring i'll tell you what matthias that that's a good one actually [Music] i like this this is such a matia song already i'm gonna here's what i'm gonna do jam out i'm gonna i'm gonna have you play us up so just jam out generate randoms or modify your patch do whatever you're gonna do i'm gonna pull you down just a little bit here and uh and i'm gonna i'm gonna just talk to everybody and say some quick goodbyes i'm gonna leave you up on screen for a little bit and i'm gonna pull you off in a second here but um guys hey listen thanks for joining us thanks for tuning in thanks for hanging out for sticking around if you joined us late don't worry this whole thing is being archived and you can watch it after the fact oh i'm hearing new things come in now i just want to listen to it but yeah if you want to watch this uh after the fact it's all going to be archived on our our stream here if you haven't checked out baseline generator yourself yet there's a free trial for there's both a free trial for um uh reason plus am i correct the same free traveler is a a cheap sign up for something you can try reason plus as a whole where you can try if you already got reason 12 or reason 11. you can try the normal shop trial of baseline generator as well so check it out see what it does for you and um you're getting i'm watching i'm i'm talking and i'm watching matthias he's throwing in synchronous he's really going to town here if you guys do use baseline generator send us uh send us stuff you're doing we're watching everything people are doing and we're enjoying it quite a bit and in fact we're actually going to be posting some stuff there's some examples i just saw one today of a guy who made a he took baseline generator made a really great sort of like french disco you know sort of daft punk like the source records they were sampling sound threw it into mimic juggled the slices then put a baseline on top of it with baseline generator as well and created just a really i mean you're going to we're going to post that on our channel you're going to see that soon it's a really well done bass line and well actually two bass lines you know this whole production that he does using two two versions of the bass line from baseline generator so listen we'll be back with more of these more streams i mean uh we're going to be doing some more in the new year as well for certain and we'll be back with just you know keep an eye on our channel we're dropping stuff all the time now from myself but from others as well from you guys out in the reason community we're starting to reach out to you guys and i'm sure you've seen some of the stuff from like archetype and and some of the other guys that we've been uh featuring on our channel i'm loving what we're doing i'm loving what we're seeing there so oh peggy peggy let me know one dollar reason plus trial thank you peggy that's what it is free to try if you free to try a reason as a baseline generator one dollar trial for reason plus if you want to get all the stuff if you haven't tried reason plus yet so there you go and uh i think that's it for now let's all go make some music i'm gonna make some bass lines myself that is actually on my agenda today for an upcoming project that i'm working on that you'll be seeing on our channel soon i can't wait to do it and that's it i hope you guys had fun thanks to matthias and to ludvi for hanging out with me and thank you guys for hanging out with me we'll see you soon [Music] now
https://www.youtube.com/watch?v=px_zc1pHzCc	# YouTube ## Episode 6: Adam Dorn - Your Reason to Stay Inside ### Video Metadata - Keywords: Reason Studios, Reason software, Music production, Beatmaking, Bass guitar - Runtime: PT94M36S ### Description Upload Your Beats for Today's Show: https://www.dropbox.com/request/GZR02... Get your Bass Face ready because we’ll be hanging out with Adam Dorn and laying some grooves down! ### Transcript [Music] well well well we're off and running my guest today is already bopping along off to the side you don't even I haven't even introduced him yet well guys you let me know as always as always let me know if you're hearing this in the stream I'll keep my eye on the chat as I do but I think we're good I think not only do I think we're good I think we're great I'm seeing in the chat Stephan says that there is music which if there is music there was talking and if there's talking there is picture and if there's picture we got a stream we got it we got it going here welcome back everybody this is episode 6 I'm not sure when I started doing these if I knew that we'd be six into these you know we sort of conceived of this is like let's do one and see how it is and then we were like let's do another one and then let's keep going and so so far we're gonna keep going we'll just keep going but thanks for joining me everybody who's tuning in here and welcome back to another week of your reason to stay inside and hopefully you are staying inside I know we're starting to hit that part of the you know what they call mitigation fatigue where people are like you know what forget it I got a I just got to go to my lake house I just got to go buy some paint or whatever the people in Michigan were protesting about you know this is a I think this is now more than ever our time to kind of find useful things to do inside and well I guess this is what I'm doing and thank you for joining me so listen I I want to get to I I brought on a guest and a friend today and I want to bring him on because I think we a fun thing to do here and but let me tell you should I bring them on first maybe I'll bring them on and then we'll talk a little and I'll tell you about what we have kind of lined up here so ladies oh wait a second thank you comments you know what sorry special guests as yet unnamed although already hyped by us hold off one second I forgot the whole big news of today is that reason is out today eleven point three is out four with aax support in ProTools which is kind of a big deal in fact it's the reason that I wanted my guests to come on today so let me bring them on for a second ladies and gentlemen please welcome Adam Dorn also known as motion worker Adam how you doing yeah I'm great man I'm really excited about this today I'm so glad you asked me to come on specifically because of it ax Nam now people couldn't see you while I was while I was winding up here in the in the intro people couldn't see you off off to the side there but you're wearing a number 6 shirt for episode six is that just by coincidence it's very by coincidence it's actually because I love Julius Erving aka dr. J from my childhood New York that's right from my childhood to fellow Philadelphians that's right or Michael Jordan that's right a man who invented the dunk yes yeah six but I loved I heard you saying and I was just like you know well you've got you're rocking the the Philly attire top and bottom too right yeah it's a little huge sports for me but you look like the world's biggest sports fan you want to get your your Eagles of adam has always allowed me because the Adam and I both grew up to Philadelphia but Adam managed to somehow absorb the ability to do the Philly accent and I can't do it I've never been able to do it and people asked me to do it I'm like I can't I sound like I'm from Brooklyn with a lisp or something you know yeah so you should wear that as a badge of honor [Laughter] it's basically one of the worst you know I know in each country they'll be like you know if you're from Manchester you have a heart you know if you're from Liverpool if you're from you know Berlin whatever you know that everybody has things with accents but um I'll do a little bit of the accent please do and now that we've meant for me I think we need to get basically what happens is reason software is made by people in Sweden and what they do is they put it in the computer and then they make the computer talk to music and you do the music you know what I love what I love about this accent what what you've captured in the accent is not just like the the way the words are sort of bent what you actually capture is something about the Philly personality it's like that guy that you meet while getting coffee at Wawa who wants to explain something to you that you don't really need explain and like the way that he does that you know it is one of the angriest sounds I could not a WC Fields said it best for anybody out there I could not escape Philadelphia early enough in my life but there are good things there are a lot of great people there by certainly not so no angry it's a city I've never been so proud to have moved away from but it's nice to visit but um well so let me tell you the reason that I instantly you jump to mind for coming on today of all days I mean I've done I've done streams with you back when we did music making month and they were super fun to do and so I your obviously came to mind when I started thinking of people that'd be fun to have on here but you also have sort of this special distinction for me today of all days because when reason was announced a back last summer as coming out as a plug-in format that can be used in other DAWs you were you you had this this rollercoaster of excitement and then sort of delayed gratification that happened you're you work you're a longtime reason user and we try li tell people about that and and and the music you've done as motion worker and all that but you also are sort of in this newer chapter of your career you are a film score documentary score a score what would composer what would be the term and then that obviously brings your pro tools into your world you know in a in a big way and so so taking this thing that you've worked in reason that you've worked in and loved and being able to move it into this tool that you that you use professionally now very much so was like a great thing but then there was like oh but it's that's the one format we're not we haven't got it dialed in yet but we're gonna be supporting it down the road and it was like this and so for people watching Adam would send me and other people in Stockholm these I'm gonna call them messages of encouragement as a UEFA's euphemism for the word threats no no no you but he he would he would send Matthias or something you know these measures like come on whens I haven't when's it happening and and and definitely was encouraging us to to get there as fast as possible for him and for you know tens of thousands hundreds of thousands of other ProTools users out there because you have somewhat of this long history and perspective of what that combination can mean right yeah yeah and just to be really brutally honest reason via wheat rewire wasn't always something that I reach for and went to especially when you're working with video and you're on a really time you know you're on a time crunch I I don't have time to just set up all these different things and you know you you have deadlines and rewire is great at what it does but it is not quick and it is not like something that just happens like this so the thought of reason finally being available in its entirety as a plugin is just phenomenal to me because now I can lean on all these effects that I've loved for years all this master bus change stuff that I loved for years like the the the master buss compressor is better than any other emulation of that specific console out there and it's the thing that I've always sold people on in terms of getting into reason the sound of reason and the console that comes with reason to me is just like I've always wanted to have that ability to just throw that on every channel in Pro Tools and throw all the you know the reverbs and the choruses and the delays and the master buss thing and just be there's a comfort in that for me I what yesterday I went through like I just finished a film that Nicolas Cage stars in and you know the films done and and it and and the aax integration wasn't finished yet so I didn't you know I didn't even have a beta version to mess around with while I was scoring this film but it's like a sci-fi action film called jujitsu and I went through one of these fight scenes where Nic Cage fights like the bad guy which is hysterical by the way it's really awesome I have to say he's awesome in this fight but like long story short I started flipping out all of the plugins that I had from other companies into this session and they were all reason plugins delays and reverbs and eq's and everything and I'm like this is sounding better and better each instantiation each replacement and I just got you know when I first saw that ax was gonna be something that took a while I think what I really mostly sent to you guys and the message then the myriad conversations you and I had it was this is going to be a tool for video game composers and for TV and film composers all of us by every single thing we can get to have an advantage and something different or an inspiration and the thought of reason at that price point being available it's like it's so much cooler than any other bundle sort of package you could get from any other manufacturer if you know between the instruments and the effects and the the the ability to process sound and you know the engineering side of things to me it's just like total no-brainer so that's why I think I was so animated and we all know that I'm subtle as a five-four I just literally was just like why is why would you like leave all these people out of this equation like razors and no one uses Pro Tools it's enough it's a sleeper it's an up-and-comer I've got these kids bottom line was it was just like I selfishly was sitting there going like oh wow I've never been able to integrate Rex files and play right there's a whole entire part of my career that has nothing to do with my my film scoring career right it's never been able to really be in there right well so but we should talk about your music really because you know as much as as much as I'm sure people in Stockholm might want to hear you praise them and their software let's praise you instead no but I I would I would love to I'd love for people to that there's there's some people I'm seeing in the comments already you know people shouting you out bass master you know Adam Dorn and and and people the no motion worker in fact I was tired is there anybody in there screaming about VST support well so I but you go way back with with reason and the music be made you know you're I said I referred to your your scoring career sort of as this somewhat of a second chapter in a way but it it is really just a continuous process of your life in music but you you were going by the moniker I think you still use it to some degree of motion worker maybe you could tell people kind of about the music you were doing the albums you were doing you know a new years ago so it's interesting I'm one of these like DJ electronic artists that's like kind of backed into I was I was like The Reluctant recording artist and reluctant DJ but in the late 90s I was like producing a lot of records and working with like a lot of different pop stars and I was finding it to be just like and anybody that's listening that knows that grind I just was finding it to be not particularly fulfilling so I decided you know if there's a Fat Boy slim and there are Chemical Brothers and there's mr. C and there's Moby I will come up with this name and instead of being known as this producer or this bass player that's playing on you know all these records you know I just I want anonymity and I just want to be able to make records and not worry about like a diva pop singer or an annoying record executives I just wanted to make my own stuff so I really fell in love with drumming bass I made a record that I thought I would just give away and Chris Blackwell at Island Records heard the record and offered me a deal like literally I got like a record deal just because a friend of a friend handed the record to this icon this for people who don't know who Chris is he signed you know he discovered Bob Marley Brian you and you know the cranberries and just like massive massive massive record label Island actually at the time he was starting a new record label he had just sold Island and he offered me a deal and I started making these motion worker records that were like drum and bass but then I completely pissed everyone off and my third record was like this house record and like break beats record and it's like really cheeky but I guess so make this like simpler the music from all those records started getting used in a lot of films and TV shows like everything from like the Bourne Supremacy to Devil Wears Prada Six Feet Under the OSI if you remember the OSI like you know so I started like realizing that this instrumental music I'm making this electronic music I'm making is really showing up behind picture and it's showing up supporting scenes and films and I'd started thinking like I don't like to tour I like to stay in my studio as much as possible so I started at that point in like about 2000 2002 sort of getting film work and documentaries and like movies and and I kinda always did both because it's so funny I know a lot of people are like oh you got you would you would go to London and you would DJ and it was like I hated DJing and I know that that's like something that people aspire to do and they want to just rock a crowd and just have a blast I'm just kind of like I know it'll come off as shy but like I'm kind of like I just want to be in the room and I just want to create music I don't want to be in a club surrounded by drunk people and who God knows what else they're doing like I just I think that's actually that's probably a commonality among musicians that there's a certain type of there's a certain it's like a certain type of introvert almost it's like I just want to do great work that I enjoy and with people that I enjoy doing it with but then there's a certain like I don't know maybe this is true of all introverts but I myself would self-identify as an introvert but what I have is this certain element where it's like when I need to show up I can so it's like all right so like there's almost like this pep talk you give yourself where's like all right turn it on Ryan I got to go to this event and I got to be you know personable and stuff and you sort of you you're doing an impression it's like you're fully impressions like you're doing an impression of an extrovert just temporarily but internally you've you just you kind of just want to do the thing that really kind of gets you excited and that's the music and that sounds like what you're talking about I'm an extremely extroverted introvert yeah yeah and also as a little bit of like a lot of tip tip of the hat a literal tip of the hat I wasn't a very good one and it wasn't like I I really kind of didn't put the time in to learning that skill right and now like I'm talking about I was DJing with vinyl if you even mentioned DJing with the CD it would be like you know take you know step back it's like final can you imagine if you could have just whipped out a thumb drive and be like just you wait it would have blown people's minds exactly well here's the thing if I had whipped out a thumb drive everyone would have been like what is this long story short I I I had a lot of I was very fortunate with the ability to get enough of a name to generate different types of work that allow me to create music for lots of different things always because at the same time I was all I was working with Lou Reed and John Cale and Lori Anderson and Bill Frisell I had this whole jazz and sort of art rock thing going on I started the first film I ever scored was actually with Brian Eno and Daniel Lanois for this Ben benders film called the million dollar hotel so I dwell in the sentence the first film I ever scored was with Brian Eno and Daniel Lanois I mean someone in the comments said they'd love to see some of the score work that you've done I don't know if they mean they might mean poke around the files see it but but maybe they mean see some of these films I wonder if you could let people learn some of them because they can see stuff you've done very quite easily the the documentaries that I've done that that were really actually kind of popular and resonated were about a year and a half ago for HBO I did this Robin Williams documentary called come inside my mind and it was I think it was the Lark like the highest viewed of God you know I don't want to say my ratings my ratings were so big I had the biggest rating everybody knows it believe me but yeah like the Robin Williams talk I did a documentary about Richard Pryor called omit the logic I worked on a series on for show time a couple years ago not a couple years ago a year ago called enemies about actually the gentleman I was just gentleman the schmuck I was just alluding to a political documentary with the director Alex Gibney's Academy Award winner winning director and I do all these action films featuring MMA fighters the reboot of kickboxer that that starred yeah the star John Claude Van Damme so I do these action films and I've done two of those and I did just finish this Nicolas Cage film called jujitsu and getting ready to do another action film I think with Nicolas but I also do a lot of work for Disney so I worked on a film called Meet the Robinsons oh yeah yeah which was really fun um and I do a lot of music for the theme parks which is so talk about like disconnect from working you know working with Laurie Anderson and then scoring the film about Robin Williams and then doing all the Toy Story bumper car rides at Disney you know Disney Orlando right um but this year after doing all these Disney gigs my favorite gig of all time came through and that was the I redid I did a new arrangement of the Cantina theme for and I did it I got had to do it back and forth I had to get John Williams approval so I I got sending files back and forth with to John Williams agents and getting these notes back about my it's not really a remix it's a it's a new version of the Cantina theme that that if you go to galaxy's edge you hear this song all the time it's the theme for the cats it's the theme of the attraction and you know thinking of someone thinking of a sort of modern artist to do that you are all a sort of that perfect I mean a lot of the of the motion worker music that you used to do yeah it's sort of I mean it it's uh it's got a cantina esque kind of what you know I told I told John like seeing Star Wars in the theater in 1977 and hearing like all of us the first time we saw that scene if you're of a certain age you've never heard anything like that before like you know steel drums with big ban lines with like synthesizers and all mixed together with this incredible like hummable melody right if part of the DNA of my motion worker tracks I'm glad you actually mentioned that because what I failed to mention was my thing was sort of it morphed from drum and bass into the last six albums all being basically like electro swing if you're going to name but it's electro swing that happened before it blew up in Europe I did about two or three records before caravan is a caravan palace and Parov Stelar and all these they're amazing producers in Europe doing I do like the less house music version of look I do like 1960s soul gets in a fistfight with house music and the 19 so it's not as club' you know or pop chart ready but yeah it's electro swing and I write I did super early I mean like right first right and it really but and it's it's it's kind of interesting to think of it in that sort of lineage you know but I couldn't imagine it's funny thinking about you getting approval from John Williams it reminds me of there's this moment in this documentary between Sound City the documentary about the so there's some there's just a total throwaway moment that I love in that where Butch Vig is at the console you know recording Paul McCartney's in the studio with Dave Grohl they're gonna do some backup vocals and Paul McCartney says over the mic he's like okay so just take it back and we'll we'll do another one and you tell us what to what to fix and then like which starts cueing it up and you hear Dave saying to the mic yeah but just tell Paul McCartney what to do it's a moment weird like Paul McCartney's not aware that he's goddamn Paul McCartney like wait how could you you know and at the same time I mean it's you know two other people saying well that's also Butch Vig and Dave Gore it's like you know but when the Jenner when you understand well that's sort of what I love about that is that like even for Dave Grohl and Butch Vig it's like that's Paul McCartney right there you know so so I can it's assimilative reminds me of that in the way that's like dear mr. Williams I'd love your thoughts see attached you know well and it's funny like honestly someone else had done this and they were really in a bind because he rejected it so when I started working on the first version that we sent it kind of got this like it wasn't even really like notes he just said finally it's charming and I was like oh you know to have John Williams say that something you did was charming we just you know wasn't really that in-depth in terms of the back-and-forth it was just like I already approved this let's just make it a little better and it was like fine with me you know right right to know cuz like you have to think like you were just mentioning something that was interesting because I had a lot of experiences as a younger musician watching multi generations of artists work together like when I was in I left high school in 1987 so I would have been 16 and I spent three years working with producer composer bass player artist guy named Marcus Miller and as a result I spent a ton of time with Miles Davis so my idol was Marcus who was my mentor but I would watch Marcus correct or tell things to Myles and like I don't know that everyone here knows who Miles Davis is or listens to Miles Davis but you don't get much heavier in the 20th century than Miles Davis like literally most important musicians at least in the United States if not like a planet so watching that generational thing and it's not a it's it's funny you say that's a throwaway moment like to me that's the highlight of that film you're watching this dynamic yeah of the legends right and it they're just people wait you know wait honestly when I work I work with Brian Eno and I couldn't get over the fact that the the interaction and and and the and the and the creativity it was always a democracy it was always back and forth it was always equal I can't say the same about Daniel Lanois but that's a whole other story for a very private version of this job it's just between you and me you can tell me now okay I wasn't really nice Daniel Lanois Fenton said I could play bass and then I soloed over the changes to giant steps to say schmuck I can play bass was the gentleman or gentleman and I would say this to anybody listening that even if you're collaborating with someone and you feel like oh there's so much better than me you want to get to this point where that's all thrown out the window and it's just what's gonna make this the best what's gonna make you gotta let go of the insecurity aspect and just be like we're just people in a room right that's it right everything yes and Brian was a genius of just taking whatever anxiety or like palpable like oh I don't know I don't know boom right oh that's fantastic because I know it from my own musical collaborations I I sort of had to learn this process of there is a lot of insecurity that kind of enters the room with you and with them and and not just insecurity in yourself and self-doubt but then there's also that I don't want to hurt your feelings so and like the number one killer of a collaboration is when you have to measure your words and and you sort of have to compromise your opinion at the for the for the sake of the other person so when you go like oh that's an interesting choice but maybe we could and when you start doing that whole dance it'd be like it Telegraph's to them that like there's not there's not an honesty going on here and it just it's now it's dead it's like you've snuffed out creativity in the room you know the the most important part about creating is just just letting go and and and and not having those impediments are right and there's there's something I've came to understand that or and and even sometimes I've articulated with people and I've worked with them it where you trying to get this mutual understanding that the fact that we're working together we're there's a there's a mutual respect and an interest in working together so let's already throw out the secured the self insecurity and let's also get past the the inability to kind of have an honesty in terms of what we're working on what we're doing and then and from there you can kind of go really cool places but but like any of that unsure footing you know is is can really kill the collaboration so and what's interesting users you know it's a good thought to have I think that the term you know producer record producer or music producer it kind of gets lost in the shuffle that a lot of the time what's just as important is enabling an artist like so say you're the producer nowadays and you've made the track and you're running the session you're literally running the session and you're working with the singer and the singer has these insecurities and the singer has these burdens it's your job to shoulder those burdens in your job let the artist be not get in their own way you've got to get the artist out of their way you have to let the artist be the artist and that's the thing I think a lot of times now people get caught up I'm the producer that's my hi-hat pattern that's your hi-hat pattern that's your you know but now deal with the singer who might be having an anxiety attack right now who's having writer's block or now you know it's like all of those things the the obi-wan Kenobi aspect of making bread oh look at you convergence whole thing where I used to get an arguments with friends - my father was a record producer but he was from the generation where record producers not some of them didn't play instruments and some of them did you know they didn't my [ __ ] just a total side note I bought my father a laptop and you know like this is how little he knew about technology it was like how do you turn it on and I was like you push that button and he's like hold on man I gotta have a beer so not technical oh man but you know production and producing isn't just making the music it's it's making sure it all moves along and you get over the hump sand you deal with the label and you deal the problems it's it's a big deal it's a really and the great greatest producers are the guys that like you know what steady is a rock and we're gonna make sure all of this chaos just comes together yeah you're sure it all works out you know I think there's there is something I'm I'm coming to understand you know I mean I've been interacting with with reason users for years musicians for years more I'm sure they appreciate that I would I would agree because I am one so thank you but but um there's there's something I I've come to understand you know the four people that I mean some people don't have this aspiration but let's assume for the sake of what I'm about to say that a large percentage of people have this aspiration to sort of become a producer as it were right a record producer or a music producer you know that's sort of you start out you you're wanting to learn how to make you know make beats and then you want to turn beats into songs then you want to get artists to top line on and and kind of work with artists and that kind of thing and you said something now that I hope people are catching these like just nuggets of wisdom that are flying by you this thing about you know like I I made that high hat like there's a little bit of a moment where it's like you are you're the artist as the producer in the modern context you're the artist up into a certain point and then it's like this this handoff like I sort of what's that in the Olympics where they hand off the baton while they're doing a little track and field's thing there's a name thank you yeah yeah relay race so it's like there's like you you are the producer and you are what matters up until the point at which someone else comes on to that song and then there is that handoff and then you do kind of have to switch gears and I guess there there probably is a little bit of the way you said it and you're when you're joking but but the truth behind the joke is there's a little bit of an ego that needs to be kind of released and and and you switch from being the artist to the person supporting the artist that you got and that's whatever you know the people want that progression they want that handoff but that it's that little transitional moment that can maybe be sometimes tough to to get used to at first it's very tough especially and I hate to say this like as it sounds like when I was your age but it really is a thing that comes with maturity because you realize how much stuff just doesn't matter just let it go just just it's ego and an insecurity is such a waste of energy it's music all of that should be aside from that process or it should be harnessed in the right ways so you let someone's momentum and insecurity and anxiety like use it use it for them all right you're angry go sing your ass off right now right you're the big I said something to you you don't like take it out on the mic around my prop right I don't think you got it in you kid well that's lucky Donnan twist and shout the Beatles twist and shout alright that's one of those ones where I read that they had done a just a bajillion takes and you know this is back in the era when he's like you went into the studio on Tuesday to record the album and it was like wow you're gonna do every song and by the end of the day you had the album and so it was one of those kind of sessions and the twisted shout was the last song of the day and they had done however many takes they did back then you know 15 takes 17 takes whatever it was and just destroyed John Lennon's voice oh yeah he was yelling yeah we're really and and and there was like as as it went on it got to a point where I read the story where he was like they got to poem with like I don't think we can do this one I'm just shot I can't do it and then it they what they came to the realize I was like it's either on the record or it's not like if we don't do it it's off the record you know and so that it was sort like okay let's do it and he went in and he just like blasted out one more and that's the sort and when you listen to it now you can hear a guy who is just like probably should have stopped three takes ago but he's pushing through it and it makes a certainly actually produces a certain result that largely is I mean you could almost imagine listen to twist and shout and just imagine the intensity going down two notches not that great a tune it's the delivery that actually makes that song what it is you know so it's funny so you said you know that it doesn't matter thing it reminded me that somebody asked Jay Leno once Constanta comedian Jay Leno they asked him how have you and your wife you guys have been together for so many years what's the secret and that was his answer isn't you know what you want to know how we've been together it doesn't matter that's how I live my life doesn't matter you know and and he's like if you if ya if you approach just any marital conflict or any kind of you know marital dynamic with the thing that ultimately this doesn't matter and in 20 years whatever if we're talking about who you know you didn't you didn't take out the trash or you or oh but you booked this thing at the same day that we had there's other things like whatever it is that's a little thing in that moment it doesn't matter you know and and and you know and the sort of the metaphor of the the artist producer relationship and the sort of marriage metaphor is that people often make it sort of would be a similar a similar mindset you know that's why I'd like you had these these these partnerships you know like you know you know and Lanois with you to George Martin with the Beatles I mean it's you know Trevor Horn with so many different acts I know I'm like dating myself you know I'm not mentioning like you know her I would say like Mark Ronson Mark Ronson would be more of like a more current person with like you know of any number of art you know but I'm just saying it's like you gotta want to be you gotta be friends but you also gotta be honest with each other and that's that and if you can't do those two things in the studio like why bother right right no wasted time totally well should we since we're talking about collaboration I wonder if we should maybe sort pivot here for a second to to sort of what I had in mind for us to do on this I mean so here's the thing first of all I could just sit here I could turn off the camera you and I just have these calls every few months anyway where we just share you know I could just do that for two hours and I would be happy as a clam looking at the comments I'm keeping my eye on the comments and and looking for the moment when people start going like bored move on it hasn't happened so that's good people seem to be enjoying not only that I got a text message from my mom during the stream and she says that you're a very good guest she's she's very she's enjoying you as a guest Karen I'm turning this into the Sammy baby from like a brief TV show where all they did was like let me tell you man you you are the best baby no but I do have known Ryan forever and like we do we have these conversations and they're amazing but something tells me Ryan wants me to play some bass on things I've never heard before yes this is where we're going so listen so this is what I wanted here let me I mean I'm going to talk to a talk to our studio audience here for a second so you have Adam Adams coming on the show and I'm starting to go what can I do with that I mean obviously I can just talk with Adam about his own stories and his music and we could play his music and all that stuff but I started realizing over the last few weeks we've done these things where you guys have uploaded some music to us you know that we did the thing with Tiger and torn over you guys uploaded to a Dropbox folder and and we picked one of those tunes and they developed it and then I did a thing on a zoom call where you guys dropped in more of your stuff and I brought a bunch of you guys onto a Zune call we played your music and that was fun but what I came to realize is that I've got this folder of like a bunch of your stuff and there's more that I can do with that and I started listening to it and I want to have we got a gun cap some real talk with you guys I noticed something I this is said with love but I noticed something that was the most common trait in all the songs you guys were submitting to me they didn't have bass lines and in fact it was so common there would be like a cool musical idea this cool thing happening without a bass line I started going this isn't a coincidence it's not just that all these people uploaded this to me before they got around to adding the bass there's like something bigger going on here and it's probably even going to inform my own the tutorials that I do because I'm starting to notice that we might need to talk about basslines because if they're not there it's the same reason I made the tutorial about vocals if vocals aren't on a tunas because people are sort of it they're there they haven't quite figured out how to do it yet and so if I can help them great because then they'll help people get over the hump and if there aren't baselines on these tunes my hunch is it's because people are they haven't quite figured out how to get maybe what they want in their in their song and so they're kind of avoiding it and and there's little things I started noticing other little common tricks like a lot of you guys are doing things we're like you'll have a like a Rhodes piano line and then you'll crank the bass frequencies up and it's like okay that spectrum is covered now but there's a difference between bass frequencies and a bass line and that is where Adam comes in today I grabbed a few of these tunes and I thought you know what maybe we should have Adam actually add bass lines to the songs that you guys have already uploaded this folder which are kind of missing bass lines so Adam I brought you back on here you are uh while you talk about bass sound track so but before we jump into the to this reason file I I should point out to people and for my own sake actually I don't I have to almost I don't know if apologize is the right word but you made a joke you so Adam was in a video that that we did years ago for the reason electric bass refill it was a sample library that we made now it's a rack extension and Adam made this joke in it where he said I am one of the number three bass players in the world or something like that and it was like it was it was a joke and he delivered it well any and it worked in the video but I actually sort of took I think when I heard that joke it actually made me go like oh I get it it's funny because he's actually not that good at bass and then I had this moment I was like oh wait hang on I was like we're really good at bass and I've you know your Instagram and stuff you've done some stuff or you'll just like jam on your Instagram and like you the dude's got chops so I think what we were gonna do is I'm gonna actually here let me move this has changed my shot here here okay so what I've done is I've grabbed some of the songs that were in this folder that people uploaded and I thought maybe it would be cool if Adam sort of played session bassist for a second and added some bass parts to it and maybe we could talk about kind of maybe as a bass player what you're thinking about when you hear the tune and how that kind of might make you approach a bass line for it and I don't I wouldn't expect that by the end of the stream people are gonna know how to make bass lines but it I think it's the start of a conversation and I'm probably gonna carry forward into some tutorials and stuff and we're gonna start talking with people about how to how to think like a bassist so why don't we take a look maybe at these are in no particular order I just grabbed like whatever it was five or six and it was almost by random the ones that I grabbed but I would I take it listen I go yeah that works and I sort of threw him into a reason file here and you could start anywhere you want you needn't start at the the left edge I just thought we could just maybe check him out so take it away animal baby Jaret oh hey I've learned that's actually henna Otto this was actually so David was a he was on a stream of ours a couple weeks ago and he had a tune that was uh it was really great sounding tune and this was in our Dropbox folder and I thought this is a this is a good one so all right cool check it out quickly before I do anything I'm gonna make sure I'm in tune the tuner integration into the track no cool basic thing that like so many other DAWs don't have you don't mean like so just shout out to who the tuner dude or dudette oh I've never heard this track so I'm just gonna what do I hit oh yeah oh so we Adam we should remember for the the mechanics of this is gonna go to a yeah we got to do a little muting dance now [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Applause] [Music] [Music] all right so what's the - the best start but we got there we figured you could know I think I thought was actually really awesome I mean like so what I love and what I what I hope people are enjoying about this too is we're not just watching you play a bass part we're watching you kind of figure it out I mean this is like one take session musician it's a game we've just invented here but it's like here's the song for the first time figure out the key kind of figure out what the the harmonic progression is doing and then where you fit into it all of that like what happened there over the course of sort of the first whatever was 32 bars or something is you finding that place and finding that improve which which is awesome I think that's hopefully that's fun for other people to watch I think it's really neat as someone who I mean I think we all do that you know what it does not just for bass lines it's like that's how you write melodies that's how you that's how you write words is like just kind of finding how that stuff goes yeah like the whole point like I was a studio musician for years before I became like an artist and a composer and as a bass player you would show up and it would be like most the time you didn't even have sheet music it would just be like well here's sort of the changes and come up with your part mmm so as a result of that it's it's kind of weird like you would have to you're writing so that what I just did would be like something we would listen back and you know the producer the actual producer maybe you did something like you know in the chorus section there let's go back focus on that and let's have that approach to the rest of the song kind of thing right though so yeah there would be you know there would generally be songs that have more changes than this I was waiting to get like a like another section you know what I mean yeah but seeing songwriting is really you know in in it's simpler form is like challenging to play on your how do I get the dynamics to move to another section of the tune and only down I tried to do less stuff I'm seeing something in the comments he I should probably mention this because people might might think this is all just gonna go into the ether here to David and to anyone else whose tracks we kind of add some bass to I will I'll get I'll put these out we'll get these out to you somehow I'm gonna after Adams done with us he's gonna save it we have it on a Dropbox and then I'll go through and I'll export these bass stems and then you guys will have them and then obviously gave it I hope this goes without saying I need to interrupt oh they are not stems are groupings of sounds splits are individual sound Ryan thank you so upset with you Ryan Silver's in person yeah like that yeah yeah yeah so we'll export these in you guys will get them and then and then David on this one obviously you're gonna not just drop this in and be like done but you're gonna go through this and find you know clip out the parts that kind of is like oh yeah that's a good bit I like that Phil and I like this grooving so that's that's yeah like honestly recycle it and then play it back inside the recs player and like you know find things about it that like inspire you and mess with it treat it like a sample that's a great that's a great yeah I could see some of those some of those chords when they come up if you sort of do that repeated stab bad bung you know yeah yeah you know what I'm talking about [Laughter] what's that another let's do another one let's do another one all right so this is it says gregory binder gregory bender oh yeah let's see what let's do what we got let me just line this up i don't want it to on the mean so for people that are just tuning in here adam is adding bass parts two tracks you guys have submitted [Music] cool so this is uh let me I'm going to bring your camera back in here alright so now just sort of to kind of get inside your head as a bass player for a second here you approach that one with an entirely different feel probably a different right hand technique and all that stuff maybe left hand technique - then you did the previous one so and you kind of you kind of latched on to something pretty quickly there yeah so what like what's that what what is like the little thing that kind of so music is in collaboration as a conversation right and so as soon as you hit play gregory binders tune said something to you that told you where to go is that am I correct in kind of assuming that yes these kinds of changes I'm thinking like what's the top line and what what kind of melody is gonna work on top of this because there's this is a big this is what would be called a basics track there's no melody or singer and I'm thinking as I'm adding a bassline how can i play something foundational that doesn't get in the way of someone eventually singing on this or or playing a lead instrument on it so I started off really simple and fundamental I have a tendency to over play and like you know search for the the you know within the scales on each chord you know maybe more intricate parts yeah but I don't hear I'll also play a little too busy you know what I mean like it's just whatever it's something that comes from like that history of like Motown music or James Jamerson the bass player at Motown would play really busy bass parts and once the vocal was there you'd go oh my god that's a sinus like if the bass line went away so I really I think about bass in terms of you know how can it fit inside the chords and what's going on but create momentum and create movement at the same time as supporting a melody right do these changes really quickly because it's also weird you can tell by looking at a WAV file by the dynamics this thing is gonna stay the same there's no breakdown there's you know you can tell and I've learned that from years of being in studios you can tell by the shape kind of where the tonality is going to be going and where the dynamics are so that's a weird thing I would I don't know like the wav file is the same it's there's no yeah yeah no I know what you mean right you can see if it goes through a bridge if it goes more sparse so there's a breakdown or a drop or whatever yeah yeah yeah that totally makes sense yeah so I wonder if so I thought this would be good actually I wonder if you could I'm gonna jump over here make your screen a little bigger here could you for a second because I think this is such a good example of the tune as it was submitted without a bassline versus the tune with a bass line so could you for a second maybe play it back without your bass on like mute your bass channel and then play back a little bit and then just bring in your bass okay positive second so this is this is one of those examples where and in Gregory I hope you don't mind that I'm using you as an example and it's a wonderful track you made a great beat so I'm not this is this is not a really a negative critique but but this is an example of one of the things I talked about where you there's like you hear there's like that 808 bass that's kind of holding down the low end and it's doing a respectable job of it but the the house kind of piano thing is so funky and groovy that it's like there's almost a mist if your goal is to get people dancing and feeling that groove there's something of a missed opportunity I guess there that is where the bass can kind of come in is that a fair way to say it Adam so so play it play it again and then at some point bring in the new your bass I was trying to say I was gonna say is that you know it's also nice for the bass to appear after like a four bar intro green so you know I'll play it with the bass muted again combined [Music] yeah skip say it gives it a definition and and and like a foundation but the interesting thing is base or at least electric bass has more mid-range than actual bass so the thing is people take it literally in terms of its frequencies the bass actually sits more in sort of like a low mid-range frequency and for it to stick out the kick drum is the bass and the bass that you would think would be the bass frequency actually sits so they don't fight with each other slightly in another it's just above it in a frequency range and that's where a base because shizzle I love this stuff this is this is the stuff where like I swear if I had the time the energy the the wherewithal to do this I would be going through these streams and I would clip out these little moments there's this little moments that happen and they're all about 15 seconds long and they they flick off these light bulbs inside my own head and I hope in other people's like that's major that the bass is a it's a low mid frequency element it's not a bass sub element of your song that is like that that point can't if that's the only thing you take away from this is that Adam does a good Philadelphia accent and that point about low mid frequencies then this stream is worth its weight in whatever whether you whatever you can weigh a stream in right hold on Ryan but there's more in your song you've got to go you got it you know put a little mid-range in the bass that's all about everybody have a nice day I'll see you later oh man no that's great that's such a cool point for people to think about because it's a it's certainly something that I think I mean even if you just think about it from a mixing perspective it's like people might be thinking about the wrong frequencies in their mix of the bass or it's like don't push that bass up that's the kick drum spot and and you you're gonna smear your mix if you start putting too much bass frequency new fundamental frequencies where the bass should be should be the actual they should be punked but don't sleep on the mid-range and don't sleep you know you got to carve out the space so everything sits in the stereo field you know in with the right balance beautiful beautiful beautiful point cool let's do another one yes do another first one I I don't know what it's called yeah it doesn't reveal itself oh um I think it might have been called 3v3 actually yeah let me let me do the throw [Music] our this one's just as a note to you I gave you a little um you know there's a lot of this intro thing and then it kind of kicks in to a beat part [Music] [Music] I gotta stop because there's that's sort of at a sink I'm out of sync I'm doing so you're gonna you want do a second pass of this okay um well we won't hold it against you for so I what I what's so cool about watching you do this is are eager no that's right no ego that's right what I what I love about watching you do this though is that um like there is it's that thing it's exactly what you're talking about with the waveform like you saw on the waveform that a beat was coming and so you did like a little I can't read if you did like a little slide or you did a little thing yeah and and it was like there's those little moments of sort of it's like prediction a predictive thing and when you get it right it's really cool and when you get wrong and someone that's not so cool but that's why we offered them oh wait you mute it again you muted wait hold down that's it there's a timing thing I'll get it yeah yeah cool okay go for it we believe in you Adam [Music] [Music] [Music] [Music] [Music] [Music] [Music] oh right right that was better that was better yeah I mean amazing what a second take I can afford you as an opportunity god forbid Inasa melody that's great no that is cool so there's a question that came in on the chat which is actually this is an I know the answer to this but it surprises me still nonetheless they would like to know what your signal chain is for like preamps and amps Sims and effects and all the things you're doing great question I love that question so um and I wish I had a better set of strings on the space because it's playing into this whole like it's all in your hands but but the strings and the electronics and the bass play into it I'm just going direct into an Apollo Universal Audio Apollo and I have no compression on the bass I have no it is literally just this is the bass here are the settings you know like here and I go right into reason and sometimes after the fact I put a little bit of compression on I rarely EQ or do anything to my bass because I know what my bass sounds like and I play it a specific way and the sound is the sound that I'm trying to get if I'm doing like slap stuff you know what I mean yeah I will do some compression just a subtle compression thing but otherwise it's just direct and and the reason why it's just direct it's it's no different than the Motown thing I was talking about that bass player plugs right into the console and that was that he hears the bass sound and there's no I don't use amp simulators I don't use any of that stuff I'll use effects because I want to to do stuff on certain tracks but by and large it's just this is the bass right yeah well it's um it's something that I asked you the same question this is a number of years ago you sent me your album it was your last the last one the one with like the we'll cover with the like layers on your face of different things and I saw you so you sent me that album and I was like oh man the bass sounds great what do you is that I think I might have asked you like it was around the time that the line six amps were going out of reason and the softy lamps were coming in and I asked you is this the line 6 amp or the softube amp and he said no it's my hands I was like what and it and yeah but I noticed that on I just reach as if I could queue this up but you've got the reason file but I noticed it like on the - you just did you're kind of doing the full muting I wish I could like the cameras like it's just sorry lay your hand across it sounds great yeah and if you weren't caged for the sake of that play that same kind of line but without the muting part right now the musician the musician and you can't help but change what you're playing for the to match the technique but you know that but yeah when you when you mute it you end up with that more kind of like yeah that that darker I don't it's always hard to describe music so it's like I think it's almost like you're emulating a kick drum but you have tones that you can control so if a lot of times on bass and this will help people writing bass lines is you want to be in unison with the kick but you want like so say if it's just like and the kick drum and the bass drum are you know you're the bass line is this kick drum that's playing a melodic part it's almost like right you're almost harmonizing not like the harmonic structure to the kick drum basically which is a an atonal instrument generally so you know and then you you know you're you're about four days away from being able to head down to largo and do a set of beatboxing and bass at the same time you know move over charlie charlie hunter with his play guitar amazing so let's you want to do one more yeah let's do another one let's do another one all right so i don't know what this is it's Simon Simone Simon AIT's ghost song I sew a seam or not I don't know who it is it's good this is a good guess I butchered more names and you can know reading comment I think ghost song so som is that like it's French [Music] oh yeah I just it does there's a variation in there it turns around on itself it's kind of cool yeah yeah when I when I grab this one from the folder over that one you do it when I grab this one there folder I was like oh Adams gonna have fun with this one [Music] [Music] you would do you want to a third third pass and I'll take all three in comp modon there's a there's a there's a four there's a 5 bar phrase or a 3 bar phrase so it's it so the line repeats but it goes back to the top one bar early right right yeah but it's cool I got it that time oh you did get it oh okay good and I did a sonic change I rolled off my front pickup so you so it's a more mid-range eBay sound like a chocolate you know or pino palladino but old Pino not not the new greasiest man on earth penal this is we descended in the base nerd talk Jocko and Pino as first-name basis know what I mean even like for people it's like oh you guys I mean everybody knows Pino Paladino 'he's full spectrum of work right early and late Pino that's a cool that is a cool feel that's definitely a cool feel so let me for the sake of let me take a look here in the reason file I think we hit there's two that we're Gregory binder but I think there might be one more that we at the end yeah what's that what's that purple one at the end and we should just so that that guy doesn't get left out all right so let me see oh yeah yeah I remember this one from the name R&B Rhodes yeah Rhodes all right so I'm looking at it I can see yeah I see there's one little there's one little thing all right hold on let me just I hear RMB Rhodes and I'm like I want to get the right sound even so you're setting your tone from the name of the file what if it's like a thrash metal song and it's just called R&B Rhodes and I like this person even more oh wait you didn't wait wait yeah you're muted bless okay wait you've got it there you go [Music] [Music] so yeah yeah yeah yeah sure sure this is a this is a short one so you don't have much time to acquaint yourself nor to actually execute [Music] [Music] yeah man nice nice nice so there's a comment yeah there's a comment it was a comment Michael Wilson in the kind of the chat said did it just get sexy in here oh that was nice now that you know what's cool is now after hearing you sort of do some of those palm muting and kind of fingered things I was not expecting to hear a slap coming there because my sort of instincts when I heard that was like oh it's a kind of soft slow groove but then you added like this slap is like a whole nother kind of takes it to a different place in a good way right well it's a control one and I can do like the other thing and it'll it'll it might even become there I say I think that progression is that's um that's a really common chord progression it's a minor key chord progressions flat six five one and it's the same changes as what's that Bobby Caldwell song what you won't do for love you know it's just like it's just like a really famous 80's R&B song right and those are those are great changes you know what I mean like those are changes you want to groove on you know what I mean like but it's really nice and the sort of that playing off that octave thing it's a little bit of that like you know I don't know which the chicken or the egg here I don't know if that like slap and pop on the octave came from disco and moved into R&B or if it came from R&B and moved into disco yes if that's good that was the that was the way okay and actually it really it came from Larry Graham from from Sly and the Family Stone it was just a technique to be Larry Graham used to have this thing with his mom they would play a church and his mom was a singer and they was just a duo so he started slapping so it would sounded like a drummer and a bass player at the same time kind there are there were other guys those guy named pops pop well that did it and you know the slap thing is not a disco thing at all as a matter of fact slap kind of dude like it kind of there's that octave slap thing yeah I mean like the real classic banging like disco anthems rarely have slap stuff like if you think of like chic like Bernard Edwards from chic no it's not that it's like absolutely mind-bending bass lines played with a weird pick technique where he took his fingers like this and use them as a pick got chilly gosh yeah but the slap thing really became more like a like funk like actual funk yeah R&B thing disco happens for a while and then Peters away because of the change in drug choices and then then you have like you know then you have like sort of like fusion and like you know smooth jazz and then that becomes like a like a you you have to play in that style kind of thing okay thanks Marcus Miller interests oh somebody commented in the they asked which octave came first the bone or the B which is all I would ever do right yeah all right with an ideal setup honestly I would have liked and I'm not making excuses I also do bass like 11 minutes a month now but like there was like a time in my life where like I would have just like done them like the most like tasteless solo and when you know the change is so well you've you've explored it for you know for decades of your playing you've been exploring those changes so you you know them forwards and backwards in and out all that's up oh we are rotating no the hipster record collection view I yeah yeah yeah well Adam let me tell you thank you so much for that that was super awesome of you to do after all for me to watch selfishly for me to watch you know it's funny for as many years as we've known each other I don't know if I've ever watched you play this is my way of saying sorry for never coming to your gigs but no but no I don't know if I've ever I think we've just always spoken socially not actually I've not seen a play I had a gig at the Ivy room in Albany like near Berkeley yeah it was it was really yeah yeah but it's fun to watch you fun to watch you work and watch you think you know and and I think what the sort of what happened in me prepping for you being a guest on the stream it really has opened up something that I think is something I'm gonna talk about more with our users and and maybe help everybody come to understand how to approach bass lines because I mean there's just a couple nuggets that you I'm probably gonna plagiarize a little bit from your stream but there's a couple nuggets you've dropped about sort of thinking about frequency spectrum thinking about the your relationship with the drummer and the way you can I mean we all know sort of it's known I think in a more broad sense like oh yeah like lock-in with the drummer but what does that mean you know and and so I think sort of what you started showing us is that it it can literally be to kind of map your notes to the kick drum and and and even if that's where you start that's a great place to start so really there was a keyboard player that I got to know and I played with once really really unbelievable musician named Joe Sample and he was in a group called the Crusaders and and when I was in Marcus's band briefly Joe sat in with us and like and I didn't just do this now because this exercise was like hit record and just react but if you're going to play bass specifically even keyboard bass anything that bass really listen to the song and start formulating in your head what you want to do but but but let it let live with it for a second especially if you're hearing it for the first time with the artists in the room at the artists is a vocal or a piano player don't play don't noodle just listen listen and learn the song and then slowly after maybe one time through start playing and the reason why I brought up Joe samples Joe sample said my favorite bass player on earth is Marcus Miller because when I play a song for him and he listens to it for the first time he listens and there's so much to be gotten from listening to something instead of rushing to show someone oh I see where this is going and I'll show you what I can do let it let it sit settle then this discos for guitar piano any instrument let something live with you for a minute and take a deep breath and let it soak in right and you know order as a sort of large call back to what we were talking about earlier that that tip requires a certain amount of maturity and obviously Marcus has that in spades but it also it's that thing we were talking about with this sort of that that insecurity factor of like if you go into the room and you and you're worried that you have something to prove that instinct to just get in there let me let me show you what I got I got ideas I got ideas and it's like that yeah it says it sends a bad it sends like and you know what it's it's a maturity thing but it's a really easily learned thing it's like it's one of those things like just me saying it right now you just learned it like just ready prep don't rush like and I used to do that I'd be on set and I'd be like no I I did some you know some pretty big recording date so it's like really heavy studio musicians and I was like 19 or 20 and I was so consumed with like I fit in and they need to know it right I know that is like that that just hit me hard we you know sometimes we think of maturity the concept of maturity as this you know it's like that Obama line that he cribbed off of Martin Luther King words like them the arc of the moral universe bends towards justice is long but it bends towards justice we think of maturity that way like it's a long slow process of maturing know sometimes you can you can mature instantly from just hearing something and going oh yeah just listen just listen yeah and and that's something you know anyone who out there watching is in a collaborative relationship that is something you could employ to day but the next time someone plays you an idea you're just going to bet yeah BAM me yes physically right yeah it's funny concept everybody you know this is from a psychological standpoint it's like different people have different temperaments different levels of anxiety or whatever it's like you know you said like maturity as this arc it's like telltale Fiona Apple that maturity is an art listener her first record and she's like got the wisdom of like a hundred and seventy year old like my god like 40 absolutely right just listen just listen yeah absolutely absolutely well I I can't thank you enough for coming on the stream I think everybody's had a good time I mean I I sort of in in a cynical way I judge the success of a stream from the amount of like griping in the in the comments and there wasn't it was all give us all positive so if everyone seems to be pretty happy so that's that's excellent I think we've really enjoyed it I wonder if oh wait before before I sign off with us here could maybe we should tell people you you do some political advocacy as well for musicians and I think it might be important to tell people about what you're doing because it actually relates to another stream today yeah alright thank you I appreciate that and I appreciate the the platform to do this about five years ago I started a group here in the United States called so know it stands for songwriters of North America and the purpose for starting this group was to become an advocacy group for songwriters and composers and musicians in Washington DC to basically lobby for legislation to protect the rights of songwriters and composers visa vie raising the royalty rates that Spotify and Amazon music and Google Play and all these you know streaming services play so we we were pretty instrumental in getting something passed called the music modernization act and the reason why it's really important is starting on January 1st and 2021 if you're a songwriter and you are a member of in the United States ASCAP or BMI or SESAC you will now as a result of this law that we helped work on and write at streaming digital mechanical royalty paid to you because of this new law so there's a new it's like so we have ASCAP BMI sound exchange and now we have something called the mlc the music the mechanical licensing collective and you will get paid as a songwriter based on the streams that you accumulate through these services and the and Spotify and and and Apple music they're paying for the setup of this service to make sure songwriters get paid so and I say composers as well because composers are also the get the writers share so later today at 4:00 p.m. on the west coast so that would be PDT in the United States marcus miller and i are going to be doing an instagram live chat through his account and we're gonna be talking about just the history of our friendship and just a lot of different things but also some advocacy stuff and and if you guys are interested in sona and learning about sona visit we are sona calm and you'll learn that we're really fighting for you guys to get paid more and it's awesome i think it's all the work you guys do is awesome i have sort of done what i can on the on the reason studio side of things to to help you guys with some of the fundraisers stuff you've been doing in getting some of you know some copies of reasons stuff for some of your silent auctions and all that but love about what you what you're doing with this just knowing you and knowing how your heart is really in this is that you know in a in a selfish way i mean this is this is inconceivable for you to think of it this way but but in a selfish way you're scoring work that you do and the work that you do in that in that world is less dependent than you've ever been on streaming royalties i mean you you would around this would have applied to you in a selfish way you know ten years ago fifteen years ago more than it does today and yet you're more active today than you've ever been in this sort of work and so i think that that speaks to you know that's great that you bring that up because we're about setting this up so that you know future generations can actually pursue a career in music and become artists and become composers and become songwriters and it's it's not about you it's about everyone you know what I mean it's about building so that the privileged and and and the joy I've had being in music can also be shared and and an experience by someone else that's why you know Marcus is a member of Sona and he's also on the ASCAP the the board you know it's like people from an older generation have to give back and have to think about the future and the legacy of what this all is you know people deserve the right to be creators and have their rights protected and their copyrights protected and to be compensated yeah they're for their music not not stolen from not you know illegally shared you know so that's our thing we fight for for for copyright reform and artist rights songwriters that's also that's so your stream with Marcus's today so it's in I mean people can if they're still awake over in Europe it's gonna be in four and a half hours so they can do whatever time it is now I can't it's what 8:30 there's on the it'll probably be available like for a day or so on his feed you know right okay you know but but I mean see is the at Marcus Miller on Instagram or like you just do a search and the account that has like you know 175,000 followers that's his actual you know Oh weird there are like other Marcus Miller accounts like Faneca you know not easy right see I do the real Marcus Miller for the one with the blue check or the white chick that's we'll be having a chat all right cool well you know so your your hearing to hear reason gang you guys got a go-go flood that chat and throw Adam a bunch of awkward inside jokes from today's stream that nobody else will get and no no don't do that but go enjoy that because I think you guys are gonna be having a fun conversation and we've we haven't even taken the time your story you said we're gonna talk about your history with Marcus is awesome we won't even tell it here but but just for the sake of people Adam basically sent a letter to Marcus Miller and just said like I thinking of dropping out of high school maybe working with you and he went okay I mean that's like a weird version and then I spent three years with them and then I went to me but that's just one like an unsolicited letter like can i apprentice with you okay wild why here so Adam thank you for coming on the show thank you for having us I wonder if maybe I could put in a request here as we play our ourselves out on the broadcast could you I'll switch off your camera but it could you jump over to your reason file find kind of one of the longer ones that you did and we'll play that as our outro music as I'm saying goodbye to people as that sound do okay cool but listen thanks so much and for for coming on the stream and it's not it's been a blast yeah more recent things please I've been out of the reason loop for a minute I'm glad to be back yeah it's reason reason is joining you in your in your Pro Tools work now okay Adam is gonna cue off our music I'm gonna be saying goodbye to everybody here thanks for joining us thanks for sticking around with us thanks for hanging out with Adam and I it's always fun to hang out with Adam and I'm getting a thumbs-up from Adam I think that means he's cueing it off okay so anyway everyone thanks for thanks for sticking around with us I'll be back next week I mean it's like every week I just go I guess I'll do another one so I guess I'm gonna do another one and I hope you join me too we'll see you next week for your reason to stay inside I don't know what I'm doing yet get out and I'll see you next [Music] [Music]
https://www.youtube.com/watch?v=B3_m6qLsTc8	# YouTube ## Music Making Month - FM Filters in Thor ### Video Metadata - Keywords: Propellerhead, Software, Reason, Thor, Synth, FM, Filter, Comb, Ladder, Low, Pass, LPF, Mod, Matrix, Advanced, Programming, Sound, Design, Theory - Runtime: PT4M4S ### Description The filters in Reason can powerfully alter the sonic characteristic of very basic synth waveforms in Thor. In this Music Making Month special video, Product Specialist Mattias Häggström Gerdt will show you how to use the mod matrix in Thor to turn an otherwise simple analog oscillator into a pulsing, grinding, screaming synth. ### Transcript hi as you may or may not know by now my name is Matias and I'm a composer producer and propellerhead product specialist last week I talked a bit about how you can get creative with loops to start off your track but this week I'll go a bit deeper in the Reon rack and show you how you can get some Unique Sounds out of the filters in Thor using what's called audio rate modulation or for short filter FM audio rate modulation is when you modulate a parameter with an LFO at such a high rate it becomes audible as audio hence the term audio rate thanks to the store mod Matrix this is extremely simple I actually learned a bit about this technique from Jeremy Jansen from nuclear Sound Lab and his recent wizard is seror so a big shout out to him so let's start off by creating a Thor here and this is the initialized patch as you can see just one analog oscillator and a Lopez filter sounds very Bland so what I want to do here is modulate this low pass filter using another oscillator so I will create an oscillator here in slot three another analog and select the sine wave because it's very close to the standard LFO so it works great for modulation so what I'm going to do with this oscillator is Route it to the filter frequency using the mod Matrix so in the source I will select oscillator 3 and as the destination I would select filter one frequency FM and I'm going to play a bit while raising the amount so you can hear how it Alters the [Music] sound not very drastic it just sounds like I'm lower in the frequency but what's important about audio rate modulation is that you can get widely different results if you fiddle around a bit with the oscillator that's modulating so I'm going to play and try a few different settings here [Music] [Music] as you can hear you can get some really interesting results you can even try um scaling this with an LFO and as you can hear then you can get some really really complex sounds [Music] this is great for doing those slow pad sounds if you lower the rate a bit and fill around with the [Music] envelope that's just using one sounding oscillator this also works with other filters so let's let's try it out with the comb filter that can always achieve some really really cool results going to lower the envelope [Music] [Music] again let's remove the telephone modulation here just you can hear it [Music] clean it's very rewarding just tweaking the amount octave and scale it with different parameters and I'm sure it'll lead you to some great new sounds [Music]
https://www.youtube.com/watch?v=-Alul9Olkw4	# YouTube ## Mattias joins Gear4Music to talk Reason! #shorts ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT0M58S ### Description Watch the full video: • Can a Reason employee convince me to ... Go check out Mattias spreading the gospel of Reason to Gear4Music! He talks Objekt, Rack patching, Players and much more! ### Transcript this is that it sounds really good like you know it's a legit like Wicked sounding device okay it looks like you actually make a device here you really do craft your own little thing that's pretty cool I want to play around with this now just to better understand how bass lines are constructed and I I like this sort of it looks fun do you know what I mean I really do want to use these instruments because this is basically the kind of music making that I do in Hardware you are basically designing my dream device that's really cool ah it does seem really dangle that's actually legit you want something that looks fun because it is meant to be fun and it's supposed to be inspiring and it's meant to be play [Music] oh I don't know like I just put a 707 under that and we pretty much got a nice house track well I'm convinced
https://www.youtube.com/watch?v=N1cSS5SjhA8	# YouTube ## UK bass trio Gentlemens Club cook up 3 beats in 30 minutes using just 1 sample ### Video Metadata - Keywords: reason 12, reason+, reason studios, propellerhead reason, gentlemen's club dubstep, gentlemens club music, uk bass, music production, reason 12 software, reason 12 features, reason 12 sampler, reason 12 new features, music production tutorial, reason, reason rack plugin, reason daw, propellerhead, ableton live, fl studio, logic pro x, reaper, bitwig - Runtime: PT33M21S ### Description Our mates ‪@GentlemensClubUK‬ love a challenge. So we asked them to find one audio sample inside the Reason+ Companion and then spend 30 minutes each on a track based around that sample. Which was your favorite? Let us know in the comments! Would you like to see what you can do with the same sample? Here it is: https://we.tl/t-TDFLTy5XJM #reasongang ### Transcript i like a bit of flattening on your socks i feel like it's where you kind of shake your pattern without getting like you know too jazzy yeah yeah hi guys how's it going gentlemen's club here and we are here with reason studios and they've uh set as a little challenge just uh waiting for it to come through [Music] yeah i've got one and this here is a um battle it out three ways one sample we've got to collectively decide on a sample and the reason plus companion and then we go each creates a song using that one sample 30 minutes each in the hot seats to praise whatever we can do you accept the offer or the challenge yes accept the challenge yeah but i think you should go first i'll go first all right let's do it yeah we will find a sample so we've been searching on the reason plus companion and we have found a pack of samples in here and the first one which is [Music] then we've got this weird one and then we've got another weirdo and so yeah it's um it's go time nice let's go and bang some drums in this real quick [Applause] [Music] kicks [Music] [Music] [Applause] [Music] so [Music] [Music] [Music] [Music] c all right so we've got some bass in here now and wipe open an xt sampler and let's find a base something that i've made before here see if these are work [Music] so these are f [Music] [Music] [Music] some saturation just to beef it up and take any take any spikes out of it [Music] [Music] and then i'll bang a trash on here and just bang some harmonic control just to get some extra beef out of there [Music] so [Music] all right sweet so we've got a basic layout here halfway through oh my god [Music] yeah this is not going to be easy boys [Music] i'm not a fast worker in a studio that's that's a they don't like to just like randomly grab stuff it's not the way i work in the studio all right let's see what we can do here i'm going to be sensing on top see what it can come with let's speed that up see if you're making like an arpeggio source of it i need some grime since i've made before back in the day [Music] [Music] bangs up a few octaves [Music] yes [Music] yes three [Music] so [Music] let me sound like it stutters into it see if that works [Music] uh is i'm [Music] oh [ __ ] i'm gonna use it over some position forgot about that inside got less lost lost of a i think you're focusing on the right things [Applause] [Music] uh oh [Music] [Laughter] and then a bunch of trash on there and hopefully that will mash it up a bit um let's type and preset utility [Laughter] [Music] [Music] chief [Music] [Music] all right i've got four minutes [Applause] [Music] so [Music] chief [Music] [Music] nice let me get some hats in there rapid [Music] [Music] fish [Music] [Music] 30 seconds left um [Music] 15 seconds [Music] leave it where it is [Music] [Music] [Applause] [Music] [Music] [Music] fast producing is not for me i'll happily sit there for half an hour fine-tuning one sound so for me have you saved ours or saved i haven't seen this at all amazing remember to always save people save us if you really like your face right okay 30 minutes [Music] i like that it sounds cool i'm gonna add a bunch of swing to it after but for now [Music] let's try and incorporate that other sample uh gonna put on a separate track i kind of want to try something with it after give it a bash that's what it's all about just giving it a bash you know what i mean give it a try see what happens [Music] it doesn't sound quite right there but i can i can i can get it yeah okay [Music] yeah it doesn't have to be banging key when you're making this [ __ ] it's just [ __ ] it's messy but it kind of works [Music] because twice he's farted in this session mad i might want to stay in there for a second to be fair you know what i'm gonna have to um put the fade in and out on the samples because it always bugs me it's actually built into the sample though [Music] yeah it'd be nice if i had the actual yeah the sample that actually sounds quite nice and boomy [Music] so [Music] [Music] so [Music] yeah there's something on there i really like this rv7 reverb to be fair yeah some really cool stuff right everyone [Music] sounds nice right now [Music] cool i'm happy with that for a base see what other little bits we can sneak in real quick [Music] beautiful [Music] [Music] so [Music] [Music] so [Music] so i'm pretty pretty [ __ ] happy with that to be fair [Applause] well i think last year you only last 20 seconds 20 seconds i'm just going to sit here and enjoy it time to spare time to spare you know that's what it's all about enjoying the enjoying the extra time in life you know relaxing the last 10 seconds preview time yeah yeah just give it a little preview i guess you know previously bloody roll mate [Music] so [Music] [Music] so [Music] [Music] i thought it was going to [ __ ] can it to be fair so i actually like that because i remember the bit where i thought maybe lewis might can it and then you took it by the scruff of his neck you dropped right there and you're just like right here we go we're going for it and it's sitting yeah all right it's my time to shine this [Music] [Music] sort of quick one so we can get it moving a little bit we'll add some loose without a key what time are we on all right cool [Music] i was rushing a little bit but i realized got a bit more time oh yeah one thing that i do which is super bad and messy is just constantly save over patches so it's like you've got layers and layers of different ideas underneath each way which i'm sorry i'm sure soul doesn't like [Music] and then we'll slap a bit of this slow oscillator tiny bit not too much but just give it some constant movement i like that all right now i'll build it up with fine i'll use these samples we go we'll chop this [Music] get it done yeah all right cool let's use some spar in there [Music] so [Music] oh [ __ ] [Music] [Music] we'll just have that in the background flowing i don't think he needs to play a massive part of the chain and then we've got this this is the hardest sample i think [Music] i mean let's be serious let's see if we can [Music] okay that is blending in in a way that we can't really hear it so that's probably a positive thing what what time are we seeing what's going on with yours 12 minutes left all right so we're back in the territory that we're going to [ __ ] and now let's get a vocal that's actually worthy of kind of blessing oh no no no but i will have one of these these look nicer one shots wishful thinking i think uh [ __ ] i killed a [ __ ] no that is not views of gentlemen school that is the views of cymatics vocals [Music] all right burn that face yeah put that first [Music] all right yeah so what we've got here is we've got a little intro [Music] [Music] finally get the idea you know what i mean this time you let it freestyle a little bit here bit of a gun finger though not massive but subtle gun figure it's got to be two fingers in the gun of course and in this [ __ ] oh [ __ ] that was meant to happen good job yeah i mean go in and there you have it three boys three tunes 30 minutes each reason studios you tell us in the comments which was your favorite all right let us know i won't be obsessed if you don't choose mine same to be honest but you know i thought we were putting a valiant effortlessly should be proud to prefer first time i've ever done anything like that so yeah yeah i love you yeah it's good i'll tell you what it's intense in it when you want it's very intense you can watch this and think oh i could do that well it takes 30 minutes yeah with a camera on you three cameras
https://www.youtube.com/watch?v=XaMIBad98PY	# YouTube ## How to create awesome basslines FAST \| Bassline Generator 1.1 ### 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, bassline generator, bassline generator reason, basslines, create bassline, create bass lines, music production tips, music production for beginners - Runtime: PT20M14S ### Description Bassline Generator 1.1 comes with a ton of new workflow features and a ton of new bassline source material – a player made for creating new basslines fast. Use the immediate interface to mix, match, and modulate the tailor-made phrases and find the perfect low-end groove, then get hands-on with the built-in note display. It comes with 200+ patches, including Player patches and Combinators with ready-to-go bass sounds. In this new feature walk-through, Ryan will show you different tips and tricks for working with Bassline Generator, while making a bunch of songs in the process. There’s never been a better time to bring the bass! Contents of this video: 0:00 - Introduction 0:52 - New A/B Banks 2:15 - Root Note CV 3:37 - Moving notes 6:05 - Sample juggling tip 9:13 - Shift pattern to downbeat 12:00 - New variator shapes 16:27 - Shift pattern with CV Bassline Generator 1.1 is included in Reason+. It is compatible with Reason 10.1 and later. The included Combinator patches require Reason 12. (Learn more https://www.reasonstudios.com/shop/ra...) ### Transcript who doesn't love a good bass line as far as I can tell that group consists of people who put mayonnaise on their French toast people who body shame dolphins for not having legs and whoever it is that calibrates the timing and strength of a skill crane claw but the rest of us normies we love bass lines that's why reason Studios has just updated Baseline generator adding a handful of really useful and really musical new features to this already all-time favorite player midi effect so today let's check those new features out by making a few bass lines and a few songs to go with them Baseline generator is nothing without the tasty Baseline patterns that we can select on this front panel those consist of the green on bead patterns and the blue offbeat patterns anyone who has used Baseline generator before will know the fun of cruising around on the XY controller to discover different combinations of on and offbeat patterns to create your bass lines you will also now be happy to hear that Baseline generator has doubled those patterns by adding an A and B Bank of patterns that can be independently switched so you can explore AA patterns BB patterns a b patterns or ba patterns which results in some exponentially greater number of bass lines which I didn't really pay enough attention to math class to be able to calculate but it's a lot a user-friendly update to Baseline generator is that while we're dialing in these patterns we can hold down the shift key to increase the Precision of our Mouse making it easier to select a specific pattern number or just to explore more slowly [Music] so let's put down some chords and make a little music with this bass line this super round subtractive bass synth I've got on complex one has me feeling a downtempo ambient sort of mood so I'm going to load one of my own pad combinators into the rack and I'll put a chord sequencer over top and record some nice big pad chords [Music] when I've got Lush pad cords like this it's actually up to the bass line to give this slow progression More Bounce and movement but we'll quickly see an issue present itself [Music] foreign [Music] s are changing and evolving through these interesting voicings but our bass line is sticking to its own 64-step pattern for many EDM or acid house tracks this is exactly what you want for a song like this it's not so now thanks to some new simple CB magic I can have Baseline generator follow the root note of the chords being played by chord sequencer if I flip around to the back of the rack and simply drag a CV cable from the root note CV out of chord sequencer to the root note CV in on Baseline generator we'll now have a more responsive bass line that's following our chords [Music] foreign but now it's not perfect yet that's because the Baseline pattern we've selected has some of its own pitch movement to it some of that works nicely against the chords being played but some of it doesn't and that's why Baseline generator has always supported the ability to customize the patterns from its built-in sequencer but now doing so is faster and more visual I'll show you what I mean by correcting the problem areas in our pattern the first problem area happens here instead of having our Baseline move down let's have it stay on the same pitch Baseline generator now moves tied together notes like this all at the same time so I can just click anywhere on this sustained note to move it up as I do you'll also notice a new horizontal guideline along with the name of the note I've chosen and its distance from the root key this other problematic note rather than dragging it to the same root pitch I'll just try transposing it a little further down let's see how the bass line is sounding now with our customization and our live transposition courtesy of chord sequencer [Music] yeah pretty good in fact the only note I'll change is the last one to bring it in line with our root pitch as well from here we're ready to build out this idea to embrace the open ambient feel of this I'll bring in another loop Loft Rex Loop since you all liked the one I used in my last video their art of brushes refill Series has some really nice ride symbol feels and I'll load up one of their con kits too to record some of my own sporadic accents [Music] and since we're getting close to Pink Floyd territory let's just plug in my guitar and just go all the way right [Music] [Music] so those are definitely some good improvements to Baseline generator but there's actually a few more that are my favorites so let's make a new song to check them out shall we to start out I'm going to demonstrate something that everyone should be experimenting with when it comes to Baseline generator and that's using it for things other than bass lines one of my favorite things to do in that regard is to load a sample into the mimic creative sampler set it to slice mode and have Baseline generator become sample juggling generator here is one example if we load a classic sounding hip-hop vocal hook like this everybody feel it come around with the Rhythm it's a sound everybody get down when we give it to you set up mimic in slice mode add a little noise filter it tweak the release envelope and then drop a baseline generator on top I can experiment both with the patterns and settings on Baseline generator while also adjusting the sample start time on mimic to find the coolest combination that can end up sounding like a turntableist cutting up a vinyl record [Music] want to get freakier of course you do so I've gone ahead and tossed these devices in a combinator along with a little room Reverb and a rolled delay courtesy of the echo then I assigned some controls up top so that I can both offset the way slices are getting juggled and Crossfade in some looping Echoes like this is foreign I could literally play around like that all day but let me show you another example of that same technique that doesn't have to be such an obvious sample slicing result we'll start a new song because you know why not same starting point a blank mimic with a baseline generator on top for the audio I'll drop in this marimba sample that has a bunch of two note chords [Music] a little playing around with Baseline generator and I've arrived at this [Music] one thing to note that was a happy accident is that my sample start slice is actually silence you can see that silence triggering quite frequently in fact because it represents the root note slice in the bass line if I were to change the sample start time to be on a marimba chord [Music] it actually makes our pattern way less hooky and kind of fatiguing to the ear so I'm going to set that back but transpose our whole sample up one octave if I bring in some drums we'll quickly discover something that's more of an unhappy accident suddenly it just feels different than it was before the drums right that's because our ears are hearing the pattern centered around a different downbeat than the actual pattern let me show you I hear the downbeat and the phrase like this but with the drums in place you can see that this rhythmic Center is actually happening pretty far after the start of the bar this is where Baseline generator's new shift feature comes to the Rescue by adjusting the shift of my pattern I can offset the bass line to do corrective adjustments just like this and it's not even guesswork I can literally just count the number of steps between this note that feels like the downbeat and the actual first step downbeat of the pattern so that's one two three four five six seven eight nine ten eleven twelve thirteen fourteen steps away and now with my drums everything sounds like it should let's add to this by putting some chords underneath it I'll use an algorithm pluck preset put a chord sequencer up top which I'll set to the key of A since my sample is in a minor and I'll choose a chord set that also gives me some nice minor chord options but to make things more sonically interesting let's toss a dual arpeggio player underneath chord sequencer in order to bring our chords to life I'm also going to use a trick I rely on whenever I want to play things safe I'm going to add a scales and chordsplayer under dual arpeggio and set it to a minor pentatonic filtering our notes to only the five pentatonic tones of the a minor scale means that none of our arpeggiating notes will ever really clash with anything else going on and since we've got the makings of an almost tropical house Vibe already with our drums let's drop a synchronous underneath to make our chords bounce like only a side chain pumping effect can foreign it's a good beat so far but ironically the one thing missing in this Baseline generator tutorial song is a bass line so let's get that going too now with a monotone bass synthesizer and a baseline generator after a little playing around and Pitch adjustments I'm onto something with this combination of a patterns I've also dialed back the note range and maxed out the minor knit style since we're in a minor key [Music] but one thing I'll do to further refine this pattern is to add one of Baseline generator's new variator shapes if you have played with variators before on Baseline generator then you already know how much they can impact Your Bass lines Baseline generator now has 12 more variator shapes to explore the new variators include shapes which can now adjust the front section of your pattern as well along with more busy intermittent variator shapes like this dialing up the variator generally makes your variations more busy than the original pattern and dialing down the variator generally makes that less so thank you if you'd like to now experiment with the shift setting on bass lines it can sometimes do cool things when you offset it only one or two steps either backwards or forwards creating interesting syncopations in the process I actually like it where it was so I'll leave shift at zero and we'll drop on a little Vox pop sample to round out our beat [Music] and there you have it a tractor began by using Baseline generator for something other than bass do try that if you haven't before but we are not done yet folks I have saved probably my favorite new feature from Baseline generator for last because it builds off of stuff we've already covered like the shift feature and the CV routing specifically to show you this in action though what do you say we make yet another song so let's see we've already done ambient we did some old school hip-hop we got some tropical house Vibes in there last time with chord sequencer I did a sort of General pop Vibe so why don't we do something sort of like a dirty funky r b sort of vibe which is a style driven by the bass so step one we need a dirty funky base let's go to reason electric bass for some four string realism let's distort That Bass to make it nice and stanky and let's right click to combine that and we'll drop a monotone based synthesizer in the there and a sub bass preset to add back the low frequencies that get lost when distorting any sound over top of the combinator we'll drop our Baseline generator and I'll go about the usual task of exploring patterns experimenting with the new variator shapes and maybe adjusting the note range and the minerness to taste what I've ended up with so far is this [Music] foreign which isn't too bad but it's a bit too minor and almost more heavy metal in its tonality than funky r b so I'll make a few manual pitch adjustments and we've got this more sort of driving Groove [Music] next we'll add in a radical Keys Fender Road style sound with some super chords courtesy of chord sequencers Big Apple jazz chord set I'll layer some piano on top myself and I've even grabbed some talk box samples off splice to give this song some real dirty Mojo put it all together with our Baseline generator part and we've got this [Music] now that is definitely dirty but you would be correct if you said but Ryan where's this favorite new feature you promised us well now that we've got our bass line in place and our song built around it let me show you because this is definitely something you're going to want to try remember the shift setting on Baseline generator that we used in the last song to both offset the downbeat on our marimba and also explore 16th notes syncopations of our bass line well the Geniuses in Stockholm who built Baseline generator for us musicians were smart enough to add a CV Jack on the back that directly modulates that shift setting what does that mean well it means we can get weird and by weird I mean fun I'll drag a pulsar dual LFO into my base combinator and I'll run a CV cable from the first LFO to the shift sequence CV Jack on Baseline generator and we don't even have to play any music yet to see the result of our cable if I just flip back to the front of the rack you'll see a a frantic light show going on with Baseline generator as our Pulsar CV signal which is set to a sine wave just oscillates the pattern back and forth lower the rate and it shifts back and forth more slowly turn up the level knob on pulsar and it shifts further and further away from the zero position and if we change the waveform on Pulsar to something like the random waveform we'll just get a new shifted position for each random segment of the LFO waveform so I'm sure you're wondering how this random waveform sounds when it's shifting our bass line around well the answer is kind of weird and unpredictable [Music] foreign [Music] after all so why am I excited by this feature because you can experiment and make it do things that are way less random or maybe just random in the right way for example I've got Pulsar set up with a rate of two quarter notes a ramp waveform and my level is all the way down if I ride the level knob manually listen to how the shifting pattern becomes a baseline fill and variation generator for me thank you [Music] and in fact with this setup when I tried setting the rate and the level so that it would shift in perfect sync with the 16th note step rate on the Baseline generator what I discovered instead was something that moved almost in sync but not quite and the result set me up for a cool breakdown vibe check this out [Music] that's still coming from the same sequencer pattern in Baseline generator it's just shifting along for different results so there you have it as soon as you start using these new features of Baseline generator you'll wonder how you lived without them I love the balance between features that are useful and efficient paired with features that almost demand we get experimental to fully explore their results so my hope is that you get experimental now if you've got Baseline generator just install the free update and then send us your coolest bass lines on social media until then folks good luck and make some music [Music] all right
https://www.youtube.com/watch?v=PBbuNWPDOtY	# YouTube ## How to develop your signature workflow in Reason \| Tips & Tricks ### 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, hilton wright ii, workflow, workflow optimization, midi out reason, default template, arrangement template, reason players, music production for beginners, music production tips - Runtime: PT21M12S ### Description Renowned music producer Hilton Wright II, credited for his work with artists such as Mike Posner, Big Sean, Sofia Reyes, and contributions to the TV show "black-ish," guides you through his signature workflow in this exclusive tutorial. Hilton unveils the secrets behind his personalized production process in Reason, illustrating how to streamline your workflow for maximum efficiency and creativity. Discover the importance of crafting a default template that serves as the foundation for your entire project. Learn how to seamlessly integrate MIDI OUT to hardware synths and players, adding an extra layer of depth to your sound. Hilton also shares insights into the art of arrangement with his specially designed templates, providing a great kickstart for any session. Moreover, Hilton underscores the significance of organization through Favorites lists, showcasing how curating the perfect collection can enhance your creativity and efficiency. Bid farewell to the overwhelming array of instruments and sounds, as Hilton guides you in handpicking the essentials for your unique sound. Get ready for some serious music making! 00:00 - Intro 00:43 - Hilton's default template 06:03 - MIDI OUT to hardware synths + Players 09:42 - Arrangement template 12:58 - Kong + Main Mixer template 14:49 - Favorites list, favorites list, favorites list! 18:35 - Hilton's Studio class (https://www.studio.com/hw) Follow Hilton Wright II: Social accounts: @deucewt Instagram: / deucewt Facebook: / deucewt TikTok: / deucewt YouTube: / hiltonwright X/Twitter: / @deucewt Listen to Hilton's music here: https://ffm.to/hwii ### Transcript [Music] you can do something with that I can do something with [Music] that Baseline what's up reason fam my name is Hilton Wright I'm a six-time billboard number one platinum record producer and songwriter and my discography includes artists like Drake Mike Posner Sean Sophia aaz cast of Blackish Faith Evans and many more today we're going to talk about developing the signature workflow and reason and how it can streamline your production process so let's get right into it so when I'm thinking about my personalized production workflow and reason it all starts with my default template so if you're familiar within the menu or the preferences of reason you have an OP option to select a template for your default song and this is what mine is called 715 Studio 7115 is the name of my company this is at the heart of my template a piano the first thing I want when I fire up reason is to have a piano active um and so you know I might be hearing some chords I might be hearing a melody or sometimes I might just want to play I might want to just play around or my son runs in here and he wants to play the piano so all I have to do is Click reason and this is armed in the sequencer ready to go as the first thing so then I'll go down I have machine set up if you all saw my prior video that I did um I talk about how I use machine within reason in this kind of like very unique way then I go down and I have uh the drum so sometimes it might not be machine but it's just having it armed so I'll have um loaded up and then but I have it preceded by um Beat Map so I use Beat Map and drum sequencer uh interchangeably Beat Map is a lot quicker um they both serve their purposes I thought that when Beat Map came out that it would replace drum sequencer but I found that drum sequencer still has like some advantages but I love beatm because I can just quickly you know uh uh here's one of my favorite things about Beat Map so if we load up I'm just going to load up some type of Kit right and then just hit the random density right we're halfway home already right so now all I can do from [Music] there I can just adjust what I do and don't like I'm all about smarter not harder work smarter not harder um and so obviously the random density it's really random I mean like watch this of course you can go change your Maps change the kit so I mean like here's the thing I don't have writers block or beat block because I'm well prepared with the tools that I have so I'll go down I always have to have a Dr octo Rex um every one of the tracks I put out has some type of uh loop in it whether it's like a Shaker um or maybe like a guitar from the factory Sound Bank like doing something really minimal again go back and watch uh the other video I talk about like some tips and tricks there but one thing um that's different about this is I have some settings on here um I've selected the select slice by midi and so that way and what I'll always do is you see I have it folded down because I always load from um from down here so instead of loading into cuz when you load you can load like a single Rex file here but it'll override any settings here and so I'll always have the select slice by midi selected so whenever I load in [Music] something and then we go back to play you know I can see where this is going maybe I should just make a beat off of this [Music] right see like we're done now I'm not going to go down the rabbit hole I can sit up here and mess around with the core progressions and whatnot but you get an idea I just hit I was just what like a F minor 7 chord very you know anything that's seventh chord over these types of drums is going to give it like that house type of [Music] feel anyway like I said I could be up here for days figuring that out but we're halfway there you know Baseline ding all right cool so I'll go down now I have three midi outs these are going to three um Hardware synthesizers that I have so the seo2 which is right here I'm going to turn all of these on probably should have done that before I started the video but the cool thing [Music] is then this is a the the d05 and then I have the ju06a uhoh oh there we go the best thing about having the midi out is you know I'm not I'm not a piano player offici andado I know my theory I know basic chords and whatnot but this allows me to use players um with all of these external devices so if I come up here to players and like let's take Baseline sequencer and go over to this seo2 I'm going to mute I'm going to mute I'm going to turn that off cuz I don't know how this going to sound [Music] I'm going to load this [Music] up right and so I'm I'm triggering I'm triggering a hardware then this is actually this is analog these other two are digital um like they're doing an emulation type thing with the the do5 the D50 was a digital syn and but the junos those were analog but the seo2 is analog so you know this is like this Best of You Know marriage Best of Both Worlds that I was talking about in the other video where I did the example with machines so like I said this is just honestly a lot of what I'm doing these days is just more puzzle piecing you know and figuring it out and tweaking things and I'll first think about like the core thing whatever that is if it's drums if I know I think of my drums and uh This Way selection programming and mixing so if if I'm starting with drums then I'll make sure I have like that right collection of sounds and surprisingly like the factory Sound Bank still has just like tremendous assortment of sounds so whether that's me getting a patch for Kong a patch from um um even red drum or Redrum depending on how you want to pronounce it um or n NXT uh or just grabbing different sounds from there um and then using Beat Map um or vice versa doing the same thing with machine and mixing the two that's what I talked about in the other video those are kind of like the different ways um and then once I say like boom these drums like yep that's there then I'll start going and moving on so that is the breakdown of my default uh song template so one of the hardest parts for me in the production or the track building um part of production is sometimes Arrangement so here's something that I pulled up and if you come over here uh and you select new from template you can see like this long list of templates that I have right and so these ones um some of these are what I'm calling just Arrangement templates and if you look at this it looks like a full complete song If I press play it's silent there's nothing here but what I've done is I was this is a particular song that I liked and was listen listening to and what I literally did was I played the song on repeat and I mapped it out in reason and now if I either either I'm working I could be working on a song like that I like excuse me I could be working on a track idea that I have and I might have like built out 11 different tracks instruments and now it's time for me to break it out into an arrangement this gives me a guide for where I could go and how I could take that and you know arrange some of those instruments or I could come in here in this template and literally start coloring within the lines and you know it's it's something that I found to be useful now I've only used this maybe two or three times and I've had these Arrangement templates that I made like a few years ago the the idea is to be prepared for whatever scenario you're in because different projects that come my way maybe it's coming you know the approach I take might differ from something else and you never know where or how you'll get stuck so it's just good to have these tools at your disposal so you know I might come into the core section and what I've done is I've labeled these and I said main Melody so now I know that I have a main Melody that is going to be turn on the click that's you know one bar long this is 65 beats per minute and so now my main focus is let me just figure out a really dope Melody that is that length long then here's a counter Melody and that counter Melody is going to be double that same time so this is a counter Melody Harmony then this is this is a tonic riff a fifth Rift I mean I literally broke these songs down and like I said this is just a starting point I might come up with this melody and the counter Melody and then I might be off with the races and I might throw all of this other stuff away but maybe you need to get something done or you want to do you want to do you know a track an idea and you just for some reason you just don't know where to go what to start this is like a cool guide here here's another template that I created 16 step Kong to the SSL so you know with Kong I'll show you what's going on here I have the Kong routed out with each pad going to a channel on the mixer and then I have a then I have a drum sequencer uh going to each pad in Kong so yeah this is awesome you know again I can just load up let me just load up I'm going to load up the most basic Factory Kong kit these are the lower con grow and then here are your presets up here random yep there we go boom let's see how this sounds you can do something with that I can do something with that now what if I went back up [Music] here I want to that has a very like you know early 2000s Neptunes feel right so if I had something like this I just solo out like the couple parts that were good and I might throw everything else away these are the ways that you can jumpstart your creativity and your process so probably I'd say like the biggest contributor to streamlining my workflow and my production process and reason are going to be my favorites list if you come over you hit F3 and in this window here you can see I have a ton of favorites list and one thing I think the way that I approached these was I would think of different things I wanted to have readily available or different categories whether that is you know 808s all the different 808s not only do I have like one shots in here that's from the factory Sound Bank all Factory Sound Bank don't sleep on the factory sound bank I also have patches like a Thor patch also have 808 Loops then I also have rack extensions the punch BD rack extension which is just kicks and and 808s um and it's just so many different I even have 808 baselines this is going to trip you out this is these are baselines maybe like I heard a song and I just love the 808 Baseline what I what I what I could do is I could go and replicate that same pattern I keep the click on so now if I'm working on a song and I need a Baseline and you can see that I have the tempo switching [Music] right so I'll take these and then I'll copy and paste them into another session that I'm working on and then I'll adjust it from there again working smarter not harder so another cool favorites list that I've done is one called nice finds sometimes when you're in the middle of making a track or when you're browsing your library which I'll get to um in a minute you might hear something that perks your ear you're like ooh that's cool oh man I could use that and I drag it over here so that way I'm not distracted I don't have to start working on something else while I'm in the middle of something but then I can go back or when I'm stuck in another session I can just go to the nice finds and I can start a whole new track a whole new song off of the stuff in here because it's like stamped it's certified like this is dope so favorites list favorites list favorit list you see I have one for chords chord sequencer easy keys by toon track my favorite postep sequencer um and then I even have midi stuff and I also have the midi stuff in the midi midi Keys midi drums Melodies so you're thinking I need a Melody pattern mutator like honestly like this this is probably like I could spend the whole video talking about favorites list because it's that important so those are favorites list get yours together so you can see me use a combination of all of these different tips and tricks in my studio.com class where I write and produce the song you wanted that was cut by the artist javante and made it to editorial playlists on Apple music and Spotify studio.com HW definitely follow me on social media uh my handle is dece WT d c WT um and we'll include all that below check out my music everywhere music is available Hilton right the second thank you so much for checking this out hopefully you found some tips and tricks that are extremely useful in your music making process can't wait to see what you do with everything that we talked about today all right peace I'm Hilton Wright and welcome to my studio I'm a 6 time billboard number one platinum record producer and songwriter known for my versatility across the industry I've written and produced hundreds of songs for the biggest artists in the world like Drake Mike Posner big Shan Sophia deaz Faith Evans and many more I've composed awardwinning music for TV including the song juneth for the hit ABC TV show blackish and I've scored commercials for the biggest brands in the world from Walmart to Jeep to maintain this level of creat ative output I've developed my own unique set of tools templates and techniques that allow me to consistently transform my ideas and inspiration and to finish tracks if you're the kind of person that makes tons of loops and voice notes but struggles to actually finish your tracks you're going to learn methods in this class to help you get to the Finish Line more often and more consistently during the class I'll bring you into my studio and share with you my entire creative process from start to finish you'll follow along as I transform a simple idea into a finished song starting from brainstorming initial Concepts crafting lyrics and Melodies and producing the final track along the way I'll be explaining everything that I'm doing my thought process my techniques the exact tools I'm using and the decisions I make I'll show you how to create the perfect balance between verses choruses and bridges and how to produce and arrange your song to enhance its emotional power woo that's going to be crazy by the end of the class you'll have new tools and techniques that'll hopefully help you more consistent instantly turn your ideas into fully realized finished songs so come join me Hilton Wright for this unique learning experience inside my studio
https://www.youtube.com/watch?v=fDUFDtDl-iY	# YouTube ## Music Making Month - Live from the SynthLab part 1 ### Video Metadata - Keywords: Propellerhead, Software, Music, Making, Month, Giles, Reaves, Patty, Griffin, Emmylou, Harris, Nashville, Reason, Synthesizer, Synth, Mixing, V-drums, reason, drum, kits, combinator - Runtime: PT56M2S ### Description Say the word 'Nashville' and you might think of dobros, banjos, and bolo ties but from the heart of Countryville USA came Giles Reaves. His synth skills and engineering chops have led him to work with legends like Emmy Lou Harris, Patty Griffin, as well as his own synth-laden solo releases. Giles will present some of his sounds and demonstrate how great sounds aren't limited by genres and labels. Good music and good sounds will work in any style. ### Transcript uh hi unbelievable [Music] [Applause] [Music] [Music] [Applause] [Music] good evening internet hello and welcome it is the second to last day it's May 30th and were it not for the 30 days has September April May and November wait April June oh okay right I see I I screw that up if it were not for that rhyme we'd be done tonight but we got one extra day it's one of those 31 months so we're back tomorrow still but guys it's winding down and that means if you want to have your music like this you have one more shot to tweet your music to us so do that go ahead and tweet your music with a hashtag it's # mmm propop songs and I will be checking out the songs I do every day I'm going to I'm almost going to miss that like keep keep tweeting them to me I I like getting your music so so so please do that and uh you can post it on our Facebook wall you can send me a private message in the form however you want to get music to us I will be making my final selection for tomorrow's event with a guy called Gerald so if you haven't done it yet Now's the Time and if you have and I haven't gotten to you yet I'm sorry I got a lot of stuff to to you know only a finite number of slots and a lot of music to go through and I'm I'm trying to get everybody uh so other than that if you got a question for Giles tonight go ahead and throw the word question in the uh chat so that I see it and uh one of you guys spells quest in a very funny way with a kwe and I guess you can still do that but uh it's uh yeah don't all come up with creative spellings for the word question because then you're you're just defeating the purpose there's really no point then so um that's it for me I'm going to bring on our guest tonight because we got a lot to do we got a big night and a lot of cool stuff to cover his name is G Reeves if you're a member of our forums you'll know him as seelig and he's the guy who when you post a question he posts like a chapter of a book to help explain it to you and it's always awesome information and super super well in fact it's such good information that we've had him start writing some of our record you articles so he's now actually published on our site officially as well and uh super super knowledgeable guy he's going to show us some really cool stuff involving synths and performance and you name it we're probably going to cover it tonight parallel processing and we're going to correct the record on the origins of parallel processing in lots to talk about let's go ahead and bring them on say hello to the internet Giles hello Internet or is it internets I guess it's internets right that's the great legacy of of George Bush is to add the S and the you know the Googles the Internets the in the interwebs the interwebs yes all right well glad to be here either way whatever this is I'm I'm happy to be here so you were coming you you actually corrected me and and it's worth uh correcting record you're coming to us from Salt Lake City Sunny Salt Lake City we just got snow up in the mountains last night uh for some reason summer is refusing to bless us here it's been gray rainy long sleeves I had a hat and a coat uh yesterday out uh and about and um but yeah it's not Nashville Nashville is already well Into Summer and already hot and humid and while we're still but that's cont contemplating going skiing for one more time for the year before the season is done because there's still snow coming but that is your background right you you're a you're a Nashville um I mean you've got a long history in Nashville I wonder if you can tell us a little bit about your your sort of background in the in the music Biz I spent uh almost 30 years living in Nashville I moved there from here after a year of college here I have a sister that lived uh moved here in the 70s into the Utah area and I just always L the whole West and so I i' just been working on trying to find a way to get out here for that time but after a year of percussion studies um I went to Nashville to learn recording which was calling me stronger than anything at that time and uh uh was originally intending just to you know move through Nashville onto New Yorker or La after I got my basic training had a good friend from high school that moved up there and that so I had a connection already and the school there was uh a recording had a recording program so I was very excited uh but the recording program was very new this was 1980 and it wasn't really that in depth and I got really discouraged because I felt like I knew more and called the teacher on things on a few occasions and they know he was describing the harmonic series as if the first harmonic is 100 DB the second harmonic will be 50 DB or half the level and I just kept my mouth shut and went up to him after class and said I thought decibels were logarithmic you know and shouldn't that have been like 100% And 50% he's like yeah but I thought it'd be easier for folks to understand that way oh right yeah oh we'll just I thought no no I'm out of here and I never completed the classes and and pretty much didn't didn't go back luckily uh and I already knew this about myself I'm not I think I would be diagnosed add today if if that if I was a kid today uh because I just couldn't focus in school and stay um involved and it was a well I could but it was a struggle and it was no fun at all and I thought by going to learn something that I really wanted to know it would change and then I was disappointed by that so I committed myself to finding an apprenticeship and it really was a better way for my brain to work and I was lucky to get one and I was doing country records but they were records and there were musicians that were awesome and they were getting great takes the first or second time and I was just witnessing how the roles were uh distributed between who could make a comment and who couldn't and who was you know the session musician versus the artist versus the engineer versus the producer and maybe the songwriter would come by if it was a an act that was doing outside material so it was a great to learn that way um by by doing and seeing rather than by studying the theory in a book I think both are important but I was able to self te myself the theory from a book part but the one thing you can't do is is teach yourself experience so yeah and uh then from there I got a full-time job and about the time I'm thinking you know what you know is it time to move on my brother's living in New York City and my parents are in the LA area and I'm visiting them and I'm not really feeling like either town is calling me meanwhile back in Nashville I'm meeting all these people doing techno industrial Rock Punk Indie stff stuff that would be Indie and College Band College Rock like RM just about every style of music and Music City was if you knew it and knew where to look living up to its name so at some point I just decided I wanted to stay there and be part of trying to make Music City mean something other than Country Music City and Country the funny that I'm doing this Emy Lu haris thing now because this is as far from what I normally do is probably anything I've ever done in terms of the style of music and but one of the coolest things about Nashville and my train as a drummer in particular was pretty wide so I could handle anything that was thrown at me and and uh it's been fun to actually go and do a couple of Straight Ahead country projects like I've played on a a couple of different albums for a guy named Eric Church he's just pretty much he's more southern rock than country you worked probably you worked probably with one of my all-time favorite I don't I would call her country she might not be considered straight country but uh Patty Griffin you've worked with is amazing you wouldn't believe now Patty taught me one thing not literally but uh uh cuz I'm sure she's taught me other things but um literally about music and writing and just like one time we're doing a project and she came in with this song and I'm dying to ask her you know what year is this song from you know when is it when was this written and somehow managed to do it gracefully to find out that it was her song and it just sounded like a standard you know song that that has been around you know for 50 years or something so uh it's great to be able to work with somebody who actually has that quality of material but the first thing we did for her was she her first record was acoustic guitar and vocals uh because it didn't the production didn't go well in the studio and so they just released her demos more or less but then they wanted to add some instruments to a few tracks and so we were called in to to do that and then the guy who produced it later produced her second record flaming red and then you know there's a whole bunch of friends that are that have played with her on and off through the years now from that same initial meeting it must have been right when she moved to Nashville too so we just in right place right time for sure did you say I'm sorry you said you played on flaming red or you I played a lot on on the demos for flaming red and all my drums were replaced by Kenny noff sadly I was really like and that was a uh Mercury records executive you know deal but all the keyboard work and stuff I did did a lot of technical stuff I did all the transfers from the 1680 demos that Rolland unit that Jay the producer had recorded a lot of the demos on a lot of her vocals came from that oh really and then did a tiny bit she's I hope she wouldn't mind me saying this a tiny bit of autot tuning and when we're talking with Patty it's like you know that third note on that fourth song might be a little sharp okay let's look at it okay we could probably bring that down a bit and that's it she's so strong and powerful of a singer but right uh other other than that the next time I did a lot of work with her was the Thousand Kisses record where it was just three of us in in the guitar players her guitar player Doug lano's basement and making crazy music hitting pie pans and scraping screen doors and all sorts of crazy I don't think I had a real drum kit or uh or any traditional setup for any one song on that project well so I wanted to to have you show us uh if you could tonight you've got a setup right now you're working uh you recorded with and you're doing some touring with Emy Lu Harris or some some at least some TV appearances with Emy L Harris I know you've done National TV Today Show uh David Letterman and I've heard it described that you and your partner are playing in what you call a Twan five-piece band is that correct well we we'll call it three three man six piece band I got corrected because Emy leou is singing and playing guitar she gets to credits as well okay Jay is playing guitar electric guitar and bass pedals on half the songs maybe not quite half he started out with more and I had to take over a few because it was just he's never done anything like that as a drummer I've practiced Independence training and you know starting with the left hand starting with the right hand and left and right foot and all that crazy stuff so it was only a little bit of of a stretch for me in that sense to take on another role but for him he had never done two things at once uh so besides singing and playing guitar so maybe that helped him a little bit but it's you know he's got a pedal board too that he's used to you know looping and stuff like that so he's got enough background that that didn't seem to bother him but we had some moments of of are we sure we can't get just let's just get a bass player please both of us one week it was him the next week it was me and we talked each other down each time it was it was touch and go I started in January with trying to figure out the setup because it was originally conceived that we would do it like we did the video um for the record we did six songs on video where we had all the real instruments that we used the Vibes the fender roads and different percussion stuff all spread out would have never worked on the stages that we played and with the amount of time that we had to set up and tear down and also the stage volume was a consideration I wanted to go electronic to keep my volume down and in control and so I I had a little Rollin keyboard amp that was my my own monitor so that I would have a you know I wouldn't rely on the stage monitors I could have myself up even when I wasn't in the monitors and um brought some headphones I can plug in and check stuff out if I need to right but um but it wasn't more than you know like an hour or two into into looking at record as the way to just to host everything and record and I'm realizing I I don't think there's another program that I could do this in and I'll show you the setup and hopefully it'll make sense why and a lot of it has to do with just the concept of the combinator which doesn't exist to my knowledge as a literal comparison in in any other audio uh application out there right and uh so it allowed me to basically make a a track with all of the sounds and a combinator for each song and um and organize it like that that way if we change the set order I'd just move the tracks around and a different order then I hit on my keyboard I can hit a advance to the next track button and the next song I don't didn't even have to look at the screen if she took a long time introducing the next song I would I would sneak a peek at the screen and like go back one and then up one and make sure that the right uh combinator flashed just to confirm that I actually had hit the button before I start just go off and launch into the wrong song and the wrong sound yeah you don't want to have a uh what was that girl uh the Simpson Ashley's Ashley Simpson moment yes you know I definitely had a few just about to fall asleep at night and just freak out moments of what what would I do on Letterman if the computer just didn't boot up that day or something just went down what would I do I'm like I don't know I don't know what I would do so I didn't have to confront that something actually very concerned about that at different points and other points I just said the system is working fine it's been Ro solid I haven't seen one bit of evidence that would make me concerned but still you you know your career is somewhat on the line if you're going to do something like that and so you have you have to come through or you probably won't be asked back right but this is something I've seen Kevin Hasting who's the keyboard player for Rihanna he has said that he tours he plays reason live that's his syns and he said he doesn't bring a backup system and that's sort of in the in the touring world at the size of Rihanna that's like unheard of you wouldn't have a kill switch to flip over to a backup but he's like I just don't need it I just it's stable it doesn't crash I've never had a crash I'm probably more concerned about something happening to the physical computer or the software in the computer than any of the reason uh components I'm using record for for my uh performances because I have uh I don't know I i' gotten into record and haven't gone back reason except for to look at it for a couple you know occasions everything I need is in record and just thought it I'm already familiar with that and I always make sure you don't have the screen up now but I always make sure that you could you could see the uh whenever I had my set up for the live shows I would make it like this so that you could see the big SSL uh obvious Master compressor in the screen and I don't know why I just anytime there's a Vu on on the screen it just looks cool so right do do anything but anybody who knew would look over and see oh oh cord or SSL at least yeah right very cool well we're checking out your screen so why don't we take a look at some of these combinators okay let me just first say that this is a split setup drums and keyboards obviously uh if it has Isn't obvious uh it will be shortly um the drums stay the same and don't switch so I did a um I brought in another setup here another vrum created a vrum this is one I'm not using up here and use R record and then when I don't use the setup I just click that off and then I did a what is it called it's been so long uh surface locking to lock the V drums to this combinator the vintage kit from the reason drum kits this is the egg kit uh filed down a little taking the stuff out I didn't need just to keep it smaller and um what I did find which was surprising I started to map controls to the front of the combinator and consider what all I was going to need to pull off all the different settings and came up with the fact that I have two sliders the bass drum Decay and the snare Decay and then the the big drum is a third drum and that's all I really needed um I had a uh if I was in a big room that was boomy I'd use a short Decay and if I got into a bigger room I'd crank it up most of the time they started about halfway and then I'd use on some songs I'd use a so you're you're essentially saying that you're simulating you're sort of compensating for the room the smaller the room gets the bigger Decay becomes yeah it just I of all the different parameters that I'd put up there originally to control that was the one that seemed to be the most useful and that I could play with some songs I would bring them down a little for a tighter smaller sound and other bigger songs I'd just crank them up from wherever my mid my starting point was and uh it turned out to be a interesting little handy thing and then on some songs I would switch to [Music] a just a hand drum kind of sound and that would also could be dampened down I actually used it that way on a couple songs and then bigger on other songs and then uh the tambourine mute is on the high hat pedal so it's just left foot is doing the pedal now and that just adds a tambourine and then huh tambourine delay I don't know that that ended up being a nice little subtle thing to have on there and I had one more knob so I put that on there so between all these knobs I would switch to between the snare and the big drum and on one song I use the two and actually that song would have had the the filter and the big big kick and uh reach up there the right time and turn on the next little button and then the other buttons are just taking me through the songs which you can see scrolling down and then back up through each of the songs in order so this was the song we did on the Letterman show there we go and it's [Music] I have to bring this uh I used the uh buffer at the lowest setting for this but I've got other things running now when it was only recorded did perfect at that so so there's bass and drums um so you're playing can you can you switch us over to actually do uh camera two and uh we'll get a good view on how you kind of got these things nestled in there see if you got camera two I do okay so the snare drum sits just as a normal snare drum would with the the pedals on either side I can pan down with a jerky Cam and see the pedals but trust me it's a high hat pedal and a bass drum pedal and then uh I tried a bunch of different setups so I thought I'd be playing key with my left hand which I'm perfectly able to to do um but it didn't feel right on the drums of all things and also thought I'd be playing traditional grip which I've done most of my life but I started I mean A match grip but I started traditional grip which is the left hand grip you know like that and I haven't played this for years and all of a sudden it was the perfect thing for this project and I don't you know you don't ask questions when you're on a deadline it's like this works okay this works let's go what's the next hurdle because there were just one after every new song presented a hurdle this one presented how do I play keyboards on the bridge and uh and keep the bass and the drums going so what I do is I have the bass mapped okay an octave and then it goes up and then when it gets to the G key which is the root of the bridge it layers with a keyboard except for just on the the the first note of the Triad is both and then the same thing for the next chord huh so my thumb is playing the base and it's the same note as down an octave so when I go up an octave I'm playing the same bass note so octaves are not Pitch now octaves are sounds and different combinations of sounds interes and I've done a lot of live setups that had to be that way in the past so it's really cool to see because it's like you're you're essentially you're using the combinator to do these keyboard splits but you're you know we all tend to think of splits as um you know from here below is one sound from here above is another an either or instead of a bit of an overlap exactly yeah and I'll play it in context so you'll see uh how it goes [Music] back to the next section of the song huh and so that that jumping up and having the bass be the same note going up definitely was a little bit of a a a mental jump to make at first to figure that out and then after you do it it just become second nature now I can practically do it and hold a conversation while I'm you know do three things at once because these are so ingrained through repetition wow if you want we could look at some of the other songs or is there a question yeah well there's some speculation uh in the chat about what keyboard that is it's an axiom but is it a 611 not the pro just the older 61 okay 61 guys nine sliders eight knobs nine buttons and the transport as well gotcha they were about you know a few seconds away from freeze framing it and doing some kind of forensic counting to figure it out so no need for that so there you go the proof is in the screen print all right so so for all those asking here's the the overhead rig high hat on the left side snare in the middle kick drum on the right and so from an overhead view so three pedals and and a controller and that's doing all the all the drums all the bass and all the synths yes very cool I'm just one guy what do you expect can you uh can you place a couple other uh songs yeah what um let's see some of them I'll just go through each one I can't remember this key this one doesn't probably have much A lot of them this is a whirly with a pad underneath it and then uh that one does do really have much cuz I didn't play bass on that one yay freedom and and you wouldn't believe how when you just have to play there's one song I just play piano on it feels like you know like I should be texting and checking my email and maybe doing something else because I'm only doing one thing so that uh if nothing else that's put me in a position where I'm no longer intimidated by doing one thing now right doing two so as I switch through the drums don't change until I change this is a uh on the record I played an upright piano plucking the strings and uh three strings on a piano so I did aing each time and so to replicate that I took a sample that I had made years ago of the of the piano here in the studio the nice grand piano plucked um each string of the three and stacked them and then just put a delay on them so I don't have to try to you know I can actually play that you know with the technique but it's when you're doing drums and everything too you you start to look for the cheats so that one looks like actually starts you can hear there's a pad sound there's a pad sound behind everything just to help fill it fill it out right and [Music] then I'm trying to find another song that has uh some sort of cool split or something Kate just piano upright this is the the uh reason piano upright because we used an upright on the record uh this the novelty song is the big black dog she's an animal rescue person she's never written a song about her dogs so she did finally on the record I played what's called a mamula which is a it's kind of like a giant Colima that you sit on like a um it's the Brazilian coone box thing and uh sure play played Bas on it so I took a and there was a slap on the record so I put the slap on one of those things just awesome fun when you're like okay I need this oh the record has a slap all right delay slap there's the amount okay now then save it in the comi and move on and never have to think of it again it just comes up automatically nice this is just a cimbo sound I think one of my samples that I took just down to play the bass see if there was [Music] something oh yeah this is just as a I play a high line up in the song and it has that little Echo thing come in nothing quite as interesting okay this one you can watch because this wasn't this was more interesting this is I'm playing with my hands the 68 song actually it's an a got to look at the notes so if you can see I'm hoping you can see the bass notes ring out on their own and then the fun comes in I'm playing a little too [Music] fast the keys on the right are doing the same thing they're staying in without a sustain [Music] pedal basically so that was one of the tricks I came up with was first make the bass mono and make the release time long interesting so that the next note cuts off the previous one oh okay so it's essentially One Note yes monophonic and then the keys are not that way so they're a little bit more dangerous I call them musical landmines cuz if you hit that and you mean to hit that they're both going to play you're committed they ring they ring out if you hit them they ring out so it it really was a like a super I felt more like an athlete than I've ever felt on any musical Endeavor before working out all these little intricate things and having to be really precise about what I hit there's an interesting question actually coming in from the uh forums edit Ed for TV who you'll know from the forums um has intimately has um asked if the New York Union actually uh came after you my ass yeah no but we did get in trouble when uh we uh were I wasn't there they were setting up the Today Show and the guy went over to start setting up the stand and the guy is like No don't touch that that's my job uhuh but nobody so nobody nobody raised a fuss that you're you're taking away drummer and bass and keyboard jobs you know it's really that I that I think has pretty much died back in the 90s when all the synthesizer players which I was one and I the only reason I'm not fully in the Union right now is because I don't live in Nashville anymore um but I've been in the union All My Life um doing uh starting with my first record deal which I think required it but um I have no real problems with them but I don't always agree with them at the same time but uh it it hasn't come up let's just put it that way maybe because I'm not an active member and maybe because nobody cares or that may be just not an argument anymore you used to be your string string players are being put out of work with the sample libraries and I don't know I always wanted real string players that always thought the sample libraries were just placeholders and i' been lucky to be able to have real string players when needed even out here in Utah they have amazing Symphony here and between the University of Utah and BYU have big music programs there are some amazing string players here uh that there's a lot of trailer work done here for uh movie trailers as well and other audio production stuff that employs a lot of the string players and La uh producers have from time to time come here to cut their scores because of the the location and the talent um right so yeah real strings I I never wanted to put anybody out of work cuz I wanted those guys on my session so if I could afford them totally another question from reho coming in on the forums uh is what trigger module are you using for the drum pads I don't know if oh by the way Ed I uh they didn't cover up my Logos they had a chance they covered up a logo on the keyboard stand and didn't touch the propeller heads on the front or the record on top so I was shocked I was waiting Ed reminded me that video guys will cover up all your logos and they usually do and at the Letterman show or the Today's Show they didn't they didn't dare touch my stuff I guess well that's nice I'm the crazy guy who's playing two instruments at once who knows what I'll do don't get too close don't you want to mess with me okay the the brain is the Roland uh vrum td10 TD what am I looking at td10 yes I wanted to make sure it's not the latest greatest but it worked perfect I tried I thought about I I mean I had a lot of different setups I had an octopad and I was going to run the kick and snare and high hat pedals through the octopad because there's six more trigger inputs but they were not at all responding like they do through this brain and all I'm doing is going into the brain with three lines kick high hat snare uh trigger inputs and then midi out of that into the Axiom and then on into record from there so I'm not using any of the Sounds in the vrum but they're triggering is is just amazing I mean you can do you can do press rolls you can't couldn't even do that and they're a little bit shaky I'll blame it on the pads since I haven't done a press roll for a few years but um but the triggering is was a piece of cake and I didn't mind having to Lug this little extra box around because of how much it made it they sound great they sound really very sort of acoustic and responsive that's great yeah and it was the there was never a point where anybody in the organization for Emy L uh said you know like oh these kind of sound fake or anything in fact the producer was like are those the samples of your drums that you made I'm like no mine sucked I couldn't use them I tried to sample my vintage Gretch kit that I used on the record and and I just didn't have the time to get it multi sampled right and everything and I the first thing I fell in love about with the reason drum kits was the Vintage mono bonus thing that you download after you buy the product and uh I spent more time on the first few weeks with that because like this is the sound I like interesting now I still use the others equally probably but I think maybe people haven't even checked out the Vintage mod I was going to say people people may not pan them it's not like they're they're just not it's it's a it's not the full stereo mics o for the overheads I'm I'm not sure where the difference is but this is so this is for people that don't know this is a if you own reason drum kits you have have access to a bonus uh set of sounds it's a a mono it's essentially it's a vintage the Vintage Way that drums were recorded So you you put up One mic overhead and capture it all and it creates that instantly vintage sound and it it it's awesome and and it fit perfectly for this uh project um to the to the point where nobody ever said anything except for saying wow are those samples of your drums that we used on the record that's great and I went through the kits I've always liked the Meg kit uh for uh one of my favorites of the whole set but I went through them all and um came back to that one for this particular project as well the only thing I did is there there was a every once in a while I hit a snare and hear a boxy Hollow sound it was really easy to to fix you just go in and uh have the note follow the The Zone selection follow midi input whatever the command is in the nnxt so you can see which sample is actually being triggered when you cycle through them and hit the one that you're not liking and then just delete that and change the velocity ranges if need be gotcha uhhuh and that was about the only tweaking and then I took out um some of the toms and symbols and that was another thing I forgot to show you that on the kit the the rim is the high hat and the pad is the snare oh that's really cross stick that's how I could do bringing the Tambour on every other snare and still have one hand free wow and so that was like oh that's one less pad I need right there yeah totally and and sometimes I'm I'm turning off the tambourine and you know keeping time with the high head if I'm [Music] doing something like that uh we uh we have uh camera two is frozen up on us G so we uh probably should switch either switch back to camera one or uh just refresh it or something let's go to camera one and let's show me show the screen real quick cool and I'll show you what's going on inside the uh each of these modules pick a couple of them let me know when you're up I'm on it yep okay so this is the drums the um the delay here is the delay for the high hat the big drum is Big drum from the reason Library I don't even know what it is I just heard it and said that works the Reverb is a very subtle amount of Reverb on the drum kit um overall and then uh let's see this is the Basse drum and I don't think you'd be able to see that on the snare drum I took stuff out but I just went into the snare drum in an XT and would hit select zones via midi and then you could see you know when it's randomly going through which which one and then you heard one that you didn't like oh let's take that one out and uh that made it very easy to go through and further tweak the Dynamics I mean I did go in and and spend a lot of time the filter on the kick I think was just uh built into to the um did I do uh I can't remember how I did the filter on the kick now I thought I added just a little filter module but maybe I actually just did it in the nnxt then let's look at the one we were just looking at the the first one we were listening to six white Cadillacs where I'm playing the keyboards up top let's go back to that one okay so the base there's a base and then there's a base copy the base covers up to right here okay this is all base then the base copy is those three notes where the overlap is and then the Vibes copy down here is the Vibes and then the Omni chord I don't know if anybody knows what an omni chord is it was used on the record uh and I managed to figure out that an omni chord is just three octaves of square waves and that's what this the second layer sound is which I can solo here [Music] and The Vibes were VI used on the record let's see the spider audio is to combine the two bases so that they come up on one track or or they go into the Bas amp I love the base amp on synth Base by the way it just see if we can hear a before and after and appreciate it's very subtle but it's just warming it up and darkening it up apparently it's before that's after just makes it big and fat I'm not even using the compressor but the compressor is pretty awesome on this by the way and then the pad omnicord Vibes and Vibes copy what was The Vibes copy for see I'm even asking myself oh okay The Vibes copy is the actual Vibes at one point there's a leftover orphan there of Vibes that were going to be down on the left hand of the keyboard that are obviously muted right here in the little mixer so that's how that's set up there's really no combinator panel routing on most of these songs because uh they're all preset and there may uh there were I didn't have v um velocity maap to anything because I found it too hard to control I didn't have mod wheel or or expression pedal map to anything or after touch huh cuz I didn't need it at one point I was uh doing a song with B3 and ended up having to switch to bass on it but when I was playing B3 I came up with a cool I aidea that I needed to switch the Leslie Speed so that's where after touch came in and it actually was very intuitive you press harder and Leslie gets faster I'm looking at the wrong camera you're like look at the light look for the light right so I didn't get a chance to use that but that was a pretty cool use of the technology there was a question sorry oh there's one more thing I can show that was kind of cool uh layer-wise so what was the question the question was are you using reason for all of your have you replaced all of your synth work pretty much with reason now I have I own reason I own Native Instruments complete and I have camel audio additive synth uh what's it called 5,000 camel 5000 and those get used massive gets used contact gets used and absent definitely gets used because it's just its own little weird thing reactor gets used but and and I do occasionally start a piece in uh that environment but reason is always rewired and and is never far behind it's if it's not all the instruments it's at least some of the instruments more times though 90% probably I fire up record and um with no template that's a uh an a question I've heard online do you what's your startup template mine is uh mine looks like this pardon the audio there that's what mine look looks like starts with a rack view so I can immediately start loading things up um and and I'm definitely a Thor guy to answer that other question that seems to come up a lot right okay I almost always start with Thor if I need an analog or similar synth gotcha okay and and uh what was the question answered yes I yes um there's a song where I'm playing B and a almost like a Motown hat okay and then I go not playing the Baseline right but the layer here is the bass and high hat are together because I'm playing and I don't have a way to move to the high hat on on this song and keep the snare drum going so I put it on the bass and the bass line is mostly 16th in the song and where I sometimes I uh break it up a little but it just sounds like the high hat pattern is being broken up a little another example of a of a like I don't know how I'm going to do this how am I going to do this oh why not just put the high hat on the base at first it seems like will that work then yeah that why not sure that'll work right so it's you just have to practice with it and figure out what works what little things you can do and what you can't and this was pretty much a a fairly well organized set so there weren't a lot of changes going on or chances to stretch out and jam which is something I still can't say I can do on this setup because uh it still requires too much mental focus to let go and just you know think oh the bass should go here while the drums go here right still can't quite do that I can almost do it I need to spend some more time I haven't had this set up like this uh since I got back a month ago so I hopefully use this again on something my buddy Jay who produced the project has been threatening to do some solo music and we'll do it together when that happens but we he said we ought to just set up like this and just jam on some ideas I'm like yeah why not huh it be inter because you have every option available if you if you want to try a Baseline a keyboard part or a drum beat or or suggest something you don't even have to say wait a second you just start playing it right very cool well there's a um uh there's some other stuff I wanted us to get to tonight yeah let's move on from this let's take a look at some stuff where do you want to head next uh and maybe we'll ask where the uh ask you know where the possibilities are so here's what we got up on our agenda guys um so Giles has come up with a super clever clever way to do additive synthesis in reason and he thought he could show you that uh what else we got uh parallel processing uh using combinators rather than mixed channels uh he made a a combinator this sort of emulates uh in the same way that heat is the heat plugin is emulating sort of the uh tape uh Distortion he he made a a combinator that does that as well he could show you that and oh gosh what a million other things probably too so uh put put in your boats we'll see where we go first I'm G to load up the uh the voo synth is that the the additive synth or the yeah because we can go through this pretty quick that sounds great this is uh while people submit their ideas this is a I've been playing with additive synth I'm not a huge additive sent guy like o it's the coolest thing ever but I kept feeling like there must be a way to control all this stuff uh I should load up my original songs cuz they were do we have just out of hand do we have a um another volume what am I saying another input that's open in record now because it sounds like we're getting like a A Chorus effect on your voice I actually got no uh oh maybe so yeah maybe so let me look at this uh I wonder if I had set that uh an open mic on that song accidentally wait there's a window for preferences now you could do that thought you had to close that thing okay yeah it's it's the live mic G cool that was me practicing okay um let's go back in history this is a thing I did where I was trying to figure out different techniques [Music] kind of crazy but here's each [Music] one which is the coolest one I [Music] think a second [Music] okay the thing was each of these only could do that one thing the so let's let's actually take a step back for a second for those that don't know uh and and can you describe to us additive synthesis yeah additive synthesis is using individual sine wave partials or harmonics to build a waveform from the ground up with the building blocks rather than subtract Ive synthesis starts with a typically a harmonic Rich uh waveform and uses a filter to remove the parts you don't want so we all we all know the subtractive synthesis from devices and reason like subtractor yes that would be a classic subtractive synth but there is no additive synth in reason no there is not and if there is one day I will uh be probably happy because it does do things that can't be done either any other way and maybe they'll take a unique approach that other people haven't um so what you start with first is a bunch of um sine waves and in this first example I use three per Thor which is I I went back to that later and for some reason one of the other versions has one per Thor so I I can't even remember I would just go through one and then immediately think oh or I could do it this way so this one the first one here let's see [Music] so this Cycles through uh it sends a pulse out and goes into delays that give me each successive harmonic being added very cumbersome way to work that was my first attempt but it kept got a cool sound but all I could do was change the spread rate [Music] basically and the repeat speed [Music] but it always sweeps up and it always sweeps so there was it was like there's got to be a way I was wondering where that came from that's my high hat pedal awesome like I didn't touch that um so that was the first one and then the second one uh see what did we do here this quick history okay here's 12 harmonics and I used a is this the I did yeah each one the 12th harmonic is the 12th step on the step sequencer so they sound like this and you can see the lights lighting up so each key just triggers the step sequencer to run and then the 11th Thor harmonic would have button 11 lit so they would all trigger one after the other huh so that basically does again there wasn't much I could do there speed this Direction come here we go up down up and down basically the step sequencers patterns and uh again that one pretty much you know there it is that was it and then this one I'm not even sure I'm not even hearing it what did I use here A bunch of Thors and a m bunch of matrixes to to try to create the sound and I'm not even hearing this one what happened but this is great because this is actually this is going to a larger point that you and I were discussing uh before we were on the air and that is uh something that you noticed from your studio days that there's never one way to do anything oh there's always another way to do something yeah yeah and there there's either and what I experienced was working in a professional studio you would see uh an engineer a day a week maybe every month a new project would come through and after a while you would see a lot of different techniques used but a lot of them ended up taking you to the same or similar place and I realized well there all these options they you know you get differences with the different techniques but I was intrigued as much with the differences as with the similarities and how somebody could end up creating a similar emotional impact like this part of the song need to build needs to create tension or needs to get more intense here well there's a bunch of different ways to do that and all of them can work right one degree or another so I I when I share with people I I take the approach of don't necessarily do this just look at this as one more way of doing it I'm I if you you asked me six months from now what my starting template is it could be very different I I don't tend to do the same thing every time but one of my patter patterns is I don't use a lot of templates I always let myself build it while I'm thinking there something about like patching stuff in while you're kind of mulling over the the the thing I think came from my analog synthesizer days I have had a wonderful class in college where I got to spend you know a full semester on the big Moog modular and and learn all about that and um something about as you're patching stuff in and thinking it through it's it's like part of the process for me so I enjoy the setup and so that's why I think I start with blanks a lot but when templates can come in handy if you're mixing a project 10 songs and you do the first one then you'll want to use a lot of the same settings for the next one and I also tend to make very crude like a male vocal dser setup or a female vocal dser so I can just call it up and have a few things done but I always change it so when when I've gone off on people before about presets don't use presets I don't mean don't use them I mean don't use other people's presets and expect them to work for you right when you make a preset for yourself you know what it's supposed to do and you know when you're going to stick with it or deviate from it because it's your preset so I use presets I typically don't find especially with compressors and eqs that factory presets do anything other than maybe if it's a complicated setup they get a lot of the drudgery work out out of the way there's a question from push button in the uh chat he asks how do you know when you can sit back and say this is the sound I want he says that he just tweaks until he overcooks it um well it depends on if you're making a sound or if you're making a song A lot of times when I'm making a song the next idea interrupts the process that I have to move on or or risk getting mired in the process of tweaking uh early on I discovered that um I found myself getting a demo together of a track had some great chords ideas and worked something out and I said I need a beat here and then 30 minutes later I'm still looking for the perfect snare drum and I just stopped myself and like what are you doing the snare drum doesn't matter and let's get back to the song and and and so I said okay wait a minute what was the song and I had totally lost it so you know this is something that has come up this is something that has come up in music making month over and over and over again and I hope that it's one of the things that I as a as a musician take away from music making month more than anything else is that the people that are out there with high output that are doing things and they are creative and they are consistently creative the one thing I keep hearing you guys say is that you stay focused on the song and not on the sound I think you said it in a really cool way but I think everybody is essentially said that that they don't get stuck in the the the tweakin of the sound because ultimately they're trying to make a song but it's really hard because if you're an electronic synthesizer guy the sound can be the song and and I'm sure everybody can relate to this at one level or another how many times have you started making a sound and by the end of the sound creation you the things that you started playing you just go ahead and record them and then we'll add another track here and all a sudden you've got a song a sound can lead you to a song so you don't want to be too terribly care over careful about uh not getting caught up but
https://www.youtube.com/watch?v=laeb4k9UGpw	# YouTube ## Episode 14: Your Reason to Stay Inside ### Video Metadata - Keywords: Audio recording, Beat making, Music making, Music production, Reason Studios, bitwig, bitwig sampler, bitwig tutorial, home studio, propellerhead, propellerhead reason, propellerheads, reason propellerhead - Runtime: PT111M1S ### Description In part two, continuing up from last week, Ryan is back to do some more live on-air collaboration with your songs. Who else sent in great music and what more can we do with it? Find out on this week's Your Reason to Stay Inside! ### Transcript [Music] I didn't scream this is the new calmer Ryan [Music] I swear this intro gets longer every time doesn't it [Music] but it's a good intro shout out to Lars Lars Soderbergh for doing that intro guys we made it we're live again welcome back if you know that 11 thing building up to 11 I got all excited then once now we're at episode 14 weird episode 4 team you realize that I don't think I expected us to get to 14 and maybe I don't know how far we'll get past it I don't know wait we don't know what we're gonna do but but we're this is like a thing we're celebrating we're like if we were a child we would have been one year past our bar mitzvah is that a thing you celebrate you survived one year past your bar mitzvah I don't know but anyway welcome guys welcome to the stream we're back again this week this week is actually something about of a continuation if you didn't read the description or if you maybe you just like to be surprised every week when I tell you but we were making music together last week in a sort of collaboration with your submissions and me noodling on top of them and we we got through a couple of tunes but people enjoyed it I enjoyed it it was fun to hear what you guys are working on so I thought we would do a another round of that this was round two this week with some of the stuff you guys submitted I didn't open up submissions again for more people I wanted to give people who submitted stuff last week and didn't get a chance to be on the stream another chance one more chance maybe you still won't make it on the stream but that is the luck of the draw that is how this game works I suppose but let me tell you so here's the thing as people are getting on the stream and I'm hanging out I don't know if you can tell from looking around here but I'm all alone like I'm always all alone here whoa what's sad trombone I didn't mean it that way what I mean is I'm always alone in my home office but I'm extra alone this time because I don't have Stefan Stefan who is my fearless companion who goes into the chat which I now have over here to keep an eye on he uses the guy that goes in there makes sure that you know everyone's playing nice there's no trolls in there there's no bots in there all that stuff and and then he engages with you he's if you see comments going on during the stream that's Stefan having fun with you guys and Stefan like a disloyal deserter has decided to go on vacation that [ __ ] now he's it's a well deserved vacation and I hope Stefan I hope Stefan you're not watching if you're watching this you might as well just get in the chat so please I hope you're not watching I hope you're the one person I hope is not watching the stream and enjoying yourself you have earned yourself quite a vacation and I hope I hope like the movie office space I hope you do nothing and it's everything you thought it could be so I hope you enjoy that but at what that means for us today is that I'm going to be kind of multitasking more than I already am you know I multitask when I switch around you know when I do this sort of stuff and I'm switching these shots but I'm also going to be multitasking by trying to keep an eye on the comments and I hope I do an okay job with that they go by quick you guys are chatty and I would say maybe it's worth us saying that if you're trying to get my attention you will you'll have a at least a better shot of it if you are if you tagged me in the comments oh you do I think maybe you guys know this better than me but I think you do at reason studios and then you say your comment and then it sort of shows up in a little more visually flagged kind of way it's something we'll see how it goes it's not it's not too great a burden I mean everybody who live streams on their own doesn't have a Stefan we all don't have a Stefan in our lives we wish we had a Stefan in our lives but we don't all have a Stefan in our lives I'm lucky enough to have a Stefan in my life fifty or forty nine weeks of the year or whatever he's gonna be gone for I think three or four weeks so uh anyway so um I'm keeping an eye here and you guys Ryan need a Damon Damon Damon I don't know what you mean there mark but I whatever it is I need it yes I need it someone's asking what my headphone model is I think that's me I believe they're called masters and dynamics or master and dynamic and they're good I got to say I'm a fan of them I'll turn I'll turn to the side because they're pretty but they are that when I got these headphones I was initially impressed with the two parts that I want headphones to be good at which is their low end is is representational II true it's not like if you listen to AKG K to 40s they're actually weak in the low-end in a way that I guess people like it I never loved it and then you listen to some like beats those are like boosted in the low end and a not real way these are true to what the low end really is as I hear them coming from my monitors and they're good in the high end as well so for a foreclosed headphone you know I don't know if you guys know about headphones too much but close back and open back there's differences and how they behave with high frequencies and generate generally speaking gonna be broad strokes here to answer your question is that open-back headphones are better at representing high frequencies but they bleed so you can't use them around to mic because if you if you're singing or whatever you'll get bleed into the mic a lot more easily so people tend to live in closed back headphones and they just take that little bit of a high-end hit these are still pretty good in the in the high-end so um Ivan just asked the same thing what brand headphones there you go it just rewind Ivan I just answered it so anyway I hope everyone's good I hope you've had a good week of music making let me know in the comments and just yeah let me know what you guys have been up to music wise I have been let me think of what I've done this week music wise it's kind of you know when I I've started talking about this on the stream and it's become a nice sort of I guess an accountability thing where it's like I better have done something musically this week because otherwise I'll have nothing - nothing to report - you guys you guys are holding me accountable but what have I been do here's here's my first musical headline do you know today is it's actually it actually is today the seventh of July is a birthday it's a pretty important birthday to me it is I'll show you here it is this guy's actual birthday it is this guitar is 89 years young today born on this day July 7th 1931 you may say Ryan how do you know that that was born on this day July 7th 1931 because the fine folks in Nazareth Pennsylvania at the Martin guitar factory actually kept really good records what they started making the guitars as we know a guitar they started making them they they say in 1833 will take their word for it and for about 50 years they just were making guitars they were had a shop in New York they were making guitars everything was going fine they relocated their shop to Pennsylvania and they they thought you know we should probably start serial numbers and actually keeping track of them and doing like a more official kind of thing I guess in you know an eighth that's what kind of weird span 1833 into the late 1800s that's your crossing over the the Industrial Revolution and things are becoming more you know there's bookkeeping and there's there's mechanization and there's all sorts of industrialization going on and so as part of that they thought we should start making numbers so they they guessed they thought I don't know how many we've made up until now but let's say it's and they picked a number and I can't remember what the number is but let's say was 10,000 so they said we probably made 10,000 guitars in the last 50 years we'll start at 10,000 won and from then on they started serializing all their guitars and then they would keep a ledger book and so when they would stamp the serial number into the neck block of the guitar that was how they were officially starting work on a guitar and so that is sort of now a thing you can look up you can actually look up the birthdate that Martin guitar stamped your guitar and begun work on your guitar the date your guitar was actually born and so anyway I looked that one up and it was July 7th I put a little calendar reminder I get a calendar reminder every year now and that means next year it's gonna turn 90 I should like I should throw it a party Wow sad trombone me alone throwing a party for a guitar in my room no that's no good I should not do that but anyway I'll invite all you guys you guys can all come to to its 90th birthday party and bring it I don't know gifts like strings and stuff it is Korg 707 day Mowgli says and that is correct that is correct you Hani catches it as well it is 707 day so everyone out there should be you know I don't know maybe that's maybe that should guide the type of music that we are making today but yeah nitro X says he's working on a juice world type guitar beat that's cool I love it share it with us when you got it so Bobby Bobby rots thank you says happy birthday to my guitar thank you very much I don't know why I said thank you I didn't build it I just you know I I don't I don't even think I don't think of that guitar something I even own that's more like I have current custody of it and then someone else will later and it's sort of it has passed I mean when after 89 years I don't know how many people have owned it but I I certainly don't own it it it just is passing through people and anyway so that's been going on now here's another thing and we'll get down to some music making I wanted to share something else with you guys that I actually I was listening to a podcast there's a podcast out there I'm I guess I'm gonna make up a plug it's not really an official plug or a paid plug or anything like that but in order to mention this thing to you I kind of have to plug it so I was listening to the switched-on pop podcast which this is where I'm gonna go for the unsolicited plug if you guys haven't listened to switch on pop it is a really cool podcast I have been I don't know about you guys I've been listening to a lot of podcasts recently just because the nature of lockdown and quarantine and you know I'm out you know biking around and and walking around the net you know doing the things were allowed to go out and do being active and stuff and I tend to be consuming podcasts at a greater rate and I've kind of you know the political podcasts that sometimes I'll listen to like they're little a little bit too much when you're in the midst of a pandemic and when things are kind of on the trajectory that they are in the u.s. weird like and worse so those aren't super fun to listen to and so I've been branching out into other things and switched on pop is so cool it is for a fan of music production in general it is super interesting you don't have to be a fan of pop music per se though it certainly would I guess help if you have an appreciation for the craft that goes into pop music because they do spend a lot of time talking about pop music but it's a really good it's just a the two guys that do it they talk about music theory but in an approachable way they talk about production they talk about interpreting songs they do all this cool stuff it's definitely worth a listen I come away from every episode with ideas of things that I want to try or hold on to and take from it but um oh wait gogogogogo ask hiring how can we submit our tracks no I'm gonna be using with stuff that was already submitted last week ago --ga so no no submitting of tracks here's another flagged one this is where the flag is working thanks guys that helps a lot of Combinator patches with mapping to MIDI controller an effect twin style sequencing with Arps is that I guess what you've been do use ik you been working on is that what you're doing for 7 or 7 day I guess so anyway so I'm listening to the switched-on pop-pop podcast yesterday and I was listening to an episode with Carly Rae Jepsen who you probably know from her massive 2012 song call me maybe and they're talking to her and she's talking about the new album she's working on a particularly a new song was called something like come into my come into my window or come through my window or something like that and she's talking about she worked on the song with Jack Antonoff who's a producer who you may know by just name alone Jack Antonoff you may know him as one of the members of fun which had a few hits around the same time 2012 before I I think they disbanded or hiatus Jack has launched his own rather successful production career he collaborates with a lot of people he was collaborating with carly rae jepsen on this tune and she said this thing and i just loved it and I was like ooh this is the kind of thing I'd love to share with you guys because it's a kind of thing that I think we can all take to heart and I think we can all use in our music making I think there's some inspiration to be had there's some permission that she's giving us all Ivan is it free if you're talking about switching on pop it is or the stitcher app I don't know if that's free but anyway it's on switch on pop is on you can get on the podcast app on an iPhone or presumably on Spotify and all the places you get your podcasts but so I wanted to play this clip of carly rae jepsen talking about working with Jack Antonoff and their process and the way that they work together and take a listen to this I thought this was pretty cool so which is sort of like kids like we dance the samba we don't just like sit down and write it we're like shouting things across the room becomes this really playful thing like I said something to do here writing on stack because it's just sort of like this song happened and we were both here for it nobody remembers how I appeared but yeah that one I think that was kind of the part of the song we were just dancing and pointing at each other and like shoving things and very professional but it was really fun it was very joyful so I love that clip I love that clip for a lot of reasons I could I could almost dissect it on a sentence by sentence basis with things that I sort of take to heart on that on that clip and in fact actually that's the thing I learned from a music teacher is that my he he used to give me a song and he would say every there's a lesson in every bar when you're learning a song there's a lesson to be discovered in every bar that you're learning so it's not just that you are learning to play the song and checking it off a list you know you're you can find sub lessons within each bar of music and in a similar way I feel like each sentence of that soundbite has like little sub lessons in there but I what I particularly loved about it and the reason that I while I was I was out on a hike and I looked down at my phone and I marked the time because I wanted to play it for you guys today she says and she kind of laughs and she's almost sounds a little embarrassed she's talking about this process where they were just making the song and she's she you know they're just shouting things out at each other and stuff and she says I know it's not really professional but it was joyful and she she says that almost in a please forgive me for not being professional way and I was like that is it that is there's so much there the professional thing you know we spend so much time trying to we're aspiring to a level of professionalism that's not a bad thing but in the end when you actually are in the in the real flow of music making and when the best ideas are happening it's actually not a very professional thing if it was professional we'd be in boardrooms and in cubicles and you know professionals not as much as that's our aspiration that's actually not the mentality by which great music happens you know professional music making is making sure that you're you've got your clock digital clock source set to the right sample rate and that you are you know prepping your tracks correctly for stems and if you're gonna stem things out that's that's professional but what she's saying is like this this wasn't professional it was joyful that's the two words she she holds up these two things professional and joyful and she she sort of says with a little bit of guilt but I think it's actually what she's really doing here is she is making me realize that it's okay to to not be professional and to be joyful in fear if you're in a what she says earlier in the clip she says we danced the song out like I want I just loved so many parts of that clip we danced the song and we were shouting things across the room to each other and yeah it wasn't professional but it was joyful that is like oh man I'd like if I could just sort of tattoo that into my brain and remember that in key moments when I'm making music and it can be I mean for them they're making music together there's a very natural give-and-take that happens when you are in a room with someone but even on your own you can adapt a little of that joyfulness into the process and not worry about sort of the professional Mis and and in fact maybe that will be something of a guiding principle for me today as I start working with your tunes which why don't we get to it but yeah maybe you know I'm gonna be keeping my mind on what some ways that we can make sure that I'm not getting bogged down in in professional aspiration or or some kind of like self-limiting critique and quality thing but rather the the fun parts the the stuff that we all got into music for in the first place let me take a quick look at the chat here and just see if there's anything I need needed to be said or responded to mark says go with the flow absolutely to architect spontaneous moments are the best absolutely a question here reason studios when are you going to support MIDI out for logic in a similar way to you did for Ableton MIDI FX freeze don't work properly okay so I don't know what MIDI effects freeze I guess that maybe mean I'm not actually entirely sure what you mean by that FB 1983 but we do support MIDI out for logic and I think what you may mean is the being able to route like print MIDI to attract I'm not familiar enough with logic to tell you that that does or doesn't work I maybe I'll take your word for it and if that's true then I can probably assure you that people are looking into it but I don't know DJ DivX making music doesn't have to be a sterile process that's right have fun be crazy the emotions show through yes the emotions show through this is a thing I've often talked with about when I meet with artists and stuff and I've I've always been a fan of when I listen to Beastie Boys albums maybe I even mentioned this on streams when I listen to a Beastie Boys album one of the thing that always impresses me the most about their process is that they've managed to retain the fun that they were having when they were creating the beat all the way to the finished product and there's so many chances along the way when you are you know you're getting into doing an extra take and comping vocals and you know maybe you're quantizing you notes what there's all these decisions you make to try and perfect things and a lot of times you end up ironing the fun out of a song and it becomes perfect but not fun and when you listen to a Beastie Boy song it's imperfect but it's fun and you I mean you hear them laughing they're cracking each other up they're they're doing all these things they put in these weird samples that shouldn't be there but it works and I love that about what they do that they they preserve the fun part so yeah um let's see make a joyful noise where's it from her to somewhere I don't know but yes anyway okay you guys are all chat with each other or not seeing other things in here creativity comes in the rules unprofessional creativity comes in the rule lists unprofessional moment okay that's a good way to say it architect yeah it can come from that the unprofessional moment absolutely you know it's it's almost like to some degree this is where my the analogy my drain brain is drawing here you know when you're a younger like when you were kind of teenagers classic teenager mentality for me was you kind of hanging out with maybe be hanging out with older kids or just kids that you respect and thought were kind of cool kids and you suddenly had this pressure on yourself where you're like I got a I got to be cool I got to say something cool do something cool make a joke that makes them laugh I got a like I you know and that's like in that never you've not it's over it's over at that point if you are if you're trying to put this pressure on yourself to be this thing you're it's over it's it's the moments when you know hanging out with people that that you I would always as in high school in those moments you know there's moments that we're always fun and memorable over the moments we kind of let go of that stuff and you just we're having fun together and not worrying about what other people are thinking or how this might look to others or how where you are in relation to your aspiration for coolness or funniness or whatever it is you were trying to aspire to in that moment music is no different reason studios what is the best sampler that I can use in Windows I want to sample an old VST F get crashes a lot I don't know see on May if you guys want to answer them in the in the comments there I don't know the window side of things I'm not quite sure I would think you could do it in reason the reason has samplers and you can route I'm sure there's a Windows utility where you can route things in and and and do it in reason I'm not sure but help them out there guys in the comments okay I'm gonna try and keep you know the hard thing when I'm monitoring comments is that I tend to read them as I'm first seeing them and so let's hope that goes ok I'm just gonna kind of read them out so don't don't mess with me by tagging me and then putting something weird for me to read out okay should we get down to she'll get down to some collaboration a little bit of music I thought we could dive in you guys submitted a lot of reason files and I thought I would just grab a couple and we could play around with them again and see what we come up with here so oh here I saw DJ DivX your I saw you in the chat and I see you down here in the in the list of submissions so maybe I will pull that up now when I open this up there's probably gonna be a few seconds where we I lose audio but I'll bring my audio back it'll all be good let's give it a shot am I still okay we're still there now hang on a second I can already hear that we have a mastering chain on so I'm gonna turn that off do a couple of things here to prep should I put a little gate up a little gate on myself okay that's better for me okay okay so here we got DJ DivX here Rob I guess Rob is here your first name I'm gonna I'll call you rob feels weird to refer to you by your dj name as I might refer to you a couple times here but I'm looking over the comments here a favorite way to experiment I'm having so much fun stacking players lately chal ISM says yeah that is pretty cool so okay let's let's dive in here let's take a listen to what Rob has sent in I will say this I kind of like that it is nine bars I know I mean I I don't fault anyone for for what they've sent in or haven't sent in but a nine bar loop with whatever this is like six seven tracks this tells me that it's an idea in the forming but it's not a finished song it's not a thing where I'm gonna listen to it just go like oh you're done you're good dude don't nothing for me to do so let's take a listen to what Rob's got here and check it out [Music] okay cool um Rob this is a nice little vibe I like I like what you got going here and I'm I'm probably gonna listen to this a little bit and just kind of get a sense of what's happening and what's making it what makes this tick and let's figure it out so we've got a couple of pianos here okay so that's nice and I presume that's coming from I think it's probably this line right here yeah okay so that's the same thing but Rob has bounced it and then bounced it again whoa that's very exciting let's turn that off okay let's see what this one is [Music] yeah okay so we got a backwards piano and when we put those together I presume they play together nicely [Music] that's actually really nice Rob I really like that idea because what I think Rob is done if I'm not mistaken in fact I'm gonna temporarily attempt to recreate Rob's efforts here if I move this down here and I just reverse it it's going to let's see here yeah that does not worry it's not it's not as simple as Rob just reversed his his audio that his bounce in fact curious how did he do it did he maybe he refers to the MIDI and then he bounced it and then what you end up getting then then you reverse the audio I think that's I think that's what he did I'm gonna I'm gonna say that's probably what he did and Rob let me know Rob in the comments and for you guys i DJ DivX in the comments as where is Rob here let me know if that's what you did that you reversed the MIDI then bounced the audio again then reversed the audio and what you end up with is a reverse sound that keeps pace with the piano and so I'm just gonna sing your praises for a little bit here Rob so they appreciate everything you're doing here so what you see is the envelope of the piano is decaying and for that same chord there's a corresponding swell going on in the reverse so you get this this duality of one note going chung and i'm going young and it makes for this interplay us [Music] that is cool I like it I want to make it can I make it even more obvious if I I'm not gonna pan it just temporarily for you guys for those that want to hear that separation a little more we'll put one one way and one the other way spend any more to make more obviously in fact I'm not actually mad at app and version let me put it back Center [Music] hmm hmm I like them both when you when you put them when you pan them Center it's one cohesive sound when you pan them wide stereo it becomes a little more two different things with a spot in the middle what what do you guys think should we should we explore well you know we could do two I wonder if we could even I'm gonna look into automating the pan knobs and maybe we can make it a situational thing on the phrase like done and anta and then we switched to here a wide thing so here I'll go wide and then here let's go wide okay now let's take a listen it should jump I hope you guys are getting stereo Gustavo says pan they sound better let's take a listen now we're gonna kind of move them apart [Music] are we overthinking let's do it for the whole phrase [Music] okay now just for the sake of it let's see if we did a shorter interval back and forth let's go bar by bar hmm hmm let's do it okay so the first half of the phrase is going to be going back and forth on a bar by bar bake basis then it's gonna go to the more sort of call-and-response basis [Music] I don't know about you guys I mean I got to make my own decisions here I guess but I can't think this is kind of interesting and I'm gonna do it and I'm gonna commit to it because why not but I mean already this is a thing we can consider that you know you you have this part and we can create you know panning doesn't need to be on either/or panning can be a living breathing thing that we can we can play around with and so we can do that through automation and we did okay let's take a look at what else is going on in this and then figure out a little more to do with it okay let's see what this is well this one because this is obvious he's put down just basically a kind of placeholder which is a nice kick in oh wait are you seeing this are you guys seeing the name of this kick drum sample can I show it to you in a bigger way no I just gotta wiggle my mouse bass drum 7:07 are we are we to believe that there is a correlation or is it just serendipity maybe it's a 707 bass drum sample but anyway okay so Rob's got that it's a nice nice kick drum mark thinks it needs some more oomph maybe let's take a look what else is going on [Music] okay does that let's take a look here yeah okay so because he bounced it and this is a not a not a good nor bad choice this is just a thing he it this ethereal sound starts from nothing so you actually hear the swell when the loop repeats you're gonna hear it kind of sucked down to nothing again and that's uh that is not a bug that may be a feature that kind of makes it sound nice it's a it's a nice thing holding down some of that low-end let's take a let's take a listen to how the loop you know we got used to hearing this on its own which is nice but when you add just if all you do is add this into it the three things it's nice there's a little click let me take one do you hear I'm hearing it in one of my ears my right ear I think there's a click that's probably a matter of just this bounce I think it's over here unless some this is not an uncommon thing that you can get little clicks in fact maybe I'll spend a quick second and talk about why that happens and what the solution is let's to do that I'm gonna zoom way in okay yeah okay we can we can show this so audio waveforms we're looking at the audio waveform I'm gonna go even taller thank you reason engineers for making the vertical zoom unlimited so if we're looking at this waveform here and the waveform that you're seeing here in fact let me switch to my camera for a second the waveform when we see that waveform I'm gonna I'm gonna spare you guys a long rant on how absolutely fascinating I find this but what we're seeing is a transfer of air pressure through various mediums from this thing that makes the sound to the thing that hits your ear and that's a little different in the digital domain you know but yeah you've got an instrument an instrument resonates the body of the instrument literally moves back and forth and pushes air that air travels across the room it gets to your eardrums it the air pushes your eardrum in a sympathetically equal way which then causes a muscle and to to move inside the tympanic membrane and that converts to electrical signals and those electrical signals are experienced through your brain as the miracle sound well the same thing is happening here we have a waveform that goes up and down that and we're starting now at the electrical side we have an electrical signal that goes up and down and that then comes out of headphones and those headphones have to do the same thing your eardrum does it but in the opposite direction it's it's moving back and forth not to receive the sound but to take the electrical energy and actually push it the the speakers inside my headphones are wiggling back and forth to push air and that's now recreating just like the way the instrument body was resonating that speaker is resonating okay we up to speed on the basics of the medical miracles of a sound transfer okay if you understand that then it will help you understand why you get clicks in your audio because the when you look at a waveform and you think of that speaker moving back and forth the zero point in a waveform is the speaker at rest when the amplitude is really loud on one side of that waveform that's when the the cone may be pushed out and then what happens after the sound pushes out it goes the other way it pulls back and it pushes out and pulls back and push this out and as it's doing that it's crossing its resting point if we stopped playing sound it would be doing this and suddenly it would just go bunk and it would go back to rest right that's the midpoint of a waveform now what happens if your waveform doesn't start at the rest point what if it starts here or it starts here in my headphones or a speaker well what happens is the speaker is a real physical object it can't it can't jump instantly to that point it'll try but it can't do it and so in its attempt to jump the sonic sound that we hear is a click it's it's the attempt for the speaker to reproduce an instantaneous jump in time that it can't do and so okay now with that in mind that was a long rant but I always find it kind of interesting with that in mind now take a look here do you see now I don't know exactly where the midpoint is because there's a stereo file but I can tell you that this crossover right here is a perfect example of a speaker that isn't able to get to rest its we're trying to go we're trying to jump the ramp or in the case of a loop if we're looping back to bar one we're probably jumping down somewhere here well oh no we'd be jumping because it's a loop we'd actually be jumping to that same point but just back at bar one so we're trying to have the speaker jump and it ain't working so what is the solution well there's a couple solutions we could do things with crossfades we could do a lot of things what I'm gonna do 7-minute rant to tell you just put a little feed on your clips there you can even see you see that see that actually smoothing out and now our our speaker is not trying to jump quite so much how long of a fade do you need to put it on on your clip handles that's up to you you want to try and keep them short the concept would be as short as they need to be without being you know audible I guess would be the thing so anyway let's back up and see if that actually is the source of our click I hope you guys don't mind some of those technical tangents I they are kind of useful to know I think because you know I saw in the comments somebody said that clicks can kill a great mix yeah they can and you know you know I know I started this whole thing with a rant against professionalism though it really wasn't a rant against professionalism but I started with this idea that we don't need to be so worried about professionalism but there does come a point when you do and that is when you if you're sending your stuff out to a mix engineer or you're collaborating with someone and you you want to send them stems you just you don't want to send them clicky audio so let's take a listen see if that fixes us oh I might need it well actually yeah wait I'm gonna because we're looping I would need to come here and put a little fade at the top as well I'll just put a little one in there just ever so tiny let's take a listen okay it's a little one in there I wonder if that's still that could be coming from here but it's way better than it was let's take a listen there we go yeah okay it was just the other one there we go click free audio tada okay cool so now we have a nice little loop I think Rob does the same thing twice let me just take a listen yeah so since I tweaked the clicks I'm going to double this like so and let's see I'm still exploring what he's got here let's take a listen to this one you guys hear the click do you hear it do you hear it you'll hear them all the time once you're aware of them I'm gonna throw in just a little crossfade it becomes particularly something to keep in mind when you're doing things the way Rob's done here where he's got he's done a lot of bouncing which is cool about you know that's a cool way to kind of one of the cool things about this workflow style is that you're committing yourself to this audio and you can you know you sort of go like alright this is what I got now what can I do with it in this form rather than keeping it as MIDI when you have it as MIDI you might always go back and you know want to rethink it but you can't rethink it it's audio you're locked in [Music] okay so I think that's oh wait what is this something what's going on here a whole bunch of nothing there it is a ethereal compass aha VST plug-in Oh a serum okay but we don't hear anything why don't we hear anything we should should we assume that nothing has happened in there so muted no all right it is quite possible that for whatever reason Rob's not using that so we won't either okay cool so now what we've effectively done is we've done a little bit of a pan automation we've kind of cleaned up his audio we're kind of now ready to maybe dig into where we might go with this mark just won't keep my eye on the comments mark swing says that you could also another way you can handle these clip the clip handles and stuff is sometimes you know the audio there may be more audio past the point of where the clip ends and so if you drag out you get a little extra audio you could do a crossfade totally valid correct mark you could do that when you're dealing with bounces that's usually not true or normalized audio usually unless it's been shortened after the fact usually the the audio ends at the clip boundaries so someone says maybe have a different version of serum that might be true and Rob says I don't remember what I use the serum for well nothing now Rob so I guess where we're leaving it out mmm okay now what am I gonna do with this what is my contribution to Rob's little idea here you know what I think I want to do I like this I like this I like this mood I like this vibe he's kind of created a little soup of vibe that I want to I want to swim his I want to swim in the soup of his vibe it's that a that a thing I don't think that's a thing I think I've combined words in a way that don't go together but I like what he's got going on here and so I actually kind of want to I think I want to embrace a couple of things here one I want to embrace his commitment to bouncing things and being like that's what I got and I'm gonna work with that and so I think I want to I want to do something similar and the other thing I want to do is I want to channel my inner carly rae jepsen and Jack Antonoff and and say what what is the playful thing that I could do with this and so I could start adding instrumentation and arrangement and try to find oh I got a right hook melody and all that but the playful thing to do they would honor Rob's commitment to bouncing and things like that would maybe be to turn this into a Rex loop and play around with it as a Rex loop so let's do that shall we in order to do that though I'm gonna do I'm going to mute the drums we're gonna treat this as our sample and let's go ahead the first thing I'm going to do is I'm going to plucky banjo no banjo this week guys I'm going to bounce mixer channels let's see if I can talk to you while I do this if I if I go away just stare at me while I do this and then I'll be back in a second but I'm going to bounce mixture channels inside the song I'm gonna bounce the master channel master fader to a new track in the song am I still oh I'm still here good I can talk through this while I do it okay cool so I'm going to deselect that channel I'm gonna choose the master section I'm going to for just good housekeeping we're going to normalize will apply the mixer channels we're gonna make it a loop we're gonna make it new tracks the song and make sure nothing else Funky's going on no okay cool so now effectively this is like exporting it but instead of exporting it I'm actually just going to bring it into the song that we're in I'm gonna click okay while it does this I'm gonna be silent for hopefully just a few seconds while it does that and then I'll be back with you I'll see you on the other side and my back I'm back that was not bad at all all right you know sometimes I I dread with these short ones it's a not not a problem but if it's a big file with a lot of audio you can get into that waiting for pre calculation thing and that doesn't make for good television so thankfully this one didn't have that let's take a listen we should just be hearing now on this master section that's bounced we should be hearing just the exact same thing that we had going on before but just now it's a waveform great okay so now what I'm gonna do is I'm gonna go into slice mode so I don't know if you guys I don't know if you guys ever get into making your own Rex loops you can make anything in reason into a Rex loop and load it into the dr. octorex loop player and there's any number of things you can do once you get there but you do that from when you double-click on audio or if you come up to the top here and choose slice edit mode entering slice edit mode is where this happens I could for example if I just took this file and chose bounce clip directs loop there it is now it is a Rex loop in my song and if I were to or if I just drag that in if I just hit run we're gonna hear the same thing again okay but we are not gonna do it that way I'm gonna delete that in fact should I can I will I delete this one yeah cool okay but oh actually we you know what hang on shouldn't can I go backwards yay yay hooray for undo okay this is this is the point I was gonna get at though look at all those slices there's like a whole bunch of slices there which are cool and in fact we can play those slices on our keyboard let me see if I can get this happening yeah so we have all of these slices now mapped on two keys on my keyboard if I do it if I do it quick enough you actually hear the loop playing back right but some of what you'll notice on these slices is that some of them are like that there's not a ton that I find musically exciting about that not much there either so some of the slices are really small and it would be not unreasonable to ask well where are those okay where are those slices coming from what is making those slices short or long or how are we determining how all of these little slices arrived I should say all of these little slices I didn't switch back yet all right well I'll show you the answer I'm gonna delete this I'm gonna like this turn the water there great okay now so let me go back to my audio and the answer is that every one of those rekts slices relates to every one of these slice markers and what reason is done is it is attempted to by looking at transients it's attempted to figure out where the slices of audio are if you've ever messed with recycle you can get a lot more deep with the sensitivity of that slice threshold but to show you as an example here let me just join some audio let's take a super easy example if I go into slice mode here what it is done is it said okay that's a turn a transient and then it's seeing whoops it's seeing the end as another potential transient that's just the way this kick drum is formed but it's kind of done a very simple transient detection there here it's having to guess a little more because Rob's music is so it's so kind of ethereal it's kind of got all this vibe right so what I want to do before I make my Rex loop is I kind of actually want to guide it a little more on I want to give it bigger slices because what I'm gonna do is I'm gonna play those on my keyboard to kind of juggle the beat that's at least what I'm thinking is I'm gonna try and juggle this a little bit like it's a sample but I want to have things that are like see this thing here that is just can you see it yeah you can see my mouse moving this thing here or these two here those are all really short and those aren't gonna do it for me when it comes to juggling so let's take a look and let's just clean up a little of this [Music] okay so I'm gonna treat so that one's still good but I'm gonna get rid of this one so now this is this one slice will just be bum bum just that on his own okay and think what I'm probably realizing I'm getting to now is that I'm going to be probably chopping this up almost into its cord components yeah [Music] that one there I'm going to on some of these I'm going to actually move where I'm going to delete some I'll click on them and delete and then other ones I'll actually move where this slice is if I think I know better then the then the transient detector and in this case I think I do I actually am interested in that right on the beat so okay so now I've got four slices I'm gonna move this one and this one too no that's fine delete that okay I'm gonna delete this slice there's no rhyme or reason this isn't like I'm I'm kind of just giving myself broader slices I'm not necessarily there's no rule to what I'm doing right or wrong and we'll find out when I load this in if we've gone not you know judicious enough or too too broad in our slices we'll find out but this is the part where you guys just get to watch me work and not not working in the Beyonce sense [Music] this one is short but I'm gonna leave it oh wait oh but I'm gonna move this yeah okay so be delete this and this one we're gonna delete these two short ones I think I need to move this here's a bunch of short ones delete this okay [Music] hold this one out pull this one out okay so I don't know if you guys can tell I'm kind of going I'm gravitating towards trying to find where the notes change so you've got here and then here and here those are all different chords and notes so I'm trying to just find those and I'm generally speaking I'm pulling out the moments oh can you manually play slice I don't know can you know you can Mowgli you can play him with the speaker tool Oh Mowgli I didn't know that I'm very excited by this Mowgli asked in the comments can you randomly play slices I don't know if he meant what I think he meant but as I took the question to mean was can you audition slices and it caused me to look up in the tools and realize that there is a speaker tool well this makes the process a lot less guesswork but all I'm almost done anyway so I'll pull this one off and that might be maybe we'll just do it for since it's a it's a repeated phrase so what we've got now is a farm or if you just compare this to this one this one has far more slices this has a more manageable number of slices George MacDonald nice Mowgli yes correct nice david says it's ctrl-click the slices are you guys teaching me things he's a liar David you're a filthy liar and it's probably that maybe a windows yeah it's a windows thing look at that command on a Mac ctrl on Windows command on a Mac and I'm toggling aah I've learned more from you today than I expected to thank you guys that's great so ok so anyway my point was if you look at this you've got all these slices here with all those little short transients when you look here you've got a more manageable thing let's now I don't know if you need to select all but I select all and then I go bounce to new Rex loop there it is and now let's drop this guy in here and we'll expand this and when you look now remember how all those red lines we had because we had a doubly long loop that was you know instead of 5 bars it was or 4 bars it was 8 bars and I had all these little extra slices in there and so now we've got we've got we've got our things let me switch this way and I can I can start looking at ways that I can basically reimagine his Rob's little phrase you know so we could do it then as he does it you know I got I know his slice lines right so I can I could recreate what he's done but why would I do that so instead I can play around with you know trying to find other little like the weird thing with doing this is that the keys are not related to the pitch so like for example this note when I go down it actually goes up in pitch because that that's just a higher pitch slice is on that key which in some ways is actually kind of I mean we're not in some ways in a lot of ways it's kind of nice because it gets you out of thinking you can only think about what sounds good and not what makes sense on a keyboard of your ax a keyboard player that this will absolutely help you get out of your own you know habits so I just got to figure something I'm gonna try and figure out some kind of low like juggling [Music] yeah okay something like that let's let me just try that I'm gonna put that down in the sequencer I'm gonna come over here and I'm going to turn on the click and let me just see hang on Oh huh I have to turn off an able loop playback if I have if I leave an able loop playback on let me actually just make some adjustments here I'm gonna go to we go to this one now this one no this one I'll do that for now if I go just so you can see a little better this little button this up here an able loop playback if I leave this on every time I hit the spacebar see that run kicks off so I'm going to turn that off and now I can go back and do what I was going to do what was I playing something something like this let's see here I [Music] play around I might I might do a couple of different options but maybe I'll just run tape while I do this in case something happens [Music] [Music] that's the thing I keep hitting a note that I don't love let me go back for a second that should be that one can let me take a listen on that that would be an acceptable section let me just grab that for a second okay dare I quantize cool um and now I'm going to just add a little bit more vibe to that maybe with a reverb let's go to the old tried-and-true [Music] [Applause] [Music] [Applause] and I'm going to add I kind of want this too I think pump a little bit so I'm going to add a sidechain via synchronous let's set up our loop for a second here okay that's pumped in a little bit I used the dry/wet knob if anybody uses these sidechain effects on synchronous I'm using the dry/wet knob to just not pump quite so much if I make it full wet it's going to pump a lot and since a lot of the notes actually are happening on the beat it takes away her notes entirely so I'm just pulling it back with a dry/wet knob to be a little more subtle [Music] okay I'm looking in the chat and I'm seeing a request for a house speed or a 909 kick let's we'll go to let's go to our deep house and let's just take a look here I'm trusting I'm trusting in you guys this is now becoming a comment based collaboration that's something that's maybe something - I should have made note of the first thing I said this may be something let's start with this one [Music] sure most the other one there's another one up top though is just out of curiosity what's that oh oh h/ss yeah let's take a listen to this one I'll just drag that one in to swap it what do we think do we like one or two I think I liked the first one this one a little better [Music] hub Oh hub was the one wait well you guys let me know in the comments simpler the better okay well I think what you're saying is maybe you guys like not New York drum you like the hub on that verse this what do we think what do we think ah first one first one people are saying okay I got her I got to run my own race so I agree for whoever is playing along at home I think I agree with you guys I think I like this sort of classic New York I think I like that too now let's figure out we got something to do we still got Rob's original thing here let's take a listen for a second oh wait a second we got a let's create a watch i'ma call a pattern lane and I'm only gonna bring in my drum beat with mites juggle pop there we go and I'm going to mute that and I muted this wait a second what am i hearing where's that drum coming from Oh derp derp I did on the wrong track that's why this is gonna go there there we go okay now we don't have our drums in the intro [Music] you know what so yeah I kind of wanna I'm gonna honor Rob's a very excellent original musical idea by keeping it in place and then I'm thinking what we do is we like I'm gonna do a whole full bar there I'm thinking of like maybe something where we're kind of like we're gonna filter it let me see I gotta figure out which tracks these are everything except master section bat let me rename this what are we want to cut we'll call this juggle so everything except juggle and New York drums I'm going to now group I'm gonna select everything here I'll grip them I realize that groups my own so let me actually move me back to the master section and I'm gonna label myself Ryan and I'll move that over here too so now we've got and we'll call this Rob intro and now on its own it's gonna be it should be everything it's nothing where did everything go what happened oh hang on there we go I had all the track's selected when I routed me to the master section now we're going to call this Rob intro and now when I play it we should hear everything okay and then we're going to now we have that as its own thing we can jump into the rack and let's put a filter in here what are my options for filters anyone Bueller Bueller what should we do acid diode ladder filter that sounds exciting good old D filter can't go wrong classic filter they put it into the name it's a classic I haven't used this one maybe we'll let's try that I'll see what we got going on here magna sonic don't do me wrong cut off resonance okay resonance I'm going to keep low because I don't think I want a big like I don't want to hear it's that sort of frequency sweep I'm gonna make it I think a high-pass [Music] what is spice these are things I don't know and also I'm hearing what am i hearing where is that coming from [Music] on hearing me that's why I'm hearing I'm hearing the send effects separate that's probably okay you actually like by the send effects still doing their thing when as I filter up I am basically it feels like the the reverb is getting more wet which ain't a bad thing so here let me show you if we were to for example over the course of the last five bars four bars let me change the color over the course of the last bar I'm going to do a high-pass sweep and I may have lied maybe we will actually do a little bit of resonance [Music] yeah [Music] okay and now I might edit the audio too [Music] like I wanted to hang there let's have a hang there shall we I say we show so I'm going to delete that I think I actually wanted to leave even more might just be a eighth note pink Surrey's are all that off delete it yeah okay so now let's just listen to Rob's intro it should go four bars regular then it should start the sweep and then it's gonna hang in kind of empty space uh-oh we've got a troll hang on do I do I get to ban them put user in timeout let's try that okay we made it though guys we arrived we got a we got a spammer um okay well I think I got him at least put him in a timeout I wonder if there's a way surely there's a way I should have looked into this Oh hide the user on this channel there we go pink okay there we go I think they are no more okay cool now let's take a listen four bars regular then we're gonna do a sweep then it's gonna hang in midair [Music] and then then we're gonna bring in our little house jam right now I want to consider one other thing this is a I'm gonna get philosophical here for a second this is actually something I'm gonna be probably making a tutorial about coming up because it's a topic that that me and this guy Tim also at reason studios we've been discussing that we enjoy about music there's moments when we work on these grids all of our timings tend to be perfectly timed you know two bars four bars two beats four beats one measure you know it's everything is like a perfect interval because by default this is a perfectly rock-solid clock and so watch what happens when we do this little little filter thing I have it hanging for one bar and then our beat comes in like us [Music] right and it's not wrong it's just perfect and maybe perfect isn't cool or maybe it is but one of the things that happens in it when a real band plays and when you listen to albums that were being done on tape before we had these absolutely rock-solid sequencers that work and quantize and snap to grid x' and everything was perfect you tend to find these more natural breaths in music and this is a perfect example where the the song is taking this little breath and in and we can exist we can make it feel almost more traditional by making it imperfectly long so what I'm gonna do is I'm gonna click on the transport I'm gonna add a tempo automation and I'm going to basically just for one bar I'm gonna try at least this could be a disaster but I'm just gonna slow down the tempo almost arbitrarily let's go to from one from 100 to 120 and all I'm gonna do is it's just what I'm doing is I'm introducing a not correct amount of pause it's gonna be a little extra long hopefully this doesn't sound dumb but it it just is gonna make it adds that little element of anticipation [Music] so you're too mean like if I if I mute that for a second and we listen again it's gonna be exactly 1 bar and what happens is because this pulse is so defined and already in place your body will just keep clicking along and it'll feel that 1 2 3 4 and then the beat comes in and it's kind of like yeah but when you when you get rid of that when it just goes that little bit extra it causes your kind of body and your brain to go wait Wow and then by the time your brain is processed oh it didn't happen then it happens and then it sort of you know it just has a little more naturalness to tickle ISM this is without it and here it is with it we're making a little extra long [Music] see it's like a little too long and we could go the other way we could make it just a little bit too fast let's try that [Music] I should think I might like this is a little too fast maybe we could go even faster should we go even faster who's to stop us not me yeah I like that so what the heck did I just do there we go so yeah this is a that's something I'm thinking of doing a tutorial coming up where I talk about different ways to kind of add those likes the naturalness of tempo imperfection into your music to make it live and breathe a little more let's just play from the top again and then maybe we'll add a little more one another extra a little something but not too much [Music] okay now dare I you know what I'm gonna check something out here I'm gonna cheat and use a sample but I'm gonna maybe add just a little what's called an uplifter in order to do this I'm gonna need to let me just modify so you guys can hear at home while I do this can I add the finder yes okay I'm gonna just turn the finder on on my little rowdy thing so you guys hopefully you're gonna hear these as I audition them I've got these little samples of these swoops and swells and stuff these things there we go that's a nice simple tasteful one so let's drag this guy in and so now I'm going to see here we're going to modify this a little bit where I transposed it a little bit we got turned down a little bit turned down a lot more we're also gonna maybe eacute a little bit there it is this is a folder of vengence samples I bought ages ago and I just find them very useful oh yeah Ryan use your mouth for that right that's the old Adam Adam fielding specialty right he would use his nose for it let's do this a little more change the transpose a little bit and we're gonna add a reverb to it I'm kind of just mucking around with it but turn it down a little bit pull it back a little bit okay sure that'll work for now I might I might muck around a little bit with more if I were doing this in a real sort of way but should we add so we had another thing we've been at this for an hour and a half but should we add a another element to this part [Music] what would go here guys what would be the thing that we add we could add I don't know no no we could add I'm curious I got a maybe I got a figure out the key before I even were to do anything else but I'm thinking yeah the nasal riser exactly um I'm thinking I'm looking at the comments while I'm thinking which that's a terrible combo but I'm thinking that maybe I could do if I put a piano on here I know we got a lot of peanut going on already in fact you know what yeah we got too much piano go on let's does n't love complex one and we're gonna well for now we're gonna start by changing that that's pretty damn good [Music] hmm-hmm-hmm what I was originally thinking of and maybe I am still thinking of it if I go into the melodic patches thinking of something with quad note generator that is triggered from a key [Music] but I gotta figure out what key were actually hey Rob maybe if you're super clever you can tell me Oh Rob is suggesting bass I'm looking here bass line yeah you want a bass line um you know what actually we'll hang on isn't there a thing I feel like there's a thing in the quad no generator bass lines maybe let's just do this for a second about Rob if you're in the comments let me know the key if not I'm gonna grab a guitar and try and figure it out real quick I'll figure it out on the birthday boy [Music] mark says you have the MIDI file right there yes I do if I were to go in I'm not I'm so more guitar minded that it's just faster for me to grab an instrument and go okay got it you know and now I know where I am we're in it depends how we want to count that but we could call that a flat minor would we know yeah so we could call that a flat minor or we could call that B major I'm gonna call it B major am i we're gonna find out let's see how weird that goes and let's just see what happens see that jives oh wait I should probably well no let's stay on the melodic ones for a second [Music] robbed in the comments confirms b-major man vs. machine Ryan Harlan beats his poking around the MIDI file with his ear so okay let's take a look here I have to find a combination of maybe I should do this maybe I shouldn't be on complex one if we're doing a bass line I was gonna be doing something else with complex one but let's switch to monotone because that is it's a bass machine let's go to Berlin [Music] okay we'll start there let's not do it based pulse let's just see what other [Music] that's interesting wonder how that sounds with this I have to turn it up temporarily idli turn up this base maybe I will just be a regular human being and play it myself instead of using a player I still need a little bit of a different sound though hearing it with it so many subs let's do this we're gonna put a scales and chords in here to keep me honest be major okay johani says the mr. fingers patch does he know something mr. fingers was here let's check it out you honey I think you honey just just got his way into a three-way collaboration here between me Rob and himself let's see here [Music] no honey you're fired no it's a fine pet it's not doing it for me let's see I think there's there's that tricky thing with patches where it's like what is what is interesting on its own and what works with the rest of the the track playing along d-flat reg Mon music says D flat minor works better I'm sure someone can tell me the modal reason why that is the case let's check it out I actually don't I would think that there is a there's a couple notes there where that's not going to be the case but a couple notes where we'll be fine [Music] guys am I going crazy or is it tuned a little differently let me just make sure I'm up okay that's not that's not tuned weird it smears that I can't I kinda want it to be there yeah when I play a B I do believe it's not quite in tune why is that I don't know maybe our I was checking something I'm gonna I'm not gonna I'm not gonna lay blame here at Robert Robert something you may want to check if this is true is that the the master tune people bump this I've had this happen all the time people bump this master tune it'll be like that and now all of a sudden you're 61 cents sharp and you won't notice this because you don't live in this setting but all of your since everything will be wrong and it'll drive you nuts so everyone out there like if you've got reason open just double check that your master tune is actually set to zero sense because you can save yourself and your collaborative partners a heck of a lot of trouble there but in this case my connection is correct so I gotta wonder if maybe it's possible the Robb's was not so much but let's see is there a way we can compensate for it here uh well I guess I could be wrong of me to purposely master tune off let's see I am gonna go back to me major not that that's going to help us here but they all sounds more ok maybe it was my maybe I was wrong when I watched this back in the stream I'm gonna go Oh cuz I didn't put it to D flat I put it to D minor but something like that what are people talking about but somehow someone's pantsless I'm not pantless your panceliss [Music] no it's not doing it for me guys that's not bad that's not bad looking [Music] [Music] something like that [Music] let's put that down and work from there best bassline ever No [Music] I did not record enable that's for the best [Music] let's go from there you're definitely gonna quantize that one and we're gonna fix this little bum note I'm gonna look at the second half of that get another bum note there let's fix that and let's just make it slightly less bad [Music] how low do we go this low put that one in here too let's say that's the basics of our blind now let's consider for a second our sound I'm going to solo our baseline and I see a request for a finger bass was that mr. fingers is that we're talking about I think that's what johani suggested once again try the reason finger bass patch alright alright everyone wants finger bass are we talking mr. fingers are we talking finger bass let's take a look maybe we're talking about something else okay there's not one called finger bass so I'm gonna assume that all the talk of fingers is mr. fingers okay this is your next shot I mean let's listen doing the thing you guys really swear by this one huh [Music] okay if this is what you're suggesting I'm seeing calls for FM puck bass as well FM pluck bass let's take a listen and I see mark is saying it's in the factory if I do a search for finger bass so we're gonna find something finger bass there's three of a mark for technically but let's see electric bass electric bass and synth bass okay so we're gonna let's let's try them [Music] mark what have you done to us mark I know that's not what you were suggesting but I'd love to believe that that is what you really were suggesting that you're like you know we need this bass needs to sound more like a quacking duck [Music] perfect it's perfect you're welcome DJ DivX oh my god well that is uh I'm assuming that's not what Mark had in mind let's pop this one on it's the only other finger base of your last shot mark ah I bet you this is the one he was going for okay I can understand where it could be the place that we build from but let's um I'm gonna come back to monotone for a second because there was a couple in there that were kind of worth I was starting to understand to those that were suggesting who was the one again mr. fingers it's got a like that that's a very sort of 3:03 style thing which to those of you watching over in Europe and into acid house I could see that this has some of that acid house ish quality you start doing this little sample juggle with a little 303 and a could go in that direction certainly and then there was the other one was the other one that was working for us doo doo doo doo doo I lost it they had another one where I was like oh that's like a thing it was a sort of German name aren't all the base patches German names was it red so no I don't think so that's not German name no although you know we could shorten the release on this one Obi [Music] there's a lot of directions we could go with this I'm gonna go back to just in in honor of Johanna I'm going back to read fing to mr. fingers there's a lot of directions we could go with this and there's more things that that people could and should do with it if they you know if they were collaborating with Rob in my world where our stream is kind of already passed to the time that I expected to be on with you guys I think maybe we'll we'll call that our our jam here let's just take a look at what we did we took Rob's very excellent starting place we ran it through a filter that was closing up so we got a high pass filter build going on which we then cut short so that the reverb tail lasted for a not correct mathematical amount of time before we come in with a sample juggled version of that same part [Music] so okay that is I think where we're gonna get today I'm going to make a couple of adjustments there turn things down and muck with it and then maybe I'll attempt to play myself out can I do that let's see how this works this could all go so wrong I make Rob intro well here I'll make this this this this and this into a group now if I turn this down can I turn that yes okay good so I will attempt to say goodbye to you guys with that going it's been fun it's always fun and I hope you guys had fun today come back next week because we're gonna be back next week next week we're gonna come back I'm gonna have a guest next week TBD as to who that will be we'll make an announcement on that but that will be yeah I will have someone on and we'll take a look at some of their music maybe you've heard of you've heard enough of me for a little while fumbling through bass lines but I hope that you guys got a couple of cool things out of this certainly the the playful nature of sample juggling that is a thing that I almost think unless you're so sample minded you tend to not think of doing that you can just bounce you don't have to go out import audio do all that so you can just bounce the master fader to a new track in your song and go into slice mode and start chopping up slices in order to make your your sample and then load your sampling just like we did here and it makes for a fun way to kind of play with ideas that you have and also can be a way if you're stuck like I don't think Rob was particularly stuck here but he had an 8 bar thing and then the idea is where do you go from it and this scent can send you off in a whole new direction and in fact you could you know if Rob and I were working on this we might drop into this sort of house vibe and then we might go into kind of a a breakdown where things get all kind of pad vibey and stuff and maybe we'll bring in his original and then we build up again and then we break and then we go back to the sample juggle so there's you can go back and forth between those anyway I hope everybody had fun come back next week we will do this again mark my words and I hope you guys make some music in the interim and shoot us you know tweet us or send us stuff tag us on Instagram do all the normal things to point us towards what you guys are doing this week particularly if you do something with the idea of of this sort of Rex juggling of your samples or if you can send me a better bassline than I wrote that won't be hard okay alright guys have a great week always enjoyable I'll see you next week [Music]
https://www.youtube.com/watch?v=Jv4dAQ2D1I0	# YouTube ## Create rhythmic melodies with NN-19 #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, nn-19, adam fielding - Runtime: PT0M42S ### Description Ready to make some rhythmic melodies? Pick a sample, open up NN-19, pair it with a Matrix device and add some velocity. Perfect for getting those bouncy ideas going! Watch full video with Adam Fielding's top instrument picks here: • Top 8 Reason Instruments: Adam Fieldi... ### Transcript set the velocity to affect the sample start value by 51 here so every time a note is triggered the velocity of the note will affect where the sample starts so by just making that one simple change and programming this simple Matrix pattern we end up with something that sounds like [Music] this and then you can adjust the sample start further so it's just great for getting those sort of little bouncy ideas going
https://www.youtube.com/watch?v=D-rqY2WsMwg	# YouTube ## Cyra Morgan at Home with Balance ### Video Metadata - Keywords: Propellerhead, Balance, Reason, Essentials, Software, Cyra, Morgan, Acoustic, Indie, Singer, Songwriter, Folk - Runtime: PT4M41S ### Description More info on Balance: http://www.propellerheads.se/products... Acoustic singer/songwriter Cyra Morgan is about as new as a debut artist can be. How new? She's using the same pick she started learning guitar with on day one. She hasn't changed her strings yet because she doesn't know how. But these things don't concern Cyra because she's soley focused on one thing: Getting out the music she's heard in her head for 20 years. And in that regard, recording at home with Balance and Reason Essentials has been nothing short of liberating for her. We visited Cyra at her cozy New England house where she's put together a modest studio to capture her ideas and to hear one of her latest songs, Beautiful Madness. ### Transcript [Music] where have you come from how do you know just what to say what to do now my heart is exposed I've had these songs in my brain for years and I can hear it I can hear the whole thing but I couldn't even play guitar I think for me I had to keep reminding myself that it was baby steps and that I wasn't going to learn it in a day but as far as doing my own music this past January has been the first time that I've actually put it out there for anybody to hear realizing okay I can do this it's not impossible so please oh please be gentle with me oh please cuz I'm strong but I [Music] bleed I think the thing that blows me away more than anything is the liberating feeling of being able to depend on myself take it was just so [Music] awesome I think I've always wanted to get it out there I think I just never really had the means to do [Music] it must be insan I was using a different interface B just feels tighter you know like it feels simple and um it's almost mindless it's just there and it does what it's supposed to do you know and you don't really have to think about much it's just there and it [Music] works it's awesome [Music] you so please oh please be gentle with me oh please cuz I'm strong but I bleed so take [Music] he take he the clip safe button takes a huge weight off of my shoulders because when I sing my tone is pretty soft a lot of the reason why I've had to be really careful is because of the clipping on the mic I generally have to be so close to it that when I do put strength into it it pops just right away so the clip safe was awesome I didn't even have to worry about it which is great because that gives me more freedom to be able to sing the way I can sing and not have to be so careful about the volume oh hold you tight but please oh please I prefer to just kind of get lost in it and not have to worry about it I sing better that way rather than having consciously worry about [Music] it but I plead take I feel like I'm not the same person even just from a year ago to have had the means and the ability to do it it's just changed [Applause] everything it feels like a whole different Universe you know it's it's amazing [Music] ah [Music]
https://www.youtube.com/watch?v=Ei2jvY25Wvs	# YouTube ## Freeze Feedback – Ripley Space Delay Quick tip #shorts #reason13 ### 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, sharpson, ripley space delay - Runtime: PT0M58S ### Description Get hands on with the new Ripley Space Delay together with Sharpson. Watch full video: • Video ### Transcript another feature we've got is the freeze feedback okay so let's just say you and I always use this let's say if you've got your delay uh doing some crazy sounds but it's over 100% you kind of want the crazy sounds but you don't want it to be feeding back into itself you can just freeze this so I'm going to edit automate here right click automate and I'm just going to activate the freeze function and I'm just going to make it slightly before the drop so you can kind of hear it in full [Music] and you can hear in the background that is still going that sound is going to still go on forever now cuz it's frozen okay which is super handy because sometimes you want to get that sound but if you have your delays over 100% it starts to feed back into itself
https://www.youtube.com/watch?v=sQ8Ogk8Xuqc	# YouTube ## Arabian Prince interview, NAMM 2007, Propellerhead booth ### Video Metadata - Keywords: Propellerhead, Software, Reason, Arabian, Prince, NAMM, 2007, N.W.A - Runtime: PT7M42S ### Description Being one of the founding members of legendary N.W.A and one of the poster names of the 80s west coast electro scene, Arabian Prince does know a thing or two about production. ### Transcript hello everybody I am Robert pointer I'm a propellerhead here at the winter namm 2007 we are in the propellerhead booth very happy to introduce Arabian Prince very excited for that thank you so much for being out here with us today of course of course so let's give a little background I mean a lot of people know who you are but I think it's worthwhile to talk about some of your history and where you came from one of the first DJ's on the west coast back in the early 80s so I'm showing my age producer couple of a supersonic member of the group NWA with great you but all those guys and I'm also known as Professor X donut electro scene right and just all-around nice guy of course reason we like that and so based on what you've been doing in the past now you really doing a lot of new things based on your experience now what are some of those neat things that you're doing now well now you know I started the video game company and I'm using reason a lot to do some of the music and sound effects in that because it's really cool is portable and I'm able to you know do a lot of the stuff in different locations than being stuck in the studio and all of my you know new school electro stuff that I'm doing around the world now is you know one hundred percent of reason a lot of people don't believe it but I'm using reason exclusively now because it's just an easy tool used I'm still able to get the sounds that I want out of it right right so and in fact I think don't you have some records out on Sloane records i think that holds on in reason right i have a couple of songs out on cologne record static and remix with one of my innovator songs from back in the day released on flown make both of them went to number one also i just signed a deal with on stone show records my buddy peanut butter will right and we did a couple of remixes and reason and I'm actually going to complete my professor x album and a couple other projects in reason for snow house that's exciting so so I know a lot of people that come here and they hear you talk and I've heard you actually talked a few times i'm always impressed by the sort of where you came from it and i think it's important if you could talk a little bit about when you said you know reason this is my tool yeah as opposed to all the analog gear and everything i've been using where ya can again well like I tell people always joke about it but it's the honest truth one my electrical beer was too high from all the analog gear because you know once you get it set up and get it working you don't want to cut it off because once you cut it off it may never cut back on right for one day you'll cut it on all sudden you've got this ground hump right where did that come from or you know yeah reason I don't get that it's just there another reason is you know yeah I like cleaning the house and doing work but I'm not a maid and I don't like dusting and you know every day you got to dust off your equipment that stuff all your gear so I heard that as well right but the main reason I switched the reason was when I found out that I could get the same sound you know I didn't think I could it person like how could I do it but as I listened to the software sense and I listened to the drum machines and the samplers right man this is really a powerful tool and did some tests I did some stuff analog did some stuff in reason and you know the only difference i could tell is it sounded better right so that's when I was your the hook awesome now I everybody sort of reason is you know ultimately configurable based on what you want right and and one of the things that we always notice when we see different users everybody's got the reason rack configured in a certain way so our question to you is what's your reason rack look like well it was funny I you when i first started my okay i'm gonna build this rack and i'm gonna save it so every time I load it up I've got it right now I'm just kind of like okay it depends on my vibe of the day but always I mean every single time it's right click mixer right click drum machine because that's it I mean back in the day that's all it was it was like okay turn on the drum machine make a beat now gotta beat do some music you know I mean so the same thing here is for me as i put in a mixer add the drum machine and then I just go from there get the vibe in a groove I want you know the tempo and then I start building the music you know yeah so let me ask you in terms of reason we have the Combinator get an awesome strength since then but you know things like that do you have a favorite you know patch or scent or even it well like I said it's just it's just a force of habit you know it's like subtractor is always the first one I put in and I'll you know do find a nice bass sound in the subtractor and if I can't find it in a subtractor that I move the mouse trim but it's always seem to find something in the subtractive right right yeah you know I find something there and then i'll use the mouse room not because it's different or because I'm like okay let me just alternate here this yeah you know it just allows me to just create and the cool thing is I'm able to use so many different you know sense and I can go into the Combinator and do all kind of cool stuff as well at home I couldn't do that after like oh ok now i gotta hook up this keyboard make sure that the pay midi channel you know a headache okay okay so I do you have can you show us maybe just an example of what an Arabian Prince setup looks like our boarding your songs this song is one of the songs that was actually released attic and pretty much how I started like I always start with a mixer as you notice here I try to get away with his fewest tracks as possible okay because I'm lazy I don't want to do much where I'm gonna get it done so you know you notice here I've only got one mixer so that means I've only got 12 tracks of stuff in here and this that's that's pretty much it we're actually 14 but um you know God much not throwing my my I throw my mastering suite so I can start tweaking on my final output right as I go along I've got a couple effects in here after all and you know their help affect my bass lines or affect my drawing matches and stuff like that always have a little distortion going on it kind of just grunge it up just a little bit give it that little sound then I throw my drum machine which no matter what drum machine hatch I use you're always gonna find some 808 sounds in there somewhere never i don't think i've ever done a song that didn't have at least 180 a so let's be clear about this right you you you had or you still have something like 680 age but they're just archived right yeah I'm are you taunting my and I've sampled all the 808 sounds okay and when I actually do a drum pattern I'm telling the people out there this this is a secret and if you use it when our problems you'll have to pay me know right on for the most part i sampled on my 808 and when I do my drum patterns I use more than one drum whatever one bass drum let's say so because an 808 is an analog piece of equipment right so I recover that drum kit hits it's a different drum sound it's not that same you know digital drum kit it's a analog hit so it may be boom this time and it may be you know it depend on how close the 808 kicks are together right so what I do is I actually use five or six or eight different bass kicks in one sequence I should give it that analog bill and it actually makes it sound better in a club or a record so so I just want to again thank you for coming out to damn and representing for absolute having me out here we're quite honored to have the Arabian Prince yeah thanks for having me enough now can I eat I mean good eatin ton of my dollar but hey yo cheap thanks again everybody this is not Raven Prince I'm Robert pointer director of US market for propeller a sexy soccer talk to me
https://www.youtube.com/watch?v=N9M5FPEiStE	# YouTube ## Trip Hop Drums Tutorial: Return of the BOOM BAP 2021 ### Video Metadata - Keywords: Propellerhead Software (Business Operation), Reason (Software), Beatmaking, Music making, Music Production, most beautiful of trip hop, trip hop mix 2021, trip hop 2021, nujazz, mononome, hugo kant, kognitif, downtempo, hip hop, music production tips, best of hip-hop music, mpc 2500, mpc 2500 se, beats&drums, lofi, trip-hop, return of the boom bap, free boom bap type beat, free boom bap rap beat, hard underground boom bap rap beat, underground boom bap rap beat, bookie belgique - Runtime: PT10M22S ### Description For more information on Reason: https://www.reasonstudios.com/en/reason Ever since those Portishead folks in Bristol found the magic that happens when you pitch a drum sample down and bath it in gloomy reverb, Trip Hop has been one of the most popular genres for people learning to make beats. Trip Hop, boom bap type beats, lofi-hiphop and nujazz from the 1990s seems to still inspire trip hop 2021. When we got requests to cover Trip Hop in this tutorial series, we wondered what people were really asking for. Trip Hop is a sample-loop based genre that doesn't require too much production wizardry, if you don't' want it to... In this tutorial, however, we'll cover those basics but we'll also delve further into the sound design theory that lies behind those loops so that you can create your own custom Trip Hop sounds and beats. For the nerds: We'll get down to the nitty gritty and you'll even learn to emulate that signature trip-hop MPC 2500 shuffle. ### Transcript I must admit when people overwhelmingly suggested I cover trip-hop drums in this tutorial series I was confused because honestly, a trip-hop-tutorial should be short and simple. Here, let me give you the tutorial I expected to make: Trip-hop drums came about when entire beats were lifted off vinyl and simply looped under songs. So let's do the same thing using the "Factory Sound Bank"-loops like this one from The Bomb Squad. Now I'll do two classic trip-hop techniques. I'll pull the loop out for part of the second measure and I'll place two razor marks on the last measure. One on the last beat and one just before the first beat. Then I'll juggle the loop by shortening the clip and duplicating it twice. Let's take a listen with this track that I have. That's all there is to it but when people were requesting a Trip-hop tutorial I don't think they were requesting this so I want to make this next point very clear: Loops are 100% okay to use and don't let people tell you otherwise! Despite their stigma loops are the sound of trip-hop drums I would take it as the ultimate compliment if everyone stopped watching this tutorial right now and just went and made trip-hop using this method. Ferris: You're still here?! Ferris: It's over! Alright I get it you want to understand the lo-fi gritty sound of trip-hop and make your own loops okay we'll do that but just don't ever feel like that first method is cheating or unprofessional because it's not okay. Trip-hop happens in the slow tempo ranges between 60 to 90 bpm today we'll work at 74 bpm. Let's make a custom kit by creating a Kong Drum Designer and clearing it out for the kick drum. I want a trashy kick with a deep boom to it. Let's actually revisit a technique from our deep house tutorial by using one slice from a REX-loop found in the "Abstract hip-hop"-folder. I'll expand the loop and drag the first slice onto pad nr 1 of Kong that covers the trash but let's enhance the boom. In previous tutorials, I've shown you how to layer drum sounds in many different ways let's cover yet another method today by expanding Kong's drum and effects section and clicking add layer on our nana nano-sampler module. You can see our row is now twice as high with an extra space waiting for our next sample. It's the sampler equivalent of an in and out double double, so let's double click the second layer and browse other REX-slices this time from the "Down South"-folder. Let's do the same process for the snare drums in the "Hip-hop loops"-folder there's a beat called Black Talon which has a nice trashy sound and just like our kick drum let's also make this one a double double by adding a layer and bringing in a little woody sound to this snare. I'll go for the snare sound in "Peach hat" found among the Abstract Hip-hop-loops. I can adjust the volume blend turning our Peach Hat-layer up by adjusting its individual level control. Let's put a ride symbol up in the corner of our pads. Nothing fancy needed here just ride to rare in the Re:Drum samples-folder. I also want a shaker sound to fill in some rhythmic top end. So far we've been using REX-slices but let's place a whole REX-loop onto pad nr 15 - like these Kishishi-loops. Now every time I press the pad we get our whole loop in perfect time. At this point, it's worth talking about the sound of Trip-hop drums. These samples are cool but trip-hop drums have a quality of being under a blanket that's in a very large echoing room. It's a weird texture that gives Trip-hop a lot of its vibe. In fact the effects processing of Trip-hop samples is arguably more important than the sample sounds themselves. To create that very large echoing room part of the sound let's choose the "Room Reverb" on Kong's bus effects. I want the biggest size room we can get with a pretty long reverb decay and because we're on the bus effects I'll max out the wet/dry balance any one of our pads can now be sent to this effect by selecting the drum and dialling up its bus effects send knob. Send just a little signal and the effect is more subtle - send a lot and the effect is more noticeable. The reverb on our snare should be noticeable. One last key adjustment if I dial the width knob all the way back, our reverb will go from a "too realistic-stereo room-emulation" to a more triptastic mono style for our mono snare. That's the reverb. Now let's do the rest of the Lo-fi sound to dirty up our drums. Let's add a Pulverizer effect to our signal chain by dragging it into our rack underneath Kong. I'll modify the default preset dialing back a bit of the squash turning down the dirt backing off the low pass filter just a bit and minimizing the peak and let's also make our loop sound like a vinyl sample by thinning out the drums using a filter on Kong's master effects section we'll set it to high-pass. Turn down the resonance and set it to a low frequency so it's just cutting off the big "whoopee"-frequencies in our sound. Last but not least let's add an Audiomatic Retro Transformer to our signal for some crackles and pops. We'll dial the wet/dry balance to a tasteful but audible amount there. You go Lo-fi trashy big sounds there's only one issue the snare drum is big dark and epic but I can tell that it will get tiresome to have that thing blasting off twice every bar. A classic trip-hop workaround to this very issue is to have two snare drums: One epic - One crisp. For this next snare let's start with this absolute sample in the Kong folder. To make that even crisper, let's shorten the decay on the sample. I really like the side stick clicky quality to this drum in fact let's enhance that even more with another layer. I'll search the factory sound bank because I know The Bomb Squad has a side stick sample that will probably help there. It is in addition to adjusting the volume of each sample layer we can also adjust the pitch of each layer too. Let's make a piccolo snare sound by pushing the absolute sample up in pitch and pushing its volume up in the mix to give our "crisp snare" a little more grit. Let's add one of Kong's effects on "effects 1". The overdrive will saturate our snare nicely but too much and our snare loses its attack, so let's pull down the size and dial back the drive. To help enhance our crisp attack even more, let's add a compressor on "Effects 2". Let's also send a little bit of this snare to our bus effects reverb without these effects our snare is too sterile with them on its own, just enough to gel with the rest of our kit. Now we're ready to program our beat. Triphop's soul often comes from fairly steady elements mixed with a busy kick drum, so let's draw in the steady elements: Ride symbols on the upbeats, a note to trigger our shaker loop at the top of the bar and snare drums on 2 and 4, but instead of the same snare drum each time let's use our epic snare drum on beat 2 and our side stick on beat 4. and now the kick drum in trip-hop, that's where most of the magic happens in the groove. A totally basic kick drum pattern will play on beats 1 and 3 but as you can hear there is nothing trippy nor hoppy about this beat. It's the 16th notes surrounding these beats where our kick really shines so let's add a few more kicks on the sixteenth notes leading into beats two three and four and on beat three let's also toss in an extra kick after the beat. Okay well, we've programmed our pattern and we've designed an epic drum kit sound... So why does our beat still suck? The answer lies in what is probably the most important part of Trip-hop: The Feel. Trip-hop has a very pronounced shuffle feel. So let's rescue our beat by routing our sequencer lane to the groove mixers A1-channel and opening up the groove mixer to load a good shuffle. Feel the MPC-grooves are classics so let's load a fairly heavy 65 shuffle: Way better. Let's duplicate this loop and bring in our other instruments. Remember those tricks we did back in the very beginning by dropping out the loop and stuttering the beat? Well, we can do the same things here first by muting our mixer channel and I can program any pattern variations I want to my beat, to give it that stuttered feel. So you can see there are two ways we can make Trip hop drums using loops for a quick and traditional method or customizing our own kit and using plenty of sound design tricks to arrive ultimately at the same destination. Sure this second method gives you way more control and it might be the right method for your music but just because something is complex doesn't always mean it's better! I can think of plenty of cases where the "loop-method" is the better choice! But the beauty is that's up to you to decide. So good luck and I'll see you here for another tutorial!
https://www.youtube.com/watch?v=dvGzG5VCZsA	# YouTube ## Trovarsi & ALX106 Reason workshop @ ADE 2024 ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT32M39S ### Description We had an absolute blast at this year’s Amsterdam Dance Event, soaking in the atmosphere and connecting with fellow music enthusiasts. It was so much fun to see and meet so many curious minds stopping by our booth to explore what’s new in Reason 13.This year, the spotlight was on the heart of Reason Studios - The Rack. We immersed ourselves in The Rack, chatting about how our devices and the Rack metaphor opens up endless possibilities for crafting unique sounds and enjoying Reasons fun workflow in any chosen DAW. A playful and musical way of exploring music making and production- whether you’re an upcoming producer or an unestablished artist. Speaking of established artists, we were super stoked to team up with artists Trovasi and Alex-106 for their workshop, "Together in Sound - Live Techno Performance Techniques" at Mappa Soundbar. Their insights on real-time interaction with instruments for dynamic performances was very inspiring. Showcasing how to integrate Reason with hardware and modular synths, they showed the similarities and references to how our Rack and workflow is designed.We also teamed up with Novation to showcase all of Reason’s devices and sounds alongside their new LaunchKey MK4. This combo is a blast for anyone looking to expand their workflow. Sign up for a 1$ one month Reason trial here: https://www.reasonstudios.com/get-reason @Trovarsi @alx-106 00:00 intro 02:25 Reason as DAW and VST 03:23 Best things in Reason 13 04:18 ALX 106 setup 08:34 Trovarsi setup 13:14 Using Reason effects live 18:10 Playing together 27:00 Q&A ### Transcript [Music] what is up everybody Welcome to uh reason 13 at ADE we're going to get this party started that's right my name is Trovarsi and I'm a live modular techno artist I use hybrid setups and I'm a composer I live in Los Angeles I'm based there and yeah I've been doing this for a number of years now so the setup is always evolving and we'll get into what it is today so yeah um yeah my name is ALX 106 that's my artist name my name is Alex and uh I also am a Live artist I also am a producer DJ all of the things but primarily perform with modular synthesizers in one way or another um Trovarsi and I have been playing live as a Duo for the past like three four years now um whenever we can make it happen which is super fun so we don't live in the same cities um and uh we don't even live in the same state and so we like some sometimes we like send stuff back and forth when we're like producing stuff for the but for the most part we like show up maybe get 10 minutes in a hotel room to make stuff make sure things work and then we go out and play and so we're going to talk a little bit about how we're doing that and how we're using reason 13 as a plug-in in order to do that all right so yeah reason 13 it's been it's been a number of years now yeah it's been 30 years yeah it's pretty awesome yeah it's amazing so I mean I know you started off using it pretty it's been a number of years yeah it was really like reason was my introduction to electronic music really like as far as creation goes um when I was in college and like I'd been playing in bands forever and then I played piano and things and I wanted to learn how to do electronic music and I didn't even know you could plug a keyboard into a computer and make a keyboard sound at this time it was like oh my gosh and I took an electronic music course at school and reason was the first thing that we got to do so I was like oh my gosh this all looks like Hardware it looks like familiar but stuff that I'll never actually be able to own like this is so cool and now like I'm using that still along with this back in the day you had to do it with um like rewire if you wanted to record it to Protools and now um it you know it is a fully-fledged DAW but you also can use it as a VST which is where I come in and um that was my experience uh getting into Reason Not only using a standalone but also being a person that uses multiple Daws like logic Ableton Bitwig in that case that's what we're using today um it just opens the world for for everyone to have an opportunity to try it in different different arenas that way so today that's how I have it set up which that's what we'll get into yeah we'll talk about the new stuff quick oh yeah so yeah and new and oh yeah go ahead Ripley absolute favorite yeah delay/reverb combo we'll we'll show you a little bit of details on that and then Polytone is a cool synthesizer it's a like dual layer to oscillator synth it's basically like I don't know CS80 in a box and you can do lots of cool sound design stuff with it and then you know the upgraded browser has just been huge for me because like you can just straight up go in and search your entire computer for anything that might have tags so it's like I want to clap boom go there grab it and you can grab stuff from all over the place as well as all of your packs so super easy to get around now all right so let's kind of get into the setup why don't you why don't you start with your you want me to start okay yes it's not like we planned it or anything um oh yeah so basically I'm using um like I said I'm using like a little bit of Eurorack and one of the reasons why we both are going into this hybrid setup is to save space we used to play together with two we each had two of or you know two of these kind of stack backed up so 12 U is what that's called worth of modular and so now I'm in 6u of 84 HP she's in 6u of 104 HP um and so being able to shrink it down has been really nice and so in order to do that I've offloaded my sequencing into the OXI 1 sequencer here and so this is my main sequencer um doing pretty much all of it in here and so I've got my drums channels here and the drums are actually going to be like our our are sequencing things an instrument inside of the computer because that saves me a lot of space that way and then I've got the modular for other voices so on my computer here um if we go into the drum Channel you can see I have this instrument selector here and what's nice about that is I can basically have three different racks set up and so right now like my focus you can see is going to be these these four top channels when I'm playing with her because she she covers the drums and we'll go over that a little bit more later but I do have some drums in here just for my own reference when I'm jamming by myself right and so in these I can choose these different drums and just get different sounds with the same sequence which is really nice and so for that I'm using uh the reason rack and you can see I've got the UMPF drums here um and one thing I love about these is they have lfos you can route to pretty much anything so if we go up here it looks like I'm clicked on the one we're not hearing so we'll go back do that and so you can see I've got a mixer up here and if I wanted to what's nice cool about reason you can see we've got a really familiar interface here but if I flip the rack over you can now see we've got the backs of the devices as well so I'm using this mixer just as a send and return um what's cool is I could split these out to separate outputs and I could have all the different drums going out here and then have sends on all of them if I wanted to but you know just a single one is nice for this and then I've got two sends and returns here you can see one's going through a filter then a delay one's going I'll flip the rack so you can see them flip uh so we've got a filter and a delay one's Reverb so this is the filter with the delay and then over here we've got the Reverb with a little bit of side chain a little bit EQ to just make it sound better so ring of the kick we got a little thing maybe I'll mute the clap cuz that's not what we want right and then I've got the EQ so in case I accidentally do turn this kick on it doesn't go through you know so that way we just get less stuff there and then moving on I've got a bastel pizza for base so a lot of times for this kind of stuff I'll just leave this base really low but one of the fun things about it is I can run just change the tambers super quick just on the panel and then running it through some effects is a fun way to go with that I'm not hearing my uh sounds right now so I will have to fix that in a little bit um but then yeah over here we've got the uh the legion voice and so this is the next one this is usually my just kind of like weird sounds voice and a lot of times it's just like I just kind of run something like this again what on here see if I can find my chain here what's going on my routings might be might have to come back while we show you your stuff all right I'll jump over here yeah cool all right so I'm just taking a look at my setup right here I'll kind of walk you through the signal flow first um so I'm more hardware heavy and we'll get into the effects of how they're run through the through the computer through reason but I have two Digitakts uh so on the first or on the second channel here so I mainly do a lot of drums and like sort of like the like those core elements that carry the undertone of the the Techno beats of the percussion on this one I'll have I tend to duplicate the project and then that way if there's something that I want to accentuate in that specific pattern because how I work on the Digitakt is I don't chain patterns I I create different ideas per pattern and then I use different banks for different styles of music so um this gives me the opportunity to a either pull up just a specific track like this one is just going and play with it affect it use you know turn the knobs and see what other uh tambers I can get or I will pull up a completely different pattern and then use that as a transition and we'll show you that a little bit later and you you can see I have a delay on a delay but I go delay into a phaser I'm using the Ripley delay and then I have a little bit of LFO and I have two compressions on there just because as you I'm sure you know that modular effects can get kind of wild so anything to kind of help uh control that a little bit and I'll let you kind of hear what that sounds like so if I open this up pull that so that's just like a boring dry [Music] sound so now it's running that this oscillator that you first heard is now being routed through those effects that I mentioned earlier then that chain so that's why it's going in and back out to this channel so and then just to kind of show you here how I set that up it's just now you can see this how the effect is metering right here that is also being routed into the ES9 and then I have an aux send on the hardware mixer in my rack and so that's why I'm able to control it from the hardware right here so the reason why I did that is a I love this mixer I the reason why I play live is using it having this tactile control this immediate and also to carry one less MIDI controller it kind of kills a lot of birds with one stone so you kind of pull that for a second how how are we on time we're good we're going good I'm I'm back I got my stuff so I can talk all right cool well I might as well just finish yeah I know good okay cool um and then I have let's see what here I have this other effect let's see where is it at so we'll kind of turn that back on so just kind of give you a little [Music] and then this still gives me the opportunity to use the master that I mentioned earlier and just kind of wash things out and for me it's just like getting these weird little tones going and then playing with reverbs and delays and see if you can get some sort of poly rhythm thing moving and just kind of have it naturally move in the room and and just listen and turn knobs like mainly I like to turn knobs here okay like like that's so anywhere obvious um yeah just to keep going just like a little bit more on my setup so I had this sound that was getting really annoying right right here and then we just add the Ripley delay on there maybe turn the filter down a little bit and then I wanted to show this send really quick cuz it's literally nothing it's just the Ripley and so the cool thing about this guy I mean there's so many cool things um but we've got the digital section here which I have an LFO routed to the rate so that's why we're just getting a little bit of movement in that sample rate reduction um we've got some noise in there just to dirty it up we got a tiny bit of distortion and then the Ducker is really cool because this basically says when the signal is happening the delay is going to get uh ducked down and then come back up when the signal's not there so therefore it doesn't just get in the way um I could set this up to have like more control over it but I actually just like the set and forget uh feeling of this one just turn it on sounds pretty good um and then we've got this reverb over here and the reverb is and then I've got this switch here for this Pulverizer that I can turn on and uh didn't plug that in yet so we're just going to do it manually but we get this just kind of cool filtering sounds over the Reverb first and then again the side chain tool just to pump it a little bit so this is just another really nice texture and when we've got both things rolling like this stuff going maybe a kick drum this gets really nice cool texture stuffs like right away and um when we're playing together it's a lot of fun for me to just kind of like make atmospheres on top with just one note you know it's like I'm not sequencing anything it's just a and it's boring when it has nothing going on but when the effects are on it's pretty cool and then the last thing I wanted to show real quick was my reason channel so again I'm using the Bitwig um instrument w which I just love to be able to go through different sounds and so I've got this guy here which is the grain so if I just go into the keyboard mode over here on number three I can just play something and turn it up so this is just like some weird sustained ride so this is like symbol uh scratches and that just goes going through reverb and delay just a nice extra texture and then we've got this next one is the first thing that you heard and so that's this like old school movie style of making just like really big impact moments of just taking a trumpet sample on like an old school sampler I've got a little bit of um uh distortion and then again its own reverb so it can have its own thing and then that's just like you pitch down a trumpet and you have immediately Terminator 2 coming after you my favorite and then yeah I've got a pitch bend on this guy which I just figured out a little bit ago which I'm excited about so I can really go for like that Titanic like and it's just this like huge cinematic sound that we can use at big input like at big drop like um breakdown moments so we go high pass some stuff out get some big big moments going on there and just add a bunch of tension with something like that next one more tension this is like a drone that I made on the SP1200 or on the on the uh 2600 the ARP 2600 and then it's just running in the grain again this is like I love this grain thing um this screen plugin and then a little bit of distortion and then into its own Ripley again so that way I don't have to think about it I can just hit some buttons and just make some really big moments happen it's just sounds so cool and then um the last thing is just like a little baseline so if I want to program just like a super simple bass then at that point that's where I turn off the effects and like and just play something like that loop it let it go yeah I mean I can so do you want to talk a little bit about just playing together and some transitions or yeah so I mean like did you talk about the did you talk about this while I was freaking out inside of the computer yes I gave the signal routing awesome so yeah it's uh yeah the next thing is pretty much just like how we play and um like one of the first things that we like to do is just kind of clear the air um just depends on really who we're playing with when we're playing what time all of that but a lot of times you know it's like just going mixing into somebody as a live artist can be a little bit of a shock or um just sounds different right it's like I can always as a DJ I can always choose a track that sounds in line with whatever else is going on but as a live artist it might just you know you might have a little bit of a different sound so starting out with just something like this guy has been good for us let me see there we go and so this is again just a big drone that I made and it's nice to just kind of like say like okay this is us now like we're starting we are taking over and then we can kind of hear how loud the subs are how loud everything is and we can kind of get ourselves ready you know like I think I turned this on took my sweatshirt off accidentally took my shirt off behind the DJ booth that was super fun at our last show um but then yeah now you uh explain what you where your next step is and at this point I'm typically thinking like okay how do I want to start to introduce the percussion and I it depends on the show like sometimes we'll just go for it and just go all in um but you know a lot of times we'll just kind of build that tension let that is is filtered out right now like high pass right yeah we'll let that go maybe a little bit and by the way this drone is like 7 minutes long and it's looped so it's just like just let it go so we can yeah work it in and so maybe we'll bring in some high hats or just I think at some point we might talk you know we do talk to each other a little bit like hey I'm going to try this thing you know and or like I might be like okay I'm going to start taking the drone out right so I can do that on my on my Launchpad but I just had my hand here so we're just going to pull that out and now that when that's gone that's like okay now we're partying so it's like I might need to bring in that bassline we're having think I don't know if link is on right now here we go bring this down a little bit now we've got a nice little bed under there rather than like going crazy with the modulations just like get down there and just have a nice little bed down there for the base and then at this point it's like cool when do we want to do breakdowns and this is a lot of like just talking to each other as well as just intuition um being able to just do a fil like filter out like so we got high pass here so we can just take filter out I guess I have to assign it I don't use this one too often so this way like that so I like to do these things sometimes times I like to do the filtering every once in a while um and then she has her own side too to do it and so it's really fun to like if I'm working over here and she starts filtering it out then it's like all right cool I know a build's happening I'm going to start just like adding a bunch of Reverb and Delay to everything that I have and just start building something up a ton and then like usually look over sometimes we'll count but most of the times you'll just feel it and then it's like cool just drop everything out and sometimes like the biggest moment you you can have is when you go from something big to something small you know it's like trying to get bigger and bigger and bigger is really tough so a lot of times it's just like good to just oh cool take that out now we're in there and we're rolling so we always talk about like music a conversation and we like to have that conversation on stage with each other and as well with the crowd so it's always good just to like remember to look up and see how people are feeling and uh a lot of times we do some big like left turns where we go you know like we don't really stick in just the four on the floor techno the whole time A lot of times we'll go into like an electro breakbeat or just go into like halftime just to kind of clear the air um again and just kind of like let people know like we're still going and we haven't forgot about you we're doing something new and but we try to do that pretty quick cuz then as soon as we get back into that party zone everybody's like it's a good hype moment so it's always fun to just kind of see what happens with that I think you pretty much summed it up yeah yeah um yeah I think we should take questions all right so since we have both microphones we're not going to be passing any mics around but if anybody has any questions about the setup the philosophy anything like that feel free to just raise a hand and then let us know and then we'll try to keep it like we'll repeat the question so we know what's up go ahead question or like a module or sample oh thank you so for my kicks uh I take a 909 and process it put it back in and into the Digitakt and then for my core sounds I sit with a mastering engineer and just really sit and listen with everything and just in a different studio getting a different vibe a second opinion from somebody that that's that's their main thing you know and making sure that all of my core sound so know will sit nice in the club because you never know where you're going to play we playing on all types of systems so for me that is like a great like starting point to know where I can mix in the modular because that's more improvised and depending on the effects it can get loud and all that sort of stuff so yeah you're welcome any other got a question back there belt it out latency so yeah latency do we deal with latency everybody deals with latency as soon as you bring a computer into the mix uh pretty much anything um we've found or like yeah we found that with the newer computers like when like I when I got a M2 I feel like I just kind of was able to do what I thought I could do for the past 10 years so it's like um I've dealt with latency forever as far as like you know 2013 MacBooks and a 2017 MacBook all that I got an M2 um yes there is latency still but it's much more manageable and then just like the way the offsets work made me feel um just much better about that so one of the things is like you know with using with like with all the reason plugins that we're using and things like that like we don't really deal with like plug-in latency as far as like delays and like things for like the effects that we're using that stuff is processed totally fine with all of the computer stuff so that's been totally good as far as syncing things and running them back in you're running things in and back out we have to rely on offsets a lot but um using Bitwig as the Daw has been great for that because they have basically each thing you have sync to MIDI can be offset um time shift yeah and then you have time shift as well as in the audio realm so you just have you have lots of options to be able to do that yeah I I was just going to say yes time shift and also thinking about if you are sequencing outside of the box like if your sequencer has that ability to dial back with the milliseconds um Digitakts it has um the vector has an option to send the clock right on on the time or you can have it like pre-roll so that way if you're launching a preset it you know typically it'll wait if you miss it it'll wait and run through um your pattern before it lands on the one to start it it has that ability so it kind of helps with that too volume how do you use limit not not to kill the dynamics but also not to kill the sound system what do the limit how ju um just so to repeat the question and to make sure I heard you um so you're asking do we how do we use limiters and if we use limiters and also keep the dynamics um for me I for the channels that I'd mentioned earlier my four voices I put a limiter that I use the Bitwig peak limiter and I don't I think it's not touching anything right it's just in case like yeah main yeah just yeah just in case it goes wild it just kind of clamps it down I I typically stay away from using any limiter um any more than that just because it could start just for the fact that I'm using things in the box as well as hardware I don't want it to start limiting something endless I'm using it creatively right oh okay cool right on are we done oh well that was that went faster than I yeah yeah that's it she we got to do it we we got to do like yeah they're saying we got to be done we got to be done they've been they've been telling me for two minutes oh um yeah thank you so much thank you all for coming and um I hope you learned something yeah give it up for Reason thank you so much Reason for having us we're super stoked to be here um and everyone uh please exit now cuz we have to set up the venue for the next
https://www.youtube.com/watch?v=0ql-jsKJN0c	# YouTube ## Music Making Month - Sample Your House part 2 ### Video Metadata - Keywords: Propellerhead, Software, live, sampling, Reason, Record, sampler, input, NNXT, NN-XT, NN19, instruments, music, making, month, matt, piper, line - Runtime: PT36M53S ### Description Matt Piper is a guitarist, sure, but he's always looking to find sounds anywhere he can. There's no place better to look than around your own house. That souvenir drum you got in Mexico? Bang on it! Those crystal wine glasses sure can make a good pad sound. There's a nearly endless supply of great sounds sitting around you and all you have to do to start using them is to start using them! Matt will show you how he makes music with whatever he finds nearby. ### Transcript see here I see that shaggy freak uh only has plastic bowls well it's a different sound great music for dental surgery okay and I have some noise uh in here right now um because the microphone's right next to the Macbook so whenever the fan turns on you can hear that I did not turn off my refrigerator so uh I see pushed buttons question question uh did that answer your question pushed button about uh about sampling real life instruments any part that I didn't uh answer there scrolling down a lot of lot of chat going on here refrigerator plugins nice can some uh let's see here I just lost a oh yeah condenser mics are known for picking up extra unwanted sounds is that right um well yeah I mean they're they are sensitive like an sm58 you know is going to pick up sounds that are really really close to it and right in front of it and so that makes it good for you know singers on stage where you don't want to get feedback from the monitors um but um yeah condenser microphones are are are more sensitive um so they're more suited uh for other things like uh being used as overhead mics um or acoustic instrument mics well and also recording vocals in the studio um I think that uh a nice condenser microphone a nice large diaphragm condenser microphone um is going to a really good one is going to really react much more like the human ear so yeah you will hear everything um but still the loudest noise is going to be dominant so if there is some background noise um it might not ruin the show yeah you can hear my condenser picks up a mouse one uh Mouse click one foot away better than the voice right in front of it oh 10 10 feet away do you ever tune the samples or sample and tune in order to play them uh with with other instruments um well what I did uh with the bowls um I can't remember if I manually had to tune any of those but um the nnxt will actually um automatically detect the pitch and then uh you can Auto mat um in an XT and it'll put those pitches on the corresponding Keys um and then you can have your your key zones you know of this that's not a bowl but um see if I can keep my thought [Music] together so these Bulls their pitches are kind of all over the place and then you'll just have your key Zone so um so that wherever one bowl is it'll kind of keep going up until halfway the distance to where the next you know the bowl is you can kind of set it however you want it thanks James for the comment on the track s a little break in the action while I read your uh your chats here push button wants me to sample something you know there's one thing that I for for whatever reason I couldn't figure it out my role uh my rooll wasn't working on uh on my pad control today and I don't know why um oh hey man uh I see a comment from uh the guy who was taking pictures at SAE I've been wanting to get in touch with you but I uh I think I didn't get your card uh it'd be cool to see those pictures and uh and get in touch let me get something to sample we still got some time time uh be right back chat amongst yourselves all [Applause] right 12 string uh that [Music] probably I'm not going to worry about tuning or anything like that um I'm going to go back to my record Shot here and uh going to initialize this I don't have to initialize it I can just use a different pad let's find a [Music] scale [Music] okay I don't have a pick but that should be okay here's [Music] okay okay that start Point looks fine we'll do this one I think we're getting just as about as much birds as we are guitar on this [Music] I see people are talking about um recording um and someone says I turned a closet in my project Studio into a little recording room uh try recording in a closet with padding or full of coats you know that sounds funny but it totally makes sense like uh I don't know if you guys have seen some of my how-to videos but some of those voiceovers because I had a really reflective room that I was recording in you would have laughed if you would have seen me recording the voiceovers because I had uh um switch back to my other camera here um I had uh like mic stands used to prop up like blankets in front of the mic or some I've even done it like with the blanket over my head or something um so just trying to damp some of those Reflections let's see how far did I get here before I started [Music] talking okay so I want this one [Music] okay I'll do two more looks good and one [Music] more okay obviously that's not controlling what I think it's supposed to be controlling so we've got those bowls from before and sorry yeah so this is just a like a $200 12 string uh guitar that plays pretty well but but [Music] uh that sounds even cooler than the uh than the Z so so yeah you um it's a repurposed instrument I guess Music Man 55 is asking me what is the best tutorial DVD to buy for reason five and record I want to answer that question but I don't know the answer cuz I just haven't watched them all so um if uh if anyone if if James or Ryan uh uh or any of the users on here uh have a have a suggestion uh that would be cool I saw when I went away to get uh get the guitar somebody said bring back a cat sorry I don't have a cat available and I wouldn't want to put that on video anyway cuz it might be a Humane Society uh violation somebody asked what is a good mic for a beginner like me uh rose bush $200 hyphen one um it it depends what you want to record um if you want to put a microphone in front of your guitar amp and sm57 is great as a matter of fact that's a cool mic to have around um if you want a vocal mic you know I haven't used them all but um to to tell you what's cool but I can tell you that um MXL uh if you're looking for something really inexpensive uh they make uh you know they make some large diaphragm condenser mics um that are extremely inexpensive um might want to read some reviews and maybe use your ears you know if you can actually have it set up and listen through some headphones um and uh you know Road um you know also has some some large diaphragm condensers that are you know not very expensive I think they have kind of a range from not so expensive to kind of expensive as you can tell I've now run out of uh material so it's all conversation uh from here somebody suggested that I'm off to get a baby cow The Shaggy freak says once you stop learning you might as well be dead um I agree with that I think if we're doing it right we are students until the day we die even if by other people's uh perspective they might think we've mastered something uh I think it's wouldn't be interesting to think that you'd mastered anything you know um no matter how I try to scroll down to the bottom of this chat I keep losing my place how do you save these instruments uh as a combinator um yeah sometimes as a combinator or sometimes just in uh in NXT like these ones that I that I uh brought up today were all just just uh I think they were all just n NXT uh patches um because I didn't add any any effects uh there thanks Eric Tacs thanks for checking it out how would I transition what I just recorded to nnxt from Kong um well I I'd fumble around a bit but let's see let's see what I can do here um I should have let me go back to my record screen here and you can enjoy my fumbling around with me I'm having Mouse location problems there we are um so I should have uh these samples here and uh I don't want that so I should be able if I can just find this unassigned uh samples folder let's see how that'll work create an NX an NXT and uh initialize it and go down here and see if I can find where I there we go unassigned samples and will it let me bring in a group of them yes and let's see sort zones by note set root notes from Pitch detection uh sort I'm going to either sort zones by note no so I'll do that I'm supposed to know how to do this stuff uh I'm supposed to automap zones or do I want to automap zones pratically no I didn't want to do that I think I wanted to just Auto map zones all right here we [Music] [Laughter] go that's [Music] weird let what sample let me just make sure I have the right n NXT I do so this should be should be working I don't know why I have that super weird uh well this is how how I try to do it so that's what that is sample eight is nothing okay I guess I got some of the samples that I that were lame and that's why I only have bowls um see what these are we're able to figure out how I was supposed to do this [Music] okay so these are the samples that I [Music] wanted so these are all in unassigned okay so let's try this again let's initialize this patch again live TV okay so self-contained samples is what I really [Music] wanted let's just take the guitars how about that so let's take these okay and then I will uh set root notes from Pitch detection and then uh Auto map zones and okay now we're now we're cooking with gas it would sound cooler if uh the DK was turned up up a little that's the mod envelope this is the amp envelope okay so it turned out a little bit weird I heard a weird it didn't detect the uh it didn't detect the uh pitch correctly on one of them but that happens sometimes but I hope that answers the question without me floundering any further Ryan were you doing live rooster removal uh during P's broadcast before and yes n NXT can browse re slices as well skip forward asks yeah some samples are overlapping yeah I saw that in the in the uh right here that's going on okay what did I record 12 string into and what's Kong is that new in reason five yeah I did I recorded it into Kong I just sampled uh there's going to be a rebroadcast of this I mean it's going to be uh available uh I believe on the propeller head site in a day or so and you'll be able to see what I did there um but yeah in Reason 5 there is now a live sampling button in all the sample based instruments so um like if I just go to a pad here's here's Kong and Sample okay sample sample sample yeah so it's that quick and uh on nnxt you'll see that there's also a sampling button and uh on Redrum every channel of Redrum has a has a sampling button and there's also uh NN uh 19 as well nn19 is the is in is the fastest easiest one for uh having a uh just one sample played uh pitched across the keyboard so if I initialize this patch here and uh sample sample sample sample sample sample SLE sample that's pretty easy think I'll uh wrap this up at uh 12:15 so about 10 minutes and uh if you don't mind bearing with me while I try to read through this chat a little bit when will you show some mixing tricks for people who cannot mix my mixes always sound muddy or flat sounding [Music] um one of these days uh maybe we'll do some mixing uh at a at a master class um I did do an event recently at sa in Los Angeles that was uh completely on on mixing um I realize that doesn't help you because I don't think there's video of that sorry but uh there's some great mixing tricks uh if if you look on substance uh on uh record you uh search uh search the forums also um there are a lot of knowledgeable people contributing to the community um about mixing I just saw a comment could you record something and then make it into something uh unrecognizable [Music] well I could try just to show a little bit of the uh the stretching stuff I'll create a create an audio track double monitoring there this is an experiment okay let's see what happens here [Laughter] okay [Music] if I played that to a click it might have been more convenient um but uh anyway I will uh loop that so one thing I can do right off the back is I can reverse the clip let me go back to my uh so yeah I just reversed the clip like this and then I can alt stretch the hell out of this that might have been more stretched than was uh absolutely [Music] necessary adding a little bit of Reverb I even pan pan the reverbs little delay [Music] here [Laughter] [Music] [Music] is I think I'll just leave that in the background um so we can all trip out uh somebody [Music] asked um they try to sample and they only get the sound in their left speaker um probably what's going on let me go back to my screenshot here [Applause] [Music] look up at the top here the sampling import uh input click your uh your rack around so maybe what's happening is that uh you know you have a microphone that's only plugged into um you know one of these and so this is uh you know this is Stereo so there's nothing nothing coming out uh here so there's a and by the way this is in uh reason five and record so you could either um see what you could do with that like in Kong you've got to you've got a pan and I guess one thing you can do is in your mixer uh if it's stereo you can turn this width all the way down and then it doesn't matter if the thing's just on one side um you could also split the signal uh with a spider splitter uh let me see one other thing how this will work uh so I've got okay so now my sample input is just that one that one side but my monitoring setup is such I'm still hearing things uh in Stereo so I I don't really know what's up with that so I don't think that I'm going to help you any further with this with this answer uh yeah that was the question yeah that was what I was going for if you only plug in the left sample input it'll record a mono sample um I thought that was the case but wanted to test it before I told you that that was true because I often doubt myself I was on the right path thank you Echo drum I like it when uh when the people watching know the answer sooner than I do all right instead of trying to scroll through all of these I'm just going to look at the most recent ones have I got something that I've sampled in a track that makes me chuckle to myself um yes let me show it to you if I can find it I've got like a minute left um here we go let's see if uh okay I I've heard this sound in my apartment my old apartment that I don't live there anymore and I thought that my neighbors were listening to dubstep or something but it was actually my heater [Music] so [Music] so yes that was that well um I'm going to go head and get off of here so that U uh propeller head can get ready for the next broadcast um but uh I really thank you all for uh for sticking around and uh checking this out and for all your questions and apologies for all the questions I missed I know I probably got a pretty small sampling of them uh but uh but this has been fun uh so thanks a lot
https://www.youtube.com/watch?v=EIA1t10nf4c	# YouTube ## Micro tutorial 9 - Setting up Record ### Video Metadata - Keywords: Record, Propellerhead, Software, Setting, up, configuration, Audio, Recording, Reason, Music, Production - Runtime: PT1M46S ### 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 tutorial, we're taking a look at how to set up Record once you have installed and registered your software. ### Transcript hey there in this micro tutorial we're going to take a look at setting up record the first time you open record the setup wizard will help you set your preferences note that you can always change all of these settings later by going to the preferences menu first you have to agree to the license agreement please read through it though there shouldn't be any surprises here if you don't have your ignition key connected you'll be given the option to run record in demo mode with internet verification or to register and authorize your key since we've already authorized our key we'll just connect it and record will let you proceed in this screen you can select which audio card you want to use with record we have an external interface connected that we want to use but you can of course also use your built-in sound card if you have a keyboard connected that is remote compatible you can have record autodetected if it doesn't find it you can manually choose a remote template to use press find and hit a key or touch a knob on your controller to have record recognize it and that's it not very complicated was it now we can choose to open one of the demo songs to get started open one of the templates that we've prepared for you create an empty document or watch the getting started tutorials that come with record record when you've made up your mind just hit the Finish button and you're ready to rock setting up record easy as that
https://www.youtube.com/watch?v=JMoZQdQO4No	# YouTube ## Reason 12's browser search tips ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT0M53S ### Description #shorts Reason 12's browser has been updated to be faster, easier, and more thorough. In this YouTube short, Ryan gives us a quick tip on all you need to know to get the most out of your searches in Reason's browser. ### Transcript let's talk about the updated browser in reason 12. what's updated about it well what's updated is that searching is now faster easier and more thorough so let's take it for a spin first the faster part as i start typing anything in the search bar like drums my instrument list is updating search results live so there that's all the drum machines i have of course i can also search for other things like all rack extension effects made by a certain developer experimental sound makes great stuff so e k s and there they are so far we are searching specific locations but if i change the scope of reason search to all locations and search for something like base now you'll see we've got devices but we've also got search results from everywhere else instrument patches effects presets samples even songs and folders that match my search result so that's it just choose how wide you want your search to be start typing and reason takes care of the rest
https://www.youtube.com/watch?v=AmE4VuRfCSo	# YouTube ## Produce ambient electronica with Nadia Struiwigh \| Objekt ### 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 ambient music, experimental type beat, nadia struiwigh, objekt, physical modeling synthesis, object modeling synthesizer, ambient tutorial - Runtime: PT34M40S ### Description Join artist/producer Nadia Struiwigh on a musical journey together with Objekt Modeling Synthesizer. In this video Nadia breaks down her experimental track and showcase how she's used Objekts many features and the power of physical modeling synthesis to create a rich and interesting sound. You'll learn how to create atmospheric textures, percussions, pads, bass sounds, keys, hi-hats and much more only using this ONE instrument. Nadia also shares her best tips and tricks when it comes to workflow and adding effects. This tutorial is perfect for anyone who's producing ambient electronic music and is looking for new inspiration. Wanna learn more about Objekt? Get it here: https://reasonstudios.com/products/ob... Reason can be used as a plugin in any DAW. CHAPTERS: 00:00 - Intro 00:44 - Open up Reason Rack Plugin 01:25 - Listen to full track 06:10 - Channel Breakdown 06:35 - Channel 1,Textures 08:40 - Effect Section 11:49 - Objects 13:22 - Channel 2, Bass Sounds 15:27 - Configure parameters for Live 16:56 - Channel 3, hi-hats 17:32 - Exciter Noise 18:30 - Stacking up Objekt 19:25 - Channel 4, Percussion 20:13 - Channel 5, Pad 23:30 - Channel 6, Pad High 24:00 - Channel 7, Dreamy Key Sound 26:30 - Channel 8, Pad mid-high range 27:35 - Mod Field 28:11- Channel 9, Rattle Perc 28:40 - Channel 10, Bass 29:00 - Channel 11/12 Exported channels perc 29:10 - Creating a new sound 32:58 - Change full tuning 33:44 - Outro Make sure to follow Nadia here: / nadiastruiwigh / @nstruiwigh ### Transcript hey everyone my name is Nadia and welcome to my studio I have something super exciting to share with you because I made a track with a new instrument from reason Studios called objects an object is based on physical modeling synthesis and guess what I made a full track only with this instrument for each layer I would love to dive into that with you and I will show you how I've done it alrighty so I opened up Ableton and within Ableton I'm using reason because reason has a lot of instruments I love to use and I started actually off with reason so it's for me very nice to wire it like this and if I navigate to the left side of Ableton you can see my vsts and plugins and if I navigate to reason Studios and open it up you can see reason Rec plugin and if I click on this one I can drag and drop it into my Arrangement View and I can add different instruments so you can see already my favorite right now is the object modeling synthesizer and it's so powerful object is for me very mind-blowing and I will show you why but first I will I want to show you what I created with it it's just a base of a track I still need to finish it but it's around five minutes so let's have a listen [Music] thank you [Music] [Music] thank you [Music] thank you foreign [Music] thank you [Music] foreign [Music] [Music] foreign [Music] [Music] alrighty so let's dive now into each Channel as you can see I use the object instrument for each different Channel and I want to show you that you can basically make one track out of it but I will show you now in the first chain of what I've done so I will let you hear this so it has a it has a very particular sound and I used for this a preset calls alien life forms this instrument comes with amazing amazing presets and I always love to start off with presets and manipulate it from that point because it create it makes me in get inspired and also learning the instrument itself so I'm using a sequencer to get the midi notes out of it and I'm using the sound of the object so as you can see there are three tabs here in the middle of my screen and the first calls model and you can see it as a sort of Base tone and we can create different frequencies and later create an object onto it so it emulates a material sound and I think that is the power of this whole instrument that you can create actually very organic sounds or let's say uh tones that we hear in real life and use it in our music I'm using an equalizer on this as you can see this plugin also offers a few effects so an equalizer Distortion compressor delay and a Reverb and in this particular sound I used the equalizer a compressor a delay and a Reverb it's really easy you can just toggle them on and off and in The Equalizer section you can change the frequencies so let's dive into each Channel and I will show you what I've done and I also want to show you that with this object instrument you can create a full track and you don't need actually anything else because you can create pets you can create percussion elements uh bass lines and I think I only have the height and the percussion that I exported as audio so in this case I want to use more sort of the the high sounds I love that it sounds very grainy it's sort of the base of the track I'm using so yeah The Equalizer is in this in this way for me perfect to use then a compressor of course I wanted to compress this sound a little especially because it has like some little plops and ticks then I used a delay and that's the main sound you probably will hear in this because if I put it off plus the Reverb and because the sound becomes way drier and for me the art in sound design is working with a good delay and a Reverb and I think this instrument is offering that so this delay you can actually change the time and because I use an euclidean sequencer you can hear there are so many different notes and steps going on that probably you hear delay a little bit less but we can also change the delay actually in a ping pong so that means the sound actually transfers from left to right which creates the sound way more Dynamic actually I leave that on because it actually sounds really cool so my favorite delayed seeing time is uh three of 16 or 1 8 it's a little bit more chaotic maybe so let's put it here then of course this delay we can pan more to the right or more to the left there's some feedback going on for me it's a little bit like 50 I found it and a delay amount let's not go too crazy because there are way more sounds and we don't want to fill up the whole Spectrum here okay so but I do want to use a little bit of Reverb I believe every sound and I know every sound has a Reverb you know it it's most sounds are not dry so I love that the function here is it offers me a Reverb if I want to so the Decay we can like increase and decrease a bit I'm using here large holes or there are different sort of algorithms you can choose out of large Hall medium Hall small Hall large room medium small as well you can change the level here of the Reverb some reflections it's a bit harder to what I said a little bit harder to hear that in this sound because it's already quite chaotic you can see in my EQ down below of the screen that I also killed the lower frequencies because we want to use the lower frequencies for the sort of kick bass sounds and the cool thing is each frequency we can give a volume so with this gain we can change that there's also a template so we can also choose a template here maybe you want to use a Bell or anything else we want we're going to dive deeper into this to create a new sound later on but for now I want to just show you a bit what I've done here so then we have object one and object two and this is pretty cool so I use now a sort of bass sound with this sound but what we can do actually we can create objects so it's not for nothing called object and with objects we can emulate sounds out of real life basically with different frequencies so every metal has a sound um it's not never one frequencies like I work with sound balls and they have many frequencies so wherever you hit the ball it sounds differently so and that's what we can emulate and on the right side you can see there are different volume meters so it's like a sort of you can mix it so you can mix this the the sound and I will show you also that later on the left side you have the x-arter impact and with this we can really create some cool sounds and the noise so um this is a little bit um yeah very basic how I manipulated hear the sound not too much just I use actually a lot of effects here um and in the bottom you can see we can also create some different mappings and modulate different uh parameters which makes it even also fun I'm using a lot of times the LFO myself to to give a sound a little bit more a an organic or natural feel I never like I don't believe a sound is static so next one it's uh the second layer I told you you can create some pretty cool kicks out of this so I'm gonna open up object again and here you can see I use just one frequency of course you can create extra frequencies if you want to so by pressing multiple layers on here I'm gonna put on that I want to actually use the keyboard function which actually creates different octaves as I already explained so we can layer this up whenever we want [Music] um as you see above it I can press the layers on and off if I want to so for now we just want to use the the lower layer because I just want to create a bass sound and then we use a little bit of the object one mixing level because if I go now to the object one you can see let's go click back on let's Loop this for for now oh that's pretty cool actually so like this going back to the second layer I used actually of the the base tone I use another layer on top of that so that's my first object right so here we can also press it on and off [Music] and you'll hear already the difference so we can create a really fat sound out of this and for me because I'm into experimental and ambient music this is the perfect perfect way of stacking up sounds like normally I have to do this separately in each channel for example and then export audio and maybe change the octaves or the tuning but now I can do the tuning basically here um yeah with synthesis so uh yeah and also what you can do of course with this mixing level if you want to change up these sounds we can easily map them so for example I want to say to this parameter that I want to automate it later on so I'm just clicking here on the left bottom to configure saying object here I want to change this parameter and you can see it's popping up in here and now if you can see this I can actually move this back and forth and also connect this to a midi controller I have so later on I can say okay let's map this parameter and I'm just using one of my midi controllers and then I can play live with it basically so yeah and each object object you can actually pan as well so imagine you want to use these layers right but maybe I want to use this sound on the right side so maybe we want to have a little crunch on top of this kick which is pretty sick as well so of course mostly on bass or kicks I'm using a compressor just to pump it a little bit up so I'm using here just a compressor out of Ableton but there's also a compressor within um yeah the object which I already sort of explained did I use Exciter no I haven't used Exciter here we can of course use it if we want to I can create some different sound so let's go on to the next thing okay because I think there's too much still to show to you let's go into the third section a hi-hat you know it is really cool as I said you can create all your different elements just with one tool so as you see here I actually used the model and I use also a first object also with different frequencies it's very um delicate there's actually a lot of white noise going on here also when I put up the mixed level from the Exciter you can hear it's even more noisy and on the left side that's the coolest thing there's a really nice noise sound in this instrument so I can increase that here on the left side and I can choose out of different noises so you can even use a colored one static noise polls so for now I think I had a white noise so we can also change the Velocity in this and the rate of the noise then we have also attack Decay sustainer release so if you want to use a little bit more white noise you can do that as well and also what I said before we can all map these parameters I think that makes it fun to play live for example so I want to have it a little bit I want to have a little bit of decay in here so a lot of times in IDM for example these crunchy noises work really well and I think that is what this instrument can do as well in this rack you can stack up these objects as well so here you can see I stacked up two of them and of course they have a different sound than using one for example so on this uh hiat I also used an EQ some Distortion makes it just a little bit more crunchy and delay I really love that space spatial sound and a little bit of Reverb because hiats for my feeling always need a little Reverb on top so let's go to the third one this is the perfect sample actually here you can hear really well an emulation of a material I find very metallic and you can see I'm using uh again equilibrium sequencer it's really nice because sometimes I just want to use multiple rhythms at once so here I used a bass sound actually but it doesn't sound at all like a sort of bass sound so you'll hear these different layers but if I go for example to the object one you can really hear that it created multiple frequencies see if we want to add more frequencies to it or maybe not you know maybe we just wanted to use a sort of bass Stone maybe we want to create a little bit of width then we go to the fifth one 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 [Music] 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 probably hear 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 synth so in this case I used a hyacinth to actually amplify the first notes it's just a sort of like powerful moment I created some delay on that chicken you know just just aesthetic then I use the Mellow tongue here and that creates that pet sound [Music] and a Time Time based preset so here this is the lower layers out of it and an ocean path so actually I use a lot on this one I can see actually um so yeah if you change these parameters of course they have all influence on each other so I can also disable for example a hi-hat can you can hear now that I'm changed the volumes [Music] and with this I can also mix it so for me this is a very creative way of playing with different frequencies in like one instrument rack you can map this if you want to for now I will turn them up again so you can hear this is the the sort of pad I'm using then the time base the I'll just put this mellow tongue up as well it creates such a worm [Music] such a warmth it's amazing yeah I'm just in love and you can see here also in the top you can see like it can go to different outputs so it's sort of your mixer and then you can also turn them off and on of course as if you want to put the audio to the main output um so generally in the laptop you see also just here an equalizer and everything is quite well organized so you can see also the direction of how this sound is going right so how it is wired so you see these arrows how it goes and um you have to see it as a sort of modules you know it just wires onto the next one to change it change it basically so we can change the frequencies in here as well um if we want to yeah it's just such an awesome sound man it's like next level anyway next one [Music] you can hear again what I done the similar a similar thing now I used a Reverb on top of it but also here I use different layers so I'm basically normally you have like all these different layers in your Daw you know but now I just use within that rack um also like a pet sound so let's go in here and these are just midi notes so I just played it into my keyboard or whatever yeah this this is my biggest love how beautiful is this sound seriously it's crazy you can hear that I am really a fan of the delay and the Reverb because it's very static otherwise you can hear that so in this case the base tone is almost all I just use and we can change this Exciter impact and turn up the frequencies or change your frequencies if you want to makes it a little bit lighter maybe and maybe we want to use a click and we can change the velocity of the hardness as well the timing it's very delicate I love that and maybe we want to use a little bit of the Exciter noise which we can use so now it's on color so we also can change the length of that noise right so we create a sort of longer sound so change open up the release to sustain now it becomes very very like love it and also here we can also create a [Music] so here we can play with the pitch basically it's very it comes down to very good ears or knowing what you're doing because yeah what I said like it's it creates a different octave you know so here we can also change the pickup Drive of the sound we can enable it by putting it on [Music] it's very badass to be honest this is beautiful so actually what we can do we can create a different Sound by using the Decay so maybe we want to have a longer sound [Music] add some Drive maybe change the decay of the Exciter yeah so good so then we're gonna go to our a channel which sounds like this yeah it's just beautiful so when I open it up I use the ocean pads and the ocean pads is a pad and you can't have ambulance without a pet so here and to dive a little bit into this section so we have object one right so this is the one we use so we only use actually a sort of the resonance sound so manipulate the Sound by using these knobs below [Music] so it becomes a bit spooky now to be honest so that's just so we can also use the different frequencies of the sound [Music] So Below you can see you can mod it all yourself which is really cool I think this is an extra function that this whole instrument has it's like on top of it so I haven't done too much with this yet but for my feeling I would use a lot of times like LFO because I want to create a bit of a natural sound to it then we're gonna go to this final one let's put it here it's also great I also put the Decay is very short so you can hear also like different levels I use also a delay on this one crazy goes from the left to the right when I'm out of with my outer pan Which I love yeah pretty cool so then we go to the 10th Channel base basis of course you can use bases it's such a such a powerful one so as you can see already in my equalizer I'm only using the lower frequencies in here and then we go to the Hyatt so this one is actually just a one that I exported so I created just different rhythms [Music] and then a percussion so yeah let's create another sound and here on the left side you can choose out of presets and you can also like use all the different instruments but in this case I'm going to go back and let's just choose something that we probably want to add I think I might want to use something like a sequence adding on top of it maybe a little bit more higher so thank you so we just recorded the sequence so I just pressed on auto that means like it plays the clip right now let's see how this sounds can be a bit louder maybe the velocity is gonna so we can definitely use a little bit of delay on this and a little bit of Reverb because yeah it's quite um [Music] it's pretty sick I think also the EQ is a little bit high so I'm gonna kill the high frequencies a little bit [Music] maybe we saw Distortion could be nice [Music] the river can be a bit up a little bit decay early reflections let's see how it sounds [Music] so overall you can also change the full tuning on the right side which is also a nice add-on I guess let's put a little bit less click a little bit of less decay in here [Music] yeah so what we're going to do now I can hear it we're gonna use this part actually as in this so we're gonna bring this up I'm gonna go to the utility in here we can even like go in here and um so I'm gonna put the utility here move it up so it comes out of it's fading in [Music] foreign that's pretty cool this is what I mean [Music] so I need to tune it well though [Music] anyway just a little surprise for the end I always love that I always love to end the track with something else like just a different Rhythm or an extra sequencer or ARP or whatever so yeah I think this makes it very cool but yeah anyway there's so much still to talk about this and I just wanted to really show you that with creativity you can do so much within this instrument it's mind-blowing and I'm super super happy to get it and that I could test it and play with it because it really enriches my workflow and also the sound so um yeah I wish you so much fun with it and have a play and make different layers and stack them up and yeah it's uh it's great anyway see you next time and hope you enjoyed
https://www.youtube.com/watch?v=5vs4iTvu0uk	# YouTube ## Objekt BASS with Nitro X #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, nitro x, objekt, objekt modeling synthesizer - Runtime: PT1M3S ### Description Nitro X shows you some of his favorite bass patches in Objekt and demonstrates how he produced his Future Bass/ Hyperpop BANGER. Watch the full tutorial here: • Objekt for Hyperpop & Future Bass wit... ### Transcript I added a few elements in the drop here most of these were just presets I found this one really cool distorted base I really liked [Music] and wow I was really surprised with the dub sounds actually in here um I believe it's under the base section the barks yes these are crazy good like holy they're fire so I just layered those on the base okay a lot of the stuff you do in objects is just a lot of playing around with Decay dispersion pitch mod and collision and the damping it's kind of just using these templates I find is a really easy way to get a start on an idea and then you can kind of mess those templates up to get your what's in your head and what you're really kind of going for in your sound design foreign [Music]
https://www.youtube.com/watch?v=4Xq8hZzY1Wg	# YouTube ## My Guy Mars (Jay Z, Kanye West, Mary J Blige) creating vibes in Reason 12 ### Video Metadata - Keywords: 1500 or nothin, beatmaking, bpm create, hip hop, hip hop production, jay z, make beats, music production, my guy mars, propellerhead reason, reason 12, reason propellerhead, reason studios, reason+ - Runtime: PT1M17S ### Description Throwback to a few weeks ago when we hooked up with our good friend and superstar producer‪@myguymarsmusic‬ for an event with ‪@BPMCreate‬ in LA. Mars has produced for all the hip-hop greats—from Jay Z to Kanye, Mary J Blige and honestly too many more to mention. His Reason (and piano) chops are undeniable! Watch the full event here: • How MyGuyMars Makes Music with Reason... #reasongang ### Transcript i'm pulling out all the stops tonight hey see they have me up here uh sweating crisco and all [Music] you [Music] you
https://www.youtube.com/watch?v=eBmHvJs9Qew	# YouTube ## Mocean Worker - Remixing with Record and Reason ### Video Metadata - Keywords: Mocean, Worker, Record, Reason, Propellerhead, Software, Alice, Russell, Remix, Music, Production, Audio, Recording - Runtime: PT9M44S ### 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 tutorial, Adam Dorn (aka Mocean Worker) uses an early alpha version of Record to do a remix for UK soul singer Alice Russell's song 'All alone'. ### Transcript hey guys this is motion worker and today I'm going to talk to you about record software and man I'm really excited I got my hands on this a little earlier than most of you but when I got my hands on it I said to myself what's the best way to learn how to use a piece of software do something real with it so at the same time I had been asked to do a remix for an artist from the UK named Alice Russell who's an incredible soul singer and uh I'm just going to take you through that remix today and show you what I did and you know what was sort of like needed to get done and how great this software is before I show you that I just want to show you a couple things that you may or may not already be familiar with but this is really great software and I think you're going to be blown away by it so check this out first of all the main screen that I like to work in is the recording console this is great I've never seen this in another piece of software this is basically a real mixing desk and it's amazing to be able to use because everything is at your command and it's just really great you got all your you know faders and master faders and effects and it just makes it so much easier to like get sound quickly and get your ideas done quickly here's this next screen this is the sequence screen so with the push of one button here's your full arrangement with Automation and audio and all your edits and it's great now you have your r back screen and this is how everything's built up so I have the ability to go in and tweak certain things and you know I have combinator set up and it just it's just so efficient everything works it doesn't crash it's just so easy to navigate the software so now we're back to the mixer screen and what I want to do is basically explain a little bit about how this project came to pass and why I kind of felt like I needed to learn the software by putting all the pressure on myself to do a professional project in a piece of software that was you know it's new like you know it's it's kind of risky to like you know start something that you have a deadline on and then also learn how to use something I just knew the software was going to be easy to use and efficient and that's why I kind of jumped in so let's take a quick listen to uh a piece of this remix and then I'll explain to you what I added to it and what record did for me to make it easier to do this remix [Music] [Music] so all alone traveling traveling traveling so far away from home I never me this song to happen but there you go don't go holding on too tidy to never never grow never grow we are free that is just day philosophy something [Music] else differences are always someone feeling [Music] my [Music] head so I'm going to lower this kind of tell you a little bit about what's going on while it still kind of plays in the background so the greatest thing for me about this was I initially got a vocal and stems from the record label and everything actually was recorded at 97 BPM and here's one of the great things about records that I kind of couldn't touch on when I was explaining certain things about the screens I literally took the stems and flawlessly pushed everything up 18 BPM without any artifacts without even like skipping a beat basically uh this is a remix but in effect it's kind of a rearrangement and a sped up version of the original song and the time stretch and and and and time expansion you know know capabilities as a program are I've never heard you know time stretch you know that's this the quality is amazing I mean I've put other sessions in here where I speed things up by like you know 100 BPM and they're Rock Solid so that is really tight it made it easy to like just speed it up and start coming up with ideas and I mean that's what I did so I mean we can go back here and I'll show you like you know the stuff that I recorded at the faster Tempo can also play back at the original Tempo and let me show you what that means so first what I'm going to do is I'm just going to show you Alice's vocal at its original Tempo so that's 116 that's not the original Tempo I wanted to show you if I slowly decrease turning this is where she's sitting in the original tempo this is just the [Music] original te she can sing here are the elements that I added at 116 BPM brought back in that actually was originally recorded at another tempo check out I mean it's perfect let me put my base in which I played [Music] myself maybe I should have kept it at this Tempo so let me just bring in other [Music] thing for [Music] turning turning on so basically now the great thing is I don't know if I like 96 BPM Let Me Slowly ramp it back up to where I put voila I like um I mean that's really powerful stuff like stuff that I recorded in in another Tempo completely changes Tempo back down 20 BPM you can't hear any difference it's Flawless and it gives you the flexibility to maybe like finish a remix and say hey you know what give me a version that's 2 BPM slower or 2 PPM faster it changes up the possibilities of what you can deliver to [Music] some so now let's look at the sequencer window because I think some of you might be like well what's going on there and actually what's going on there you're all probably all very familiar with but let's just run through it so basically what we have here is the reason for sequencer but now you have audio so I'm just going to show you a couple things I actually in making this remix it's mostly audio it's mostly things that I've played or samples that I've chopped up so for example if we just scroll down here for example this this Ambience that I I have it's muted in this initial section that's something I recorded in I actually used a synth from an enemy manufacturer who shall remain nameless rhymes with Poland uh this is a syn that I played in um as we scroll down here a little bit more uh you'll see there's a Rex player and it kind of shows up exactly the same way as reason 4 I threw midi selected a Rex player and I played these parts that come in uh let me see what else we have here I'm going to stretch this out and show you what audio looks like inside of record well my my my it looks just like audio and also you have the ability to just go ahead and mute and solo all the things that you want to mute in Solo I mean it's it's really straightforward I mean if you know how to use reason 4 which you know you probably do very comfortably there really is no difference you're just now dealing with audio and here's another thing all of the tools that you use in reason 4 for the sequencer are all up here and you all select them the same way with the same you know commands they all work the same way with the audio that they do that they would with midi so that's record an incredible new Production Tool from propeller head software one that you'll find that you're going to be very very familiar with and the ease of use couldn't it couldn't be any easier to use so I hope you enjoyed this and you know learned a little bit and uh here's the record [Music] that's
https://www.youtube.com/watch?v=kdd0OfMghTA	# YouTube ## Pulsar - Rack Extension ### Video Metadata - Keywords: Propellerhead, Software, Reason, Pulsar, Dual, LFO, Wobble, Bass, Dubstep, Pad, Trance, Filter, Tremolo, Low Frequency Oscillator, Modular, Synth, Module, Shamwow, Infomercial - Runtime: PT1M46S ### Description For more information: http://shop.propellerheads.se/product... Pulsar LGM-1 is a dual channel modulation powerhouse for the Reason rack. We call it an LFO—but it's also a powerful little synth in its own right. For tweakers, Pulsar makes every single thing in the rack a little bit better. For back-of-the-rackophobes it comes with patches containing everything from lush evolving pads to the grittiest of wobble basses. When the rate is turned up, Pulsar transforms from low frequency oscillator to high powered synth with plenty of character. The LFO waveforms when combined with lag and shuffle bring tons of tones. To download the Reason song files with the two bass patches heard in this video: http://www.propellerheads.se/stuff/pu... ### Transcript are your pads feeling static and dull got a little too much poly in your mono syn is your control voltage just out of control then say hello to the Pulsar dual LFO it wobbles it Wiggles it Wows it's the sound sculpting Powerhouse you've been waiting for that's right folks Adam Dorne here with propeller head if you're not using Pulsar you're wasting time it's that simple check this out who wants a pad that sounds like this stop having a boring pad stop having a boring life Pulsar takes care of it and it'll just keep going but it's not just for pads check out this [Music] Baseline made in Sweden you know the sweds always make good stuff but where Pulsar really shines is when you engage the second LFO they don't call this the Dual LFO for nothing are you getting this camera guy that's right a second LFO absolutely free no other LFO is going to do that why do you want to work twice as hard to get this sound when pulsar's got it out of the box LF OMG does it sound good crank up the rate track the keyboard and now Pulsar is making its own sound you heard that right it's not only one LFO it's not only two lfos it's a mono [Music] synth sine waves square waves any type of wave you want CV outputs we got them 1 2 3 I'm losing count here's how to order to get your pulsar and its signature lowf frequency oscillation technology simply visit the address on screen now try Try It Out free for 30 days no money down no obligation to buy and if you act now we'll throw in this fine collection of patches for Pulsar absolutely free that's shop.pr heads. shopprop heads. order now
https://www.youtube.com/watch?v=sX9bqH42Ydo	# YouTube ## Record Home Sessions - Courtney Jones ### Video Metadata - Keywords: Reason, Record, Production, Software, Propellerhead, Propellerheads, Music, Mixing, Home, Recording, songwriting, getting, started, beatmaking, music, production, Courtney, Jones, Propellerheads-LTVS13 - Runtime: PT4M40S ### 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. Seasoned music producer and Norah Jones collaborator, Peter Malick, packed up his studio and moved it home to his living room and garage. For its maiden session he brought in indie artists Amber Rubarth, Courtney Jones, and a veritable A-List of players from the LA singer-songwriter scene. On Peter's first day in the new space and first day on Record 1.5 we rolled cameras to capture the new 'studio' in action. In this video singer-songwriter Courtney Jones records her latest song, "Enemy Fire," with Peter. The studio stretches through the entire house from the living room where the piano is set up, the den which has an unconventional drum kit, and the back room where Peter has run cables for a make-shift control room. You can download the final mix of this song here: http://luxurywafers.net/mp3s/courtney... ### Transcript all right here we go I'm from Oregon I just got in a couple days ago we're in my producer Peter's house and we're kind of spread you'll notice the acoustic pianos in here and then we set up drums in there and then the studio studio is out past there this is my first time working in this environment we plan on doing a lot of stuff in here so it's just a matter of sort of getting acclimated to see what the workflow is going to be like because there's just so much involved in setting up a recording and making it work so this is like highly experimental today you know I tried to wake up the world it fell back asleep being kind of in this environment is very comfortable it's a very comfortable place being in a home setting here I tried to sing and be heard but there wasn't it's a really surreal experience to create something the music the melody the the lyrics all came out of me and then we had stepped into the other room and people were still working on it in the living room and I could hear my song being played without me it's a really cool experience to have created something and step back and have it exist without you there we bed like color we need each other we're all under en ofy far you can save someone else and still fail save yourself as we watch it every step for a word we're all on eny father that last one was really good the one three back I think was really hot too I love the process and I love being able to have people leave with something maybe that they thought they couldn't do when they came in I felt like I was doing a little bit different stuff that time which is good yeah yeah yeah I think variation so I'm feeling good about that we have what I what I term a Contraption kit over here we have the $30 base drum wide open Out of the Box never tuned an equipment box we have what is called the heating duct drum uh and then we have the uh Irish Balon 20-in Balon on top of two inner tubs of the washing machine the ultimate popcorn can of Christmas variety type all right so listen let's let's do this let's do one take just Courtney singing and Butch or I can do it alone period let's just Build It Up from me what said like listen I have the the song tracked Out start the click you know and and he did the entire song just on drums and then we kind of built from there all right well let's mik this sucker up you ready I need chapstick okay ChapStick for a piano part you haven't thought about harmonies on that have you I'm sure if you Loop it back and forth a couple of times I'll uh I'll come up with something there's something scary I think that you know I mean the thing that I found is really cool about the program is the program is really easy to get into and learn you hit record you know if you don't like it you hit record again essentially and you don't have to worry about making a new track you don't have to worry about you know uh messing up the take you had before you know I mean that all of that stuff is is taken care of this is not a state-of-the-art Mac right now this is a MacBook four years ago model and we're doing this recording and it's sounding good record has some really unique and and really cutting edge features we're all
https://www.youtube.com/watch?v=ASE8nDgBEQg	# YouTube ## Introducing Objekt Modeling Synthesizer for Reason! ### 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, physical modeling, physical modeling synthesis, chromaphone 3 - Runtime: PT4M24S ### Description Learn more or sign up for Reason+ to get Objekt: https://reasonstudios.com/products/ob... Synthesize reality with Objekt, a physical modeling synth for new and unique acoustic sounds. Discover the character of organic instruments and real-world materials. Dynamic, playable, and easily customizable. Producers and beat makers are on the hunt for new sounds with an acoustic flavor. Sounds that can’t be easily duplicated by just any plugins or samples. That’s why Objekt doesn’t play back pre-recorded instruments, it synthesizes them. Explore hundreds of patches ranging from bells, mallets, percussion, stringed instruments and more. Move any parameter to see what happens. Where you end up might sound familiar or like an imaginary instrument that doesn’t exist. Until now. ### Transcript foreign [Music] rack object modeling synthesizer a brand new physical modeling instrument from reason Studios this is physical modeling synthesis finally done right packed into a form factor that seems all too obvious once you experience it a classic reason style synth three separate resonating bodies that you can design yourself choosing the specific overtones of resonating frequencies the way they interact with each other and the way they respond to your playing sound designers can select one of object's preset material templates to get a head start designing their own acoustic instruments [Music] physically modeled real world acoustic sounds are the combination of objects resonators along with its Exciter section where you control how the instrument gets played one setting might mimic hard plastic mallets foreign up the frequency of the Exciter and that Mallet sounds more dense [Music] soften the exciter's hardness for a felt wrapped sound [Music] mallets or Bells the excited noise section is the gateway to expressive evolving pads and textures that might Shimmer like a synth while resonating with those intangible real-world acoustic properties use the external inputs on the back of object and we can skip plucking or bowing our instrument and get our instruments sounding instead from external sources so that mouth percussion becomes harmonic textures or even play drums off your microphone and it's the way that it all comes together that makes objects so powerful experimenting with the Exciter section crafting the right blend of resonators and whether they act independently or feed into one another dialing in the behavior of those resonating frequencies and if your Advanced programming the mod Matrix to make playing object do Unthinkable things and the result of that means that object doesn't just sound like this [Music] it sounds like this too and this [Music] or this or this [Music] use the randomizer to customize existing Patches at a hundred percent this Conga randomizes into other things entirely [Music] if you like it hit OK to keep it or cancel to get back to the congas but where the randomizer really shows object's strength over sample libraries that are always based on a fixed original recording is when we set the randomization to a more subtle setting now we can choose which congas we want in our song this one or this one or this one or this or this or any of these [Music] so if you want Unthinkable control over acoustic sounds if you want synth sounds with a touch of the organic if you want to invent entirely new and unheard instruments really if you want to synthesize reality all you needed was the right object [Music]
https://www.youtube.com/watch?v=PMCubXnbXVI	# YouTube ## Episode 3: Tiger Darrow & Torna - Your Reason to Stay Inside ### Video Metadata - Keywords: Reason Gang, Reason Studios, Beatmaking, Music production, Music making, Audio Production, Tiger Darrow - Runtime: PT86M41S ### Description We’re back to hang out some more and make some music with Tiger Darrow and Torna. Maybe we'll make some music with you! Upload a Reason file (self-contained samples) here: https://www.dropbox.com/request/PXO0L... NOTE: If you're uploading music for us to check out, make sure to self-contain any samples you've used (File menu, "Song Self-Contain Settings") and ideally songs wouldn't use many 3rd party plugins or Rack Extensions in a way critical to the sound. #Livestream #Reason11 #BeatMaking ### Transcript [Music] hey all you cool cats and kittens alright I stole that line here we go though I think we're live I think we're live I should say that I think we're live because of YouTube latency I'm it's a leap of faith every time I hit this button but I'm gonna wait until I see on the chat you guys will start telling me that you're hearing me you're seeing me and until then I'm gonna be hanging out here so how's everybody doing we're back with is our third week here and we're gonna keep doing these we've been having fun I hope you guys have been having fun and I'm trying to I'm still playing with the format myself actually I gotta say I'm I'm each week you know as I as I fall asleep I start thinking of oh you know what I could do I could do this and oh you know who I could I could have won they'd be a fun guest and this week was no different I I thought of the fun guest first and then I started thinking about what we could do together and we came up with this idea and I think it could be really fun so I'm gonna actually there's there's some immediate activity for you guys to do if you want to do this my guest today is a duo they're a production duo and one of which you know Tiger Darrow who you've seen in our videos you've heard in our videos she's a songwriter and an artist a producer in her own right and so is torna torn as a producer I think it's safe to say a songwriter in his own right and the two of them collaborate together on their own stuff they collaborate with other people on you know as a duo they they've got you know they're multifaceted producers and so what I thought would be kind of fun today is to have them collaborate with you guys so here's how it's gonna work if you would like to have these guys take a look at some music that you've made and maybe add some stuff to and kind of become a production collaborative team kind of within this stream you can send me your reason files I've got in the description of this video I have a what's called a Dropbox file request so it's you click the link in the YouTube description and there's going to be a Dropbox page that pops up and you can upload your song and I'll just see them start coming in in fact some of them have already started popping in from just me telling people about it in the chat and so if you drop a recent file in there will pop them open we'll take a look at them we maybe maybe will build something on top of it maybe we won't we'll find out well it's kind of up to to what grabs tiger and torna but let me bring them on because I want to I want to talk to them about this process and about their process in general but I just wanna let you know if this is something you could kind of just get doing if you haven't done it yet there is a link in the YouTube description you can upload a reason file and I'm gonna be going through that folder and opening up things and we're gonna take a look at them and take a listen to them and then shoot some some stuff over to Tiger and torna who will then do some development with it just a technical note if you are going to do this because I don't have every rack extension installed in every BST on earth installed the stuff the kind of idea that would work best would be raising stock devices or self-contained samples if you go file song self-contained settings you can self contain any samples you might be using and I'll just make it a little easier to for me to open it and have it actually work so let's let's give this a shot but first let me actually get to let's make it toured guess I wanted to get you guys active on if you're gonna upload something but let me bring them on here are you guys you guys hearing me out there in in zoom land cool how are you doing first of all i'm i don't you might be it might be the quiet on your end or quiet on my end but yeah let's pick up the game a little bit cool how's that that is great yeah so oh wait Joey Luck is asking do I have Sonic's charge stuffs in plant I have sin plant but not permutate installed but I have sinned plan installed okay so yeah right now I'm dealing with the logistics and I haven't even gotten to my proper welcome to you guys thanks so much for joining me you guys are coming from a very stately location I have to say it's live from the Lincoln Bedroom it's um it's the room in my mom's house we were never allowed to hang out in as kids but it's also the only one on the first floor with the door that closes so we've been working in here sort of the the coronavirus makeshift production studios that kind of what's happened over there yeah yeah so you guys yes you you're based out of New York that's correct yes and I could imagine that you guys when when lockdowns and things start happening you probably were thinking where is not New York on the map we could just get in a car and head out there just feeling very Apocalypse yeah it right it's weird very eerie you know what I've noticed and I don't know if people are feeling this in other cities but in San Francisco it's weather dependent because and I'm not saying this is a good thing but when this nice weather people go outside like nothing's happening like they'll go to the park and they you know and when it's kind of cloudy more typical San Francisco kind of weather people all stay in so if it's a cloudy day it just feels like oh my god it's 28 days later and there's no one is around you know and then it's a sunny day and you just feel like oh wait Corona what what's they know that's just a regular day at Dolores Park on a rainy day and I just started crying because everybody like there were maybe people on the streets they all had face masks on they were all like bustling around the bodegas being like well we need that and I'm like total total zombies I'm here yeah but um well I'm glad you guys are doing well how is it I guess just at you know doing creative work we I think we're all so accustomed to our environment and that can be a good thing and a bad thing right you kinda it's nice to get out of your environment creatively and then other times it can be destabilizing to not be to not have the you know basic things like the mic that you didn't think the pack is suddenly the one you want the most you know how has it been for you guys kind of trying to work outside of your usual spot yeah I mean I think it's pretty and I'm the type of stuff that you're doing I do I do a lot of mixing so it's been weird to be in a room that doesn't have the treatments and just isn't the room that I'm used to writing and all that I think for me Tiger jumping whenever but I think for production and kind of writing stuff it's sometimes kind of cool to sort of like be in a different place and just with different surroundings and it can kind of like shake some stuff up creatively right I mean I've discovered that like Ronnie and I tend to work from a programming basis of like when we write a song we program at the same time we hardly ever sit down at an instrument and write it with the instrument think about harmony and things like that and the other day we had a session with a couple friends of ours and we wrote a song on guitar and took a voice memo of it instead of you know immediately having a demo that we could all walk away with gotcha and that's been interesting I I mean I feel like I'm back in college I made I made several records on just headphones so I'm like you know what this is nostalgic and a really sad way so right yeah yeah there isn't when I know from my own creative stuff that I there's times where I sort of have this escapist fantasy of like oh I'm gonna do a writer's retreat and I'm just gonna go somewhere that's not my usual spot and I'm gonna just set up like in a cabin far away from from people and like suddenly I was like oh that's that's this that's now that's you you know yeah though it feels far less romantic than you know in my stressful yeah well you know that's a thing to it and I've talked with some other people about this even on the stream there's a little bit of a psychological process people went through where they were expecting in their sort of initial days of this kind of looking forward at this lockdown concept look thinking that this would be a hyper creative time and then the stress of everything is and just the logistics of being in a different location all that kind of eats up time in a way you didn't think and then suddenly people were like two weeks into their you know their lock downs or their quarantine or whatever and suddenly don't like feeling almost guilty that they haven't finished the album that they thought they were gonna write on day one you know is that you guys you go through that I'm like I'm gonna finally get to this strain arrangement that I want to do for this song and I'm gonna do it still hasn't happened like I don't know what's happening with my time right now Rick you're right if you almost can't explain it's not like it's like oh well yeah but of course because I was building that brick wall out of you know toilet paper that I heard it was like you can't point to a thing you've been doing it's just like the times just gone you know well listen we have probably a lot to do here in a relatively limited amount of time so maybe we should kind of jump in here and start talking about kind of what we're gonna try and this is experimental this could this was like we I played a game last week and I was like this could go terribly wrong but let's try it and so is this I have a similar feeling today it's like let's crash and burn on a live stream because why the hell not we don't at least be entertaining if nothing else we'll do our best cool cool so what what I think is interesting about this to me is that when people are you know a lot of people out there may be watching this stream when you work creatively I came to realize there's kind of two different sides to the creative process I'm being really broad strokes about this but there's two sides to the creative process there's making music for yourself and your own purposes and then there's making music with someone else and suddenly the entire dynamic changes because you're not make you're not following your own taste only you're following some kind of like collective taste like some empathetic understanding of what their taste is and how can I incorporate that with my taste and how can we meet in the middle in you know so there's that there's a whole different mindset to working as a as someone who would build on someone else's idea rather than someone who creates an idea themselves and so from that I thought well let's let's demonstrate that live because this is what you guys do so well and so often is that obviously you create your own stuff from scratch but you also have an artist that you okay we're gonna work with this artist and you start your you're not starting from square one you're starting four like square three with what okay what are you bringing us and then what can we add to that and where where can we kind of pair up the best is that a fair assessment of kind of what you guys do yeah depends on the collaborator for sure to a certain extent some of the more likes fun writer you type people we work with will come in with like with a song sometimes though you know sit down at the piano or pick up a guitar and play and sing something which is cool other times it's you know it's the two of us and an artist in a room and we sit down and it's like cool like what do want to write about it's like okay cool well what have you been feeling lately which is really fun especially when it's an artist we've never met before yeah a little bit like it can be kind of speed-dating sometimes a little bit like cool yeah like tell me something that's been like weighing on your conscience lately and you want to exercise and song like yeah right I'm wonderfully well when we maybe if we start working on this maybe we'll try and incorporate that in some weird live stream version we're gonna well put the the chat room here on the couch and be like alright but yeah I've heard that I've heard other people talk about that that that there is a certain speed dating our first date element to some of those things where there's an artist or he's a producer I won't name him so as not to shame anyone he's worked with but big big people and he was telling me once that there is that thing we you'll walk in you know the the major label will bring them in for a co-write session and you know you know in five minutes I mean you know before you sit down at a piano you know if there's like a chemistry and but certainly by the time you're actually sitting down you know and kind of starting the co-write process you know real quick if it's like this is either gonna go where it's not and if it's not gonna go all of a sudden it's like well it is that he used that first-aid analogy where he's like yeah it's like the appetizers arrived and you know that you're in this until dessert at least it's not there's no second date here so it's just not going well it is a tricky one right well on that note let's do it so what I was thinking is and if anyone's joining us into the stream here what we're gonna do is we've got tiger and torna here and and we've got your songs there's a link in the YouTube description where people have already started uploading reason files and I'm gonna open them up and we're gonna take a listen and these guys are going to then sort of develop them over on there and I'm gonna send them some you know I we might even will send one track or some stems or a two track master will kind of figure out what we send over your way Ronnie it's worth mentioning you're actually I primarily a Pro Tools user is that correct that is correct i I sort of came up in working in studios and that's just kind of you know in a big room with a console it's kind of what everybody's on you join us at a at a momentous day it's actually a rather historic day I guess in a way we announced this morning that reason you know reason has been coming out over the last four six months for in in plug-in format so there's reason stand alone the daw that everybody knows and and most of these people in the chatter are probably using and working in primarily and then in the fall we released reason as a VST plugin so that it would now the reason rack would run within Ableton Live or FL or whatever then a little later in the fall it came out for a you for mass or logic was in and now today we announced a ax reason is coming the reason Rack is coming to Pro Tools so you will be you'll be getting the whole license soon Ronnie hell yeah that's awesome yeah and like honestly like the coolest thing my friends that use the reason like the thing I'm always kind of like man I wish I could do that like the instruments are really really excellent and the workflow is super cool and sort of the ability to kind of like patch stuff wrong wrong in the right way yeah like wrong in a cool layer like wrong annex mental way is sort of a thing that a lot of software instruments kind of lack so I'm looking forward to playing around with that cool awesome well let's dig in so so people have been uploading their songs let's let me go into the folder and see how many oh geez okay we we have we have 27 files in here now and yes that's right you guys I am NOT dismissing you until we have built up 27 songs and mastered a double-sided album vinyl yes [Laughter] but okay so I mean I guess so people been dropping these then should we here's what I'll do to figure out how I could just start randomly just pick one we'll open it up and maybe take a look but maybe I'll read out some names and based on the name alone this is like judge a book by its cover I'm gonna have you guys go like oh wait okay open that one let's see what that one does now you don't have to I mean I'll just read out a few and when every it's like pick a card any card whenever you hear one that you want to jump on we'll we'll open it up and take a look so we've got in no particular order electro punk Freddy Romero oh wait that's probably a guy futuristic that's called futuristic oh but I really liked the track let's just go yeah let's go for it yeah Freddy now the first thing the first part of the collaboration Freddy you might have just experienced they might have just renamed your track it was called futuristic it might be called Freddy remember now that I will say that's like I've heard of their being self-titled albums but self-titled songs is like a whole other thing let me go ahead now when I open one of these up I'm gonna need to do a little bit of re rerouting over here so let me just reconfigure to a different reason window that should be good okay I don't need to just switch back here to do okay now I think everybody's gonna be seeing this and Freddy okay you're up so I'm gonna go and let's just play this and let's see what we've got going on here and then we'll kind of dig into the rack a little bit will kind of poke around and then maybe we'll open up another one and we'll go from there but let's just we'll start here this is as good a place to start as any Freddy Romero futuristic [Music] all right so now Freddy is Freddy his old school in his device selection I like this you can I'm gonna this is a bit of a profiling here but Freddy I'm gonna assume that you date back to reason maybe three I'm gonna pay you as a reason three initial user you've got mouths from since galore love the Maelstrom synth did you saw looks like you're the patch we're using here and we got some red drum drum machines we got some Oh some of the half rack device look this Freddy's going for the rv7 digital reverb this is uh this is classic reason classic here subtractor interesting interesting stuff okay cool so let's uh let's deal well actually let me just just say it so I'm gonna I'm gonna open up some other ones here but but as artists you know or its producers I guess when you you start hearing something like just just what we just heard already what what starts going through your head and you're you instantly like kind of okay where do I fit in on this what is what does this tract about and what is sort of the initial first reaction process you go through and you hear an idea like that I attend intend to lean with towards tone and color and particularly as a vocalist okay or does this sit in my range if I were to write a top line over this how would I incorporate a melody that suits the track mood wise and so like listening into something like that my initial thought was do something that's almost like like Voki like and then I was like okay well that's a little extra so okay if we were to not go that direction then where else would I go okay so the thing that's like a little growly a little like clothes miked a little sexy like probably layered with like doubles and triples then that would be a cool vibe that's usually like if if I'm sent a track yeah where I haven't been told anything I'm potentially top lining it that's where my mind goes before I go into like foo and then if we add glitter here like that's that comes second to me yeah yeah Tiger is definitely like an adjectives person for sure and hey like the type of colors she likes how she likes to think about like texture and color and all that I think for me I tend to go a little more first for either I'll ask the artist directly or I'll just sort of think of the moment like references like I'll kind of be like cool like okay like kind of an industrial saying like okay cool it's like I'm in an era like I'm in a I'm in Berlin I'm in like you know what I mean like I'm in a place kind of think about it that way but yeah and then like you know then it's sort of like okay cool like well if this is gonna exist in the market today like what kind of stuff are we adding to kind of like you know what where does it fit contextually with what's out in the world now and kind of like how with production do we sort of get there god he's very much a music encyclopedia so he can he can hit you up with the oh geez in that genre gosh find the sound-alikes from today and figure out marry them really really well okay yeah when when Tiger was talking about sort of her vocal impulse with this I was like you had Grace Jones totally future Grace Jones like that's what it's got a major grace so I love that gotcha gotcha gotcha okay cool I'm gonna I'm gonna pop up in another one let's see okay you guys stop me when you when you like one here we've got ueg up in space beet liquid Fritz whiskers car mixes retro beats featuring flutes what's what's liquid liquid spritz oh let's say let me check it out we go back there's liquid liquid Fritz Fritz yeah it also intrigued okay okay let's pop that one open let me let me close out I'm gonna close out Freddy and then I'm gonna pop up in liquid Fritz hang on Oh God yeah Oh missing rack extensions oh I hope they're not critical let's we're gonna oh missing vsts oh man liquid prints might be not well let's see what we got okay so for anyone that is maybe still gonna upload one it's worth mentioning that the you know self contained song samples would be a good thing to do vsts I may not have the vsts installed let's take a listen this is a pretty complex one I'm gonna hit play and see we got [Music] hey come on okay what do you what do you think is this you guys ready it's just like a coach put me in the game no it'sit's cool stuff I don't know what you were hearing but I was hearing some like I could hear like some disembodied like kind of like synth whale or like guitar like there's a lot of sort of like synthy textures so I feel like something that's maybe a little more like hands and metal and sort of like tactile hope you like a cool foil for some of that okay like vocals could definitely be cool should I send something over your way would a two-track it'd be okay in terms of just like a stereo and you'll build on top of that yeah I mean the only thing I might if it's not too much trouble I like drums and then everything else separately oh right oh yeah yeah let me just take a look here let me figure out what's going on those are drums I'm gonna group those yeah okay so it looks like that it's it's just drums and everything else so I will I'll group those I'm gonna call that drums and then I'll take everything else and I'll just group those and we'll make that another sub mix or will we and we'll call this others go and then let me go ahead and bounce those mixer channels to you oh and actually so now out of curiosity do you want it looks like there's an a section of B section so you got the a section which is this then you got a B section which is this is kind of odd do you want both of those or just one section for timewise I would imagine we really only time to kind of muck with one section so I should say maybe which one kind of grabs you sure yeah a is coming your way cope what's the attempt oh uh no oh great 165 and let's see this is from Matt Hammond and so Matt if you I mean these guys can figure it out as well but if you want to throw in the chat what key were in that might save people poking around on instruments to find their way or maybe they're just geniuses and they'll get it right away I don't think either of us have perfect pitch so if only we all did right okay so drums and others we're gonna export the loop we're gonna do audio files on disk and so what sample radio working at I believe I met 4401 in this particular session cool is 16-bit okay yeah I'm just gonna import the audio so whatever you got okay perfect so okay mixer channels all do okay I think we're good there and I'm gonna drop this stuff onto our shared drop box see how this goes just turn the knob oh I'm getting a text message from someone watching the stream they're in c-minor I guess he figured it out on his keyboard that was not from Matt Hammond but he's he's worked it out Kui Chi thank you for that one thank you [Music] okay now while I get this going over to you can i nerd out what what what guitar are we playing and what are we running through fun it's a it's a fun one if there's a way I could just like take a picture yeah yeah it's it's a fun little rig so again I didn't fully like plan to bring everything from my studio guitar wise so what I have is what I have is in 1940's Honolulu lap steel amplifier and three pedals and an SM seven in front of it I'm gonna I'm playing a Stratocaster wait what you're playing wait you're playing a Stratocaster oh okay oh I see uses a hollow I was thinking like a the guitar was the Hawaiian oh no sorry the so the I guess that would be file on my lap steel that's what I'm saying yeah no it's a um I guess they used to sell lap Steel's and amplifiers as sort of a package deal and this was the amp that came with a lap steel that you could buy which is a bit of a weird one I just realized okay goodness we're back I just rose while I was exporting I'm running my office the reason so while we're exporting I I was muted which you've amped for time perfectly without even knowing it guys thank you time to shine if I if I ever disappear it's because I'm opening or exporting or doing things that's a knocking off my audio koete she tells us that he's got perfect pitch can you believe it so oh this is a cool you know what I'm gonna do I'm gonna send this picture to Stefan and Stefan can go ahead and do that work I don't think that didn't go that all the way and all the way step on you can maybe I don't know tweet this out or do something but this is the amp that they're running with there we go okay you're gonna text message definitely okay now let me you guys are gonna get set up there I've got in our Dropbox there should be a folder there now that has to have four files but that should be the the drums and the other elements Paul Ortiz strats are gorgeous I only have a very ax does this is their set of ten stratum ulation that is true [Music] correct Paul let me just check in with you one of these emails going on Adam love that sound nitrous tweeting loser how non come stream is how old are y'all what now I think there's there's something of a uh you got supposed to ask people their aged but if you were gonna say I'm gonna let me I'm gonna I'm gonna guess I'm gonna guess torn Osage torna you are I'm gonna say 73 72 72 you not realize my way you because you guys gained down again and I realized I think there's a setting we're gonna we're gonna come figure this out while we're on live on the air here but there's a setting on tsums preferences to automatically adjust mic volume we're gonna go into that for one second is there setting yes make sure to uncheck the automatically adjust mic volume because as you do guitar it's gonna it's gonna be so confused by the sound of your voice versus the sound of guitar know you want to have it set not to automatically adjust so uncheck it and then and then you can just set your you probably want to if you go back to the same preference you probably wanna kick up that there's a slider for the audio level which would probably turn down automatically kick that up a little bit so you're back to being regular yeah it's all the way up oh it is it okay yeah so I did I turned down our talking oh I got to be okay it would it would cut the amp would cause it to be peaking like crazy I gotcha okay cool so you'll be a little quiet everyone else can deal with that for a little while okay so did you guys get the stems I did everything's on one stem but we can we can roll with Odin oh geez - they're not totally cool we can work with that okay [Music] it's quick decisions quick decision-making here also I feel like part of the modern day producer sitting in a room with an artist trying to like work out a co-write situation is like getting a vibe quickly is a huge deal and so coming up with ideas on the spot is large yeah so you know sitting and listening to something and being like oh here's a melody but here's another melody and then here's the third melody one cheese one right we do that alive there's a fair amount of that for sure cool sorry giving you like sort of vocal ink things while I'm doing this sir yeah I mean you want to leave that down first yeah yeah so what I'm gonna do is kind of just throw some guitar ideas at this sure I can sure and then maybe just that line and then I'll double it and distort it and sure sure do it while you are don't be distracted by me but while you are doing your thing I'm gonna answer a question that came in to the chat someone asked how am I getting on how we getting audio into zoom we're doing it using a utility called loopback this actually came up yeah I know yeah we rogue amoeba as a software company they have a utility for mac called loopback audio and it makes this kind of routing really nice and simple so that's what we're doing [Music] what's that oh you dive in you go ahead yeah in fact maybe hopefully I don't I'm gonna yeah just you go I'm gonna shut up and just let you work okay no I mean like if you wanna if you have a fader for us you want to just like pull us down and sort of keep the conversation going that's totally cool too I should have such a fader I do not I'll be I'll use my mouth fader [Music] hardware buffering ProTools doesn't like running chat and throw tools the same just like running which it doesn't like doing a video call with a with attracting sessions oh well that's a bit of a [Music] [Music] people in the comments complimenting Matt's track I agree it's a really nice track so well done man Oh cooi here it Tigers already coming in on the top line [Music] I love just and if anybody missed it you made a comment torn about that I think is an interesting like conceptual big picture thing which is in your assessment of the song you said it's got a lot of synth elements and so your first instinct is how can i balance that out and then it's a little bit of just what's the opposite of a synth not a synth and so that's sort of how you came at it from what do we have that's not a synth guitar vocals let's let's add those and kind of bring the organic element into the the inorganic the synthetic since you know I guess I'm not part of the collaborative team I will put it out to - Matt Matt what do you think should we sounds like Tigers working on a vocal already she's got cello as a possibility what are you what are you seeing on your tune here buddy let us know in the in the chat yeah keep us keep us posted like you know we this is sort of how we're used to working as we have an artist kind of in the room with us kind of telling us what to be doing so I'm also the most a DD producer on the but this is what makes it interesting as Roni is very methodical organized goes and order things and is able to keep track of like oh I need to circle back around and get X Y or Z I'm like a net here I want the hi-hats to do that yes and that I like drop everything and then do that and then I won't move on until I'm satisfied with whatever random thing just popped into my head gotcha but sort of jumping from whatever stimulating you in the moment yeah gotcha matt says do strings that's uh I guess this is the unique thing yeah you want to put some strings on I mean okay strings first now people may not know this just for the audience watching tiger if you know whereas our video narrator or video host where you know her as a singer producer artist she also happens to be a bad ass cellist which is not a commonly uttered phrase but I do believe it I do believe it applies here so reason studio Stephan saying liquid drum and bass and cello yeah that's kind of what we're looking at here huh people in the chatter want me to sing backup I assure you that you don't want me to do that not what we've got to hang on the last stream and it was you know I had a moment of stream bravery [Music] [Laughter] totally by the end of the stream I'm just gonna be on I Love You Man oh right right no we haven't you know I've the reason puns have been trained out of me because when you you know when you work with with reason Studios you it's like it's the first instinct you'd be like oh let's well I mean that being said I'm on a stream right now called your reason to stay inside so I guess I really shouldn't say it's been trained out of me because I kind of fell into it right there but but you do you do kind of get yourself away from using the reap on read this read that you know banjo solo dance Steve you want the banjo solo yeah you do buddy who everybody wants a banjo solo okay I'm gonna let these guys work out their parts I'm gonna kind of lay out for a second here we're gonna work [Music] [Music] I mean you guys are practically one taking like it's it's one thing to play your line in one take it's another to write your line in one take that's right this is quarantine there are no rules in quarantine our cellos are written fast that's what everybody is saying America [Music] chill mode if you're asking I love that guitar lick who did that that was torn I tore the first thing we torna added and torn and tiger were discussed too adding organic elements they added guitar that was it now we're adding cello yeah they're kicking ass [Music] I love this I remember you guys caught there as they're queueing these up torna says to Tiger okay line for like do you realize in the space that I've basically had three sips of coffee they've added four perfectly arranged harmonic lines of cello on Matt Hammonds track here very cool maybe we could do like low chords like John like following the harmony just sort of like [Music] yeah well yes somebody said in here actually they said bathe it in reverb I think that's we're talking about right babe a there you run yourself a tepid bath of reverb and bathe that cello chill mode says the dynamics of organic instruments is just awesome that is true I mean you know I mean you can do you know the funny thing is that on plugins you know in synth instruments and stuff I mean obviously the dynamic is what you make it you can make incredibly dynamic but a lot of times we tend to think in more narrow dynamic ranges with sense than we do with organic instruments and so there's something about an organic instrument that just makes you play it dynamically and when you're a talented player me Tigers obviously knows what she's doing on cello and so those swells and all that stuff is just yet Matt Hammond hits right in the fields it sure does doesn't it man [Music] I'm not screen-sharing so just to narrate what I've done a little bit here yeah literally we just put an SM seven maybe a foot away from the bridge of Tigers cello and then I all I did is I hi passed it at about 90 Hertz and sent it to a Valhalla plate box that I have sitting in the session cool it nothing too crazy no it's something you know sometimes it's this simple stuff is like plate reverb is like maybe about the most vanilla effect you could think of but it's so useful that it's just like sometimes you don't have to overthink it's like just you do the thing that you know is gonna work Marty X trend everything gets better with cello I do believe that is true ever I mean everything right oh there's dissension within the production team [Music] okay cool I mean just for the people watching I'm just gonna translate a little bit of that Muzo speak there so they have the option they could there's two notes to this it's called a double stop there's a fifth harmony and they could have tracked it twice and done the one note and then the other note or they could have done both notes at the same time Ronnie gives the choice to Tiger Tiger says let's do it it's more vibey to do it at the same time I think that was an interesting reason for it the perfect okay I don't interrupt you guys go ahead and let you can throw that down I like that I like that you guys are surprising even each other [Music] nice okay is that you use that because when you're when you're doing production or vocal work there's a bigger pressure so you fall back and like oh sorry I'm Oh like I'm a banjo player right so if I'm at a tune I go am a banjo player you can't expect me to be in tune it doesn't matter if I'm playing guitar it's like yeah but you know yeah with something like that for for me like I tend to I love taking sort of like very acoustic and very sort of real layers and making them like chopped up or synthetic sounding or like a little too aggressive in some way or especially with like jello which is such sort of like a mellow beautiful instrument to kind of just like make it abrasive and annoying um not annoying but you know I mean sure yeah I'm gonna I'm gonna take a second and yeah yeah yeah like just or didn't get it so that it's kind of sharp and the attacks are really like kind of punching you a little bit cool there's a thing I hope I don't distract you when I'm I'm talking you go ahead and do your thing and maybe I'll talk to Tiger while you do things there is something I find fascinating just as a musician forget that I'm sort of you know hosting our live string with you guys but there's something fascinating about watching musicians work with each other and so that little thing you know where you just go you know maybe maybe gated and what is a gated and saturated or you had to start engaging like there's the thing I love about that I want to point out so I hope the audience is kind of paying attention to as well is that there's such a cool supportive element to collaboration but you threw that out there and and rah and Ronnie doesn't go like gating you think do you really think that you know like that that'll kill all future ideas to come because it makes the collaborative partner more hesitant right or the the flip side to that is that you could go so so supportive that you never push back and that can kill things too right like I've worked in with people where you'll throw out an idea that you can tell that other person's doesn't like it but they'll go yeah we could do that and it's like no that's equally bad like I know I you don't have to fake it you know like you could you can tell me if it's you're not feeling it but there was just a neat little mom there it's like you threw it out he's like yeah let's do it like just right on it just keep the flow going so it's fun to watch I hope people are enjoying watching collaboration that they're not a part of so we do we tend to know each other's instincts with things and so like all hear something like that and go oh I know what Ronnie likes to do in his productions and I know what my go twos are so if we combine them this is probably where we'll end up right because we do also have our moments where like I'll go I don't want any reverb on this vocal right here and he's like I want people to be uncomfortable right well that is you know the healthy collaboration does have some of that that honesty someone a bedsit audio said that collaborating is a little like improv it's that yes and concept which which really is true if anybody not isn't familiar with that concept when you're doing improv sketch comedy or you know sort of that that improvisational theatre there's rule that you know if someone walks in and they go like you know to start a scene they say I'm here to pick up my dog the worst thing you can do is the partners go you know you're not there's no dogs here like now you've killed the scene like you you always take what someone gives you in a scene you go you know and you build from it so you might go oh yes well the you know I don't which from which dog there's a thousand of them here and then you and then then the next person wouldn't go there's not a thousand there's twelve like you just you don't shut things down and so collaborative music is the same way it's a yes and process so with that in mind did you yes and some distortion and gate they all exist on the channel he just hasn't checked it ok cool cool I'll get out of your way [Music] for sure but it's awesome it's great out of curiosity could could we solo just the things you guys have added for a second I'm getting rid of the zoom meeting yeah there was this guitar [Music] ah I will show you we just added our these guys yeah yeah sure sure yeah that's cool cool I mean that's a lot to have thrown in there in a very short amount of time meanwhile I'm distracting you at every possible turn I my I don't think be fun to watch some vocals go in so that'll be me of the chats gonna be 40 seconds behind but chimed in on the chat guys if you are indeed hearing some vocals get tossed on top of this - I think Matt who's getting a multi-thousand dollar a session going here is probably definitely interested in that all I did with double stops there is it's Pro Tools built-in EQ just kind of high passing stuff gotcha I've got soundToys Decapitator on it for some distortion and I've got fabfilter gate okay cool Elvis Titus says yes vocals please all right I gotta say I love I think they're just being kind to me but there's a recurring set of people in the chat that are wanting banjo on everything every week now and be careful what you wish for guys cuz one of these days I'm gonna I'm gonna put the banjo on and if you think I'm joking I'm I mean literally it's right here I can add any more that that banjo is gonna make an appearance but not today not today so okay so Tigers gonna be a nice gonna play-by-play everybody here Tigers gonna be putting some vocals on here I guess she's are you she looks like she she's ready oh she's writing lyrics oh my god okay yeah yeah no I'm with you I'm with you it's not like the greatest come on don't know now don't practice practice self-love here I'm sure it's great I'm thinking we'll probably double and triple it too okay if you want to preemptively I'll just preemptively make two more tracks for like a left like hardpan doubles I just want to listen real quick to make sure I have my placement correct [Music] [Laughter] [Music] it's absolutely fresh refreshing to watch quick creative decisions it's this is what I'll tell you what I feel as a person watching and I hopefully the audience is feeling the same it's like you watching you guys make quick decisions gives me permission in the future to make quick decisions like there's a part of my brain that will go like hey they did it it's okay I don't need to obsess about this I don't need to like hey self-critique every line of this vocal until I don't even want to work on music anymore I could just go just it's really fun to watch I don't interrupt you but I love how quick that went no it's just that what you just said just like hit me straight years ago like if somebody had sort of given me permission to not obsess about sort of like is everything in this session quantized is everything perfectly in tune like is this sound as cool as it could be and just kind of just like go go go and like get a get a color palette it sort of get a vibe and go back and polish later if you want to but just sort of get something down right it also works with a few collaborators who like all don't watch me painstakingly try to mic something and then they're like why it's a mic over there and I'm like oh okay that's actually a great idea for this particular thing right thank you for giving me permission to be a little lazy right like surface of a cooler sound because it's it's counterintuitive to your initial instincts that making quick decisions working quickly and going good enough is actually a way to get a better result than caring and obsessing like it works against you you know there was a the musical director I don't know if he's imagined he might still musical director with the Black Eyed Peas but years ago I interviewed the musical director for Black Eyed Peas Prince bored and he said that when he's working on drum sounds it's something that he doesn't spend any time on he says he just asked himself like is this dope enough for right now fine and then he goes on and he puts down his drums and then the next day when he listens back he says almost every time it goes oh those are great well I don't need to come back I don't need to swap them like but if I had if I tried to find the perfect kick drum in the moment I would have done that all night and then I wouldn't have made the song I made so yeah usually your gut instinct is what's gonna serve the song the best right in my in my opinion right cool okay excuse me I'm Flemmi I had cheese this morning [Music] [Music] - sad quarantine breakup song we're fine though sad quarantine breakup song key method there must be how many people out there right like they just start on a couple dates and now they can't meet was like I guess it's over oh I was thinking of the people who hated each other now they're stuck together Oh certainly you know I know in a totally unrelated thing I remember this was a thing there was talked about a lot in San Francisco when when gay marriage started being legalized and San Francisco was on the forefront of that there was this moment where like there were couples that had been together for years and years and they were like yeah we can't they won't let us get married terrible how horrible though I can't believe it and then suddenly it got legalized and also there was one member the couple it was like oh actually I don't oh I just kind of been saying that like curses to them for making it legal I kinda actually don't want like it was this moment of reckoning for for people when it that excuse as it were probably the wrong to use but that that barrier was removed and you had to decide for yourself how you felt anyway so what now so what are the lyrics that you said it's not our time to we got all the time in the world all the time to say I'm not your girl okay gotcha I'm not sure why but we that's what rewriting is for triple and then harmony yes and we had a double down we're gonna do a triple and then we're gonna do a pant okay double triple armies got it [Music] any other circumstances can we go back and let me hit that thing but we're just gonna let it fly for now this is this is where this worm Matt takes back over in the collaboration he can tweak things if you want that I should act I'm gonna put you on the spot here would you guys mind actually stemming these things to Matt and he if he wants to cool we actually we haven't talked about that but I started it realized it's it would almost be cruel to be like look what we did Matt you love it oh cool okay well everything [Music] while you guys do that I'm gonna check in with the chat here people are loving the laughs concept of [Music] very very cool I am laughing because Carlos Torres said that me asking you on air if you would mind stemming it out he said that's like when you ask your mom if your friend can stay over while they're standing right there the universal experience I remember my mom having to give me the talking to she's like you can't put me on the spot like that I figured [Music] maybe but that's in the same register as a I'll be octave maybe second half yes can you try okay it will be a cool lift for the second class tree in which case we could just delete it yeah Housekeeping couple of track layers sure electric names she's Ronnie again Ronnie is much better at that kind of stuff than I am because I'm I flip from idea like to other right so quickly that I just forget to name things and then all of my regions have weird lady like name a file underscored right right numbered I'll get that audio track oh one copy Oh to dub oh one you know yep pretty much yeah where we talk to you about that oh my housekeeping [Music] sure I'm thinking like buried with lots of reverb yeah [Music] should we like before I go cuz I could go stack city for a hundred years in a world where probably you know we're we're about an hour into the stream which is about where we I would be going like that's we're probably close to wrapping I would think and we can stay on forever which some people would like but for your sake and just the general okay really want to do a third above that harmony but look at this what a perfect demonstration there's the pushback when it's healthy push back that is the that's the producer you know the collaborative partner gone like we got it we're okay we you know sort of the sensin already do a little bit yeah you what whatever whatever you guys want to do as much or as little as you want to do to kind of it could just stay in its raw form or you could balance or you couldn't whatever and as we do that maybe we can kind of recap if anyone's joining the stream kind of what you guys have where we started and kind of what you added to it yeah I can kind of do this in the dark too like without necessarily hearing what I'm doing I can kind of just go go by touch here a little bit okay for the people in the in the chat just I mentioned yes tiger mentioned something stack city she'd want to go stack city this is great we have a thing in previous live streams we've talked about going to pluck town because synth plucks are like such a great sort of texture to add right and so now we've got pluck town stack City it's a whole musical like sim world that we're building guys we should get Animal Crossing and you can have an island that's called pluck town stack city all right we could absolutely why not for some reason at the beginning of this quarantine I've just been arguing to have animal crossing tiger really you'll just take any excuse to justify animal crossing why not like if I'm not producing it and so I need something right that's my brain turn off totally and the truth you don't have a Gamecube what is it 2003 what's wrong I know that's the problem well that's when I was first introduced to animal crossing was on gamecube there you go oh right sure so it scenario a little bit what I'm doing so I what I just did is I bust all the harmony stacks we added together okay and then just sort of like high-pass them and the the sort of Airy layers she added at the end I'm sending to that reverb I'll play this in a sec sure sure do you tend to high-pass vocals in general just kind of get rid of some of them or is it a female vocal thing that you'll do more often than a male vocal err on the production that's true yeah I mean at the end of the day sort of it's just you just have to think about sort of what else is in the track and what things have to coexist with rhyme so for something there's something like this where the drums are kind of more active and there's already some sim players like you probably don't need anything below like 100 Hertz in a vocal yeah you know but I mean obviously if I were mixing this I would listen and make the in that way I did on our on my latest single when Ronnie was mixing it he automated an EQ curve I did that's true so this oh this is really yeah okay so basically at some point during the vocal take I guess she was singing sort of like this and she must have turned her head slightly so the EQ balance of it changed just like a little bit like a little bit of kind of like chest residents went away so I automated a bell in fabfilter eq - come on just there at like 150 or something just like adding 2 dB just when she turned her head you did that while while we were talking on says about animal crossing ok he was very excited about it I came into the room and he was like you want to hear the latest moment yeah of course and then he is like by the way right this is like you know the the funny thing was some of that mix working and you'll you'll know it mostly from Mick's work but like if you do your job well it's not noticed much you know like it it's it sticks out it's like oh if everyone's like oh wow you really eq'd that base that's not a good thing to be saying about a mix you know but then you have this sadness where it's like it's like oh no one will ever know how totally genius I was in my mastery of this of this EQ automation you know so I totally get that someone walks in the room you I got to show you this awesome Brian do you mind if I play this track back a little bit just kind of hear my please do and then we'll and then we'll kind of listen down to everything and sort of see what we're working with here [Music] [Music] so what I'm gonna do here just to kind of make a little bit of room for the vocal is I'm gonna you cue out just like a little bit around kind of like 1k in the in the sort of like master track that you said now sure beginning or make a bit of room there [Music] Gabriel Lauren says that that vocal is super catchy in a really great way that's good yeah I mean I uh I'm happy to sort of like polish to polish this up a little bit more or like offline too you don't have to watch me mix I mean not to you know I you guys are super kind a to even just do the stream with us I think we've all loved hanging out with you and and and even more kind to let me put you on the spot and be willing to to share these with Matt so that he can keep going but that being said there is also a certain Alamo you can be like okay we've done we've gotten you this far and Matt you take the ball and run with it too so don't feel like you need to be like oh man now I gotta mix this track and you know tune the vocals and do all the things that might go into a you know a longer-term production you might be working on but I this was awesome this was so awesome to watch you guys work I'm so glad that we could do this because you know like all of these live streams so far it's like I watched them as a host where I'm fielding questions and looking at technology making sure things are running but then I just watch them as a musician and I I just love watching other people work and especially you know like you know Ronnie I've you and I just recently met but Tiger and I have worked together and it's fun to see her work in a in this capacity because I I know her through her you know voiceover work and her on on-camera work and things like that but it's really fun to watch you guys work I you know it's what strikes me about this as a sort of a demonstration of the collaborative process is that there's a lot more that's completely the same for all of us in the way that we work together then there is different about how we all work together and I think that's sort of what what we saw here today for sure so um Matt man luck of the draw there buddy you got you got quite a thing and Freddie up so I usually I thought we were gonna go through a bunch of these and then we just kind of big but then time being what it was and and and you guys jumping on the name of that file just kind of led us down a road and hey you know that's part of the creative process too sometimes he's just something pulls you pulls you in and you go for it you know thank you so much for for being with us Oh could we just for people recapping here I thought maybe could we just solo a couple things here what we did on this track so we took could we solo just Matt's original first guitar kind of like disembodied surf guitar part [Music] money on my part and then tiger added sort of cello chords these and there's also these rhythmic cello double stops which we distorted and gated and sort of to make them knock a little bit more to make them to make them Canali and yeah and then there's some vocals on top of that [Music] it is awesome I think this was so fun to watch what you guys add to it for people that may have tuned in late you know the the way you got started was when you heard this and and I can't say this enough because I think it's a really interesting initial creative decision Ronni heard this he said okay well there's a lot of synthetic elements to this so my first instinct is to start adding organic things and that's what led us down this road of what do we have what do you guys have in in the room there at the Palace of Versailles as far as I can tell from behind you that what do I have in the room that is an organic thing that can balance out the sense and and that's what you get you go to you go to your things what do we play and play guitar you play cello we sing let's do it let's add it let's build on top of the synthetic thing and we end up with a very cohesive you know it's peanut butter and chocolate it just goes together well awesome well guys why don't we do this maybe we'll play out on the on the way out of the stream we'll play could you set up a loop that we can play for people on our way out and we will we'll go out with people here on that mat where we'll figure out some way to get things to you I don't I haven't worked out the logistics of it I didn't think it would be so awesome that we would end up where we end up and we would need to do that so I got to figure that out but Matt figured that some way we're gonna we'll be in touch and I'll get you a link to something so thanks for tuning in everybody thanks for hanging with us torna tiger thank you guys so much for being just good sports fun people creative geniuses that you are and I hope that we could at least take your mind off of you know maybe the lack of gear that you have in your quarantine time there or the lack of I don't know if your peanut butters running low in the fridge whatever else is going on in the real world we could just all start you know doing the thing we all love which is making some music together so I've had a lot of fun with you guys and I hope you've had fun too [Music] of course now you want to maybe let us know for people out there I've seen some comments in the in the thread about social they're wanting to know where how can i where can we follow you guys and see more of you guys I'm just Tiger Darrow da rrow on everything you are I'm torn of music tío RNA music one of music's again toxic before I hang out the most so yeah I think we both kind of spend 90% of our online time on Instagram so you'll see what we're up to on there okay cool perfect night shift in the comment tiger and torna he is WT + T Music Factory this is a the old C&C Music Factory there you go awesome alright well guys again thanks so much everybody go follow them on social and why don't you play us out here and we'll take a listen to what what we did [Music]
https://www.youtube.com/watch?v=qNDT-4vErz0	# YouTube ## 52 Reason / Record Tips - Week 9: Vocal Remover ### Video Metadata - Keywords: 52, reason, record, tips, tutorial, vocal, remover, james, bernard, propellerhead, software, music, production, audio, recording, 52w - Runtime: PT4M52S ### 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. As the name suggests, vocal removing is about taking vocals out of a stereo recording. Perhaps to add your own sweet voice instead? This week, James Bernard shows how to do this in Reason and in Record. ### Transcript yeah [Music] and they're after this past week's episode on drum replacement I did have a suggestion from Rob over on the propellerhead forums also known as chain style or by sequence to create a vocal removal I tinkered around with this for a bit and after trying some different ways to accomplish it using like low-pass filters or high-pass filters to try to isolate frequencies I ultimately decided that the quickest and easiest way to do this would be to use the center cancel method and when I say Center cancel I mean this since vocals are usually placed dead center on most popular recordings using Center cancel or cancelling out the center channel works pretty well it's not perfect but it works for most songs you should know that any other instruments that appear in the mix that are dead center will also get removed as well so bass guitar maybe some guitar drums things like that and I'm going to show you how to do this in both the chord and in reason and you can download the files that I use here using this link the record file is a song file and the reason file is a Combinator file which is for reason for users only yeah reason for only because it uses Thor to do the center cancel and I'll show you why so let's have a look at that and see how it works and have a listen to it alright the first thing we're going to need here is we're going to need to load a song that has vocals in it and I'm just using one of the factory demo songs that comes with record but feel free to use any song that you have in your library we can achieve the center cancel by taking the left and right sides of the audio mix channel and inverting the phase on one of the channels and in our example here I'm going to be inverting the left channel and then we mix that back into a mono signal the first thing we need to do is go to the rack view by pressing f6 on the QWERTY keyboard now I need to create two additional mix channels and route the left direct output of the main audio track to the left mono input of one of the mix channels and you hold down the shift key on the Corti keyboard so it doesn't automatically route the right channel along with it and now route the right direct output of the main audio track in the same way to the second mix channels left mono input again holding down shift flip the rack around and press f5 and the QWERTY keyboard and go all the way to the top of the mixer press the inv invert phase on switch which is right next to the gain knob on the first mix channel which is the left channel and boom center channel is gone easy is that depending on what song and what effects were used on the vocals in that song you might still hear some of that vocal bleeding through with just the a vocal effect wet mix but overall it should be substantially reduced in the final mix and you shouldn't hear much of that vocal at all to do this in reason I use the Thor synthesizer using the audio inputs and the modulation matrix to do the same inverted audio signal and you can see that in this Combinator patch here I took audio input one and two and routed them directly to filter three left and right input respectively and then on audio input one I gave it an amount of negative 100 which is an inverted amount and on audio input to a value of 100 now I needed to then take those two mix outputs and sum them back into a mono feed so I used a six by two line mixer so I could make sure that the output was some tamaño as you can see here now all you need to do to use this is connect the output of any device that's playing back a sample like a dr. Rex loop player or an nn-xt to the input of the Combinator as an insert effect which means directly out of that device into this combinators inputs and then out of the combinators outputs back into a mixer channel and you're going to get this same exact result as you do in the record example that I provided earlier pretty cool short and sweet but pretty useful tip this week for next week I actually have an addendum to the drum replacement tip that I covered on week aid I did a little bit more tinkering around with that as well and found out that you actually can extract velocity from the level of the audio recorded drums and you can even use reasoned drum kit samples as the replacement samples so tune in for that one I'll see you all in a week [Music]
https://www.youtube.com/watch?v=EXay8J7cITc	# YouTube ## Modulation & Routing capabilities of Reason ### 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, infekt, routing modulation, modulation, Parallel Processing, audio routing, CV (Control Voltage) - Runtime: PT10M46S ### Description Since the Reason Rack is modelled after analog gear, it also has some of the powerful advantages of a physical rack. In this video INFEKT is going over some tips and tricks for Audio and CV signal routing, as well as use cases such as parallel processing, and inter-device-modulation. Get Reason here: https://www.reasonstudios.com/ Chapters: 00:00 Introduction 01:10 Audio Routing 02:43 Parallel Processing 07:16 CV (Control Voltage) 10:31 Eat Your Veggies! Follow INFEKT: Linktree: linktr.ee/infektdubstep Instagram: instagram.com/infektdubstep Twitter: twitter.com/infektdubstep Patreon: patreon.com/infektdubstep ### Transcript hello it is infect and today I wanted to talk about the modulation and routing capabilities of the reason rack and this all takes place within the rack view so you can do it either in the reason DW itself or in your DW of choice with the reason rack plugin so since the reason rack is built like analog gear it also has some of the advantages of an actual analog rack so you have the front view where you can see your devices and how they're mounted into this virtual rack but then you can also turn the whole thing around to view the cables that connect them and here you'll notice that you have two different kinds of cables one is the thicker ones and then the thinner ones and the thicker ones are for audio signals and the thin ones are for CV or control voltage signals so you can use those to modulate things as I will show you in a bit and one trick here is that if the cable cables get overwhelming you can press K on your keyboard to visually Fade Out the cables of all the devices that aren't selected which makes it easier to keep track of what's connected to what so first of all let's start taking a look at what we can do with the audio signals so the thick cables and you can follow the signal flow by first looking at what's connected to what obviously so if we look at this example here at first glance it looks pretty messy but then I can press hide cables and then I can just click device per device and follow the connections so here we have the main output from Mom the left and right audio output going into RV 7000 then we have click on RV 7000 the Reverb and we can see the audio output here is connected to the chorus flinger and if we click on that the audio output here is connected to the delay line and if we click that then we can see that the output of that goes back to our host so back to Ableton in this case and usually you have separate cables for left and right signals and if only the left cable is connected the signal will come out in mono rather than just coming out on the left by default effects will be wired automatically so they take effect wherever you drop them in the rack so in that position however if you want to add a device without any automatic wiring you can hold shift as you drop it in now if you just change the order of your devices by dragging them around the routing will stay untouched but if you hold shift while dragging the cables will automatically be changed so the signal is routed in the correct order and this is super important because you don't actually need to manually change the cables every time you want to change the order of your effects and it took me way too long to realize that you can just hold shift and it'll automatically rewire it so if you want to dive deeper into what you can do with the cables I think a good place to look at is parallel processing and it's a powerful technique for sound design where you use an audio splitter to basically duplicate your signal and then process one of the instances with one or more effects and leave the the other one dry and then you bring the two back together using either a mixer or an audio merger so for example I want to add some spice to this drum Loop [Music] here and to set up a parallel Distortion setup in this case I go to scream for open it up now it's just a regular scream which can be way too extreme so we want to add a flavor of this extreme Distortion in parallels and so now the way to set this up is we need an audio merger and splitter and we want to put that before the Scream 4 here before the effect and then the second thing we also need is a line mixer to bring the sounds back together so I'm going to drop that in while holding shift so that nothing gets wired automatically and then we can look at the back of the rack and first of all we need to basically disconnect everything just so that we have a clear view then we grab our audio in from host cuz this is the reason effect plugin so we're sending all the drum comes into this we get the audio in connected to the splitter and that basically takes this signal whatever goes in here and splits it into all these outputs so we have the same signal duplicated to all these outputs and then one instance goes to the Scream 4 and then into the mixer and I'll just click hide cables up here so that we have a clearer view of what's going on so now we get the scream for distorted signal into the mixer and then we can also take the dry signal so the unprocessed signal and also send it into the channel 2 and now we're getting a distorted signal and a clear signal both sent into this mixer and we can mix them because now we can call this our distorted and the other one would be the dry just so we see it down here in the mixer now we can mix it and one more thing we need to do is to go from the master out also back to the main audio to the host so and so now we have the that freedom to basically make a super crushed version and just mix it in with that mixer by controlling the amount of the distorted signal we want in here but we still also have our dry signal so you could for example do parallel Distortion parallel Reverb where you can process specifically just the Reverb chain with other effects and to demonstrate that basically I'm just going to replace the Scream 4 with a Reverb unit and then if we look at the back everything is still wired the same way and then I can add other effect after the Reverb so make sure the effect is on 100% dry wet here cuz we only want the Reverb and we still have the dry signal hello Cat making an appearance as always and so now we can add in something like an EQ also and we just want to make sure that this is wired so that it's after the Reverb in the chain so I dropped it in with shift so that it doesn't get connected so now I can disconnect the Reverb from the wit chain and make it go into the EQ first and then then take the output and put it into the wet chain so now this is our wet signal that's the Reverb plus EQ and this is our dry signal so if we listen to solo just a Reverb and dry still dry so now what we can do is we can for example low cut that Reverb or we could even do something really crazy like instead of a instead of an EQ we could add this tortion to the [Music] Reverb make a super crushed version of that Reverb in parallel so that's pretty cool you could do parallel frequency shifting which creates this really crazy phasing sound or any number of effects really and for this all we have to do is to replace our Reverb again with for example kilohertz frequency shifter we can remove that Distortion as well make sure it's still wired correctly and then [Music] and again the goal is to have basically two duplicates of the sound and one of them is processed with for example Distortion and then they're brought back with a dry signal so then the thin cables the CV or control volage signals can be used to modulate different parameters and synthesizers or effects which essentially allows you to make devices communicate with each other so these aren signals that you can hear but they're just used to control values of knobs Etc and if you just look at the back of some of the syns and effects and reason you'll find that many of them have lots of these little CV connectors that can be used to send or receive modulation signals so they'll be called ins or outs ins are the ones that can receive and outs are the ones that send and this is something that's pretty powerful in reason and that I often miss in other Daws actually because you can for example use an LFO from Mom and modulate other things and other effects with it like a phaser effect that's placed literally anywhere in the rack and you can just grab that signal and modulate something with it so check this out I have this acid base line over here sounds like [Music] this so This has modulation on the filter frequency so that it slowly opens and closes with that mod b and now I want to actually use that mod b and Link it to a phaser first of all I'll turn that phaser on and all the internal modulation of this is off so it just sounds like a static phaser right now so now I can look at the back of the rack and I can take the mod b CV output here and Link it to the frequency then I can set the intensity of that modulation but I'll leave it all the way up in this case let's just see how it sounds and now what should happen is that this curve that goes at a bar speed affects also the frequency here [Music] and then I can decrease the [Music] intensity super cool for giving stuff movement and now if I change the LFO speed for example it'll affect both the filter cut off and also the phaser of course because it's linked to that amazing and a cool tool that you can use if you want to actually visualize your CV curve is this CV A7 CV analyzer that you can get on the rec extension shop to analyze a signal here we need to send it in here so if we still want the CV signal to affect our sound we we need to first of all split the signal so that we can send one instance into the analyzer so we put that merger splitter here very handy tool now we can grab our mod output that we linked to the phaser before connected to the splitter and now we connect one instance to the CV in of the analyzer and then just one instance to the phaser and so now if we take a look at this we can already see here our CV being visualized we can zoom and we can see when I slow this down it's reflected here if I speed it up we can see it here so that's perfect for analyzing your CV signals and yeah thank you for watching I hope you took something away from this hope you got some inspiration or some useful tips for working with modulation and routing in reason and don't forget to eat your veggies as always peace
https://www.youtube.com/watch?v=KLqgBknuWTM	# YouTube ## Never Pass a Bad Sample Loop Again. Swap drums instead! ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT2M5S ### Description If you've ever passed by a bad sample loop because everything sounded great except for one of the drum hits in the sample, you can use ReCycle to swap that sound out and rescue otherwise great loops! ### Transcript ever had a sample loop that's cool except it's got a snare or a clap sound that's just out of place well I think I found the worst I've ever heard everything about this loop is nice except for its out ofplace Metallica [Music] snare using recycle we can fix that i'll slice up my loop and drag it over to Reason as a Rex file then I'll go into Dr octox's slice edit mode and click on the output settings to reassign only the snare drum slices to a different output on the back of Dr octarx i turn on select slice via MIDI while doing this so I can play the loop and see which slice lights up when I hear the snare reassigning them as I go [Music] flip to the back of the rack and now we've got a loop with no snare drum because the output one two jacks on the back of Dr octox aren't cabled [Music] yet but now drag a sweeper underneath Dr octox with the shift key held down so it doesn't automatically cable up as an audio effect we're not using it that way instead we're going to drag in another instrument to the rack this could be a drum machine or a sampler like mimic on the back of the rack I'll cable the output one two jacks from Dr octox to the input of Sweeper and then Sweeper's audio follower CBJ will go down into the gate trigger input CB jack from Mimic and that's it back on the front of Mimic we can now load any other snare clap or snap sample and it will trigger in place of the far less tasty snare drum we started with i'll audition a few options while I play my loop back [Music] [Music] i like this one this I can make a beat with so next time you hear a cool loop with a bad snare don't skip it recycle it
https://www.youtube.com/watch?v=5t9U1YJ8ghM	# YouTube ## Electro-Caribbean duo Buscabulla remix their hit song Ta Que Tiembla using the BV-X Vocoder ### Video Metadata - Keywords: buscabulla, buscabulla remix, buscabulla ta que tiembla, bv-x multimode vocoder, bv-x vocoder, hit song, propellerhead reason, reason propellerhead, reason studio, reason studios, ta que tiembla - Runtime: PT13M24S ### Description Buscabulla are an electro-Caribbean duo from Puerto Rico. In 2020, they released their fantastic debut album "Regresa" to much critical acclaim-NPR ranked it #21 in their Top 50 Albums of 2020 and Pitchfork called it "joyful and melancholic". They've done a Tiny Desk appearance and just recently collaborated with fellow Puerto Rican superstar producer and artist Bad Bunny. Luis and Raquel are long-time Reason users and when they told us how excited they were about a new vocoder, we had to ask them to put something together for all of you. Watch in this video as Buscabulla remix one of the albums biggest hits "Ta Que Tiembla" using the BV-X Multimode Vocoder. ### Transcript foreign [Music] and today we're coming at you from our studio in aguadilla puerto rico that's right i'm very excited to be here we're going to talk to you about reasons new bvx vocoder extension it's really fun hope you'll join us all right so if we dive right in um yeah we wanted to to try this vocoder out obviously we we um we jammed with it for a bunch um it's really easy to set up essentially you need um you need an audio track set up with the reason rack plug-in as um as an effect you know and then you need a midi channel that's open right like an active midi channel that is being routed like it's midi 2 it's midi output is being routed to that audio tracks effects so i've got three of them set up here vocoder 1 vocoder 2 vocoder 3 and 3 midi tracks respectively what we decided to do for this uh video is we took one of our tracks from our debut album regresa uh called taketiembla and uh we isolated the vocal and sort of looped it on its own and it made a a new vocoderized version of it so yeah luis was super excited because a lot of his experiences with full coders were always a little bit um a little bit difficult right yeah vocoders are notoriously difficult especially in the daw um sort of environment to set up and uh to just run smoothly um [Music] yeah but uh reason pretty much solved this uh the the new version um it allows you to set up a vocoder in maybe 10 seconds max you know so it's really easy um it's straightforward we started by sort of taking my vocal take from takatian blind way isolated and luis made a loop of it and he's going to play a little bit of it without any effects because that's sort of how we started here we go so that's the loop and then we were kind of messing around with sort of different chords just to see kind of like what would stick yeah and um so we were kind of playing around with [Music] and then so we like those chords and then we thought like well maybe we could just like add it to the vocal take from takatembra [Music] let's check it out with the vocoder turned on i'm gonna slowly fade in the vocoder and uh show you guys a little bit of the uh the parameters that we've got going on here to the right we have the output mix the mod or modulator would be the vocal the raw vocal the carrier is the synthesizer the synthesized um [Music] [Music] [Music] foreign [Music] got a bunch of really cool um little uh you know modifications you can make as far and you know also huge uh totally different uh sounds that you can get from this um one thing i really like is the emulation of vintage and modern um vocoders all built into this one synth um i'll show you guys both options here we go you know but overall the difference between the modern event is pretty big [Music] it's got a bunch of other really cool controls including the unison which is a bit like a bit like a chorus um uh a bunch of like um effects that you can combine um with the unison like a distortion buffering ring modulation bit crush and a reverb you've also got the ability to uh switch between this internal synth or an external uh reason synth when you uh you just connect via external carrier in right on the on the on the back of the rack but for now we're just gonna we're gonna stick with that then i really liked something that least did was that when we started um sort of arranging it and adding drums elise was like um i just want to keep adding i just want to see what the vocoder will do like on other instruments and stuff and so um started to feed it through right yeah totally i'll show you guys now so um i'm gonna play this scene right here which has the chords as well as some percussion that i've affected as well with the vocoder i was going through the presets which is um one of the cool things about you know this uh this new plug-in or this new um extension is uh yeah the presets really help a lot honestly um you could get stuck in the cycle of like just doing the same little tiny changes and and as soon as you know you hit another kind of a preset you're in a totally different world um so i saw this one this that was called i believe the drum rubberizer and i was like all right great that's all that goes for drums so let's try it out here we go [Music] [Music] and let's uh let's check it out without the vocoder [Music] yeah it's like a lot less special or something you know a lot less dramatic [Music] and then you can do a bunch of [Music] and use things noise [Music] [Music] so essentially autoplay allows you to just sing or apply the vocoder directly on an audio signal without having to actually play any chords you can just limit the the notes that will respond to to a specific um scale you uh you input right here and so that's what i did with the with the drums you know i auto played and i just put these two notes that are i know for sure in the key of the what i'm playing um and uh and i let it rip and so this is the final sort of you know the final sound um i also have these little uh these little tiny rock samples that i i have floating around this little this arrangement um and we'll play those for a bit [Music] i mean it doesn't make much sense by itself but you'll see so without the plug-in again [Music] and then i'm going to turn this on [Music] and that's got a bunch of stuff it's you know it's being affected by the synth it's giving like that hiss that sort of hissy sound to it um it's giving uh it's not like it has this chorus on it as well as well as the uh the reverb sounds really nice so right now we're having a mix of the original sound with the vocals just go with the vocal sound like that [Music] [Applause] [Music] yeah cool let's check out i think you should show them the uh the arrangement oh yeah totally so let's hear it [Music] foreign all right and then this last part we wanted to add the chorus of the original song um and i think we just decided to kind of like affect it like differently than and with the vocoder still but it's just like a different effect and and i was really happy with like what luis chose for it was really cool yeah um this is just one thing i i wanted to to go over just to get different sort of colors on the um you know of the vocoders presets just so you guys could listen um so here's the the signal without vocoding [Music] right sounds really good all right so here we're going to go ahead and play the uh the same thing with the uh with the big choir preset on the bvx let's check it out [Music] yeah so there it is [Music] that's some of the stuff you can do with this thing it's obviously a a world in and of itself you can you can delve into it um hardcore uh there's so much to go through but that's just me sort of skimming the surface um yeah we we hope you enjoy uh your time with the bvx and uh and i hope you've enjoyed this tutorial yeah you should play the whole thing yeah let's do it in final time let's do it let's do it [Music] foreign [Music] oh all right thank you guys peace thank you hope you're well bye-bye foreign
https://www.youtube.com/watch?v=QgXG_4KouFY	# YouTube ## Speculation Round-up! What is Reason's newest instrument, coming soon?? #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 - Runtime: PT1M0S ### Description For the last three weeks we've been dropping early reactions to our newest Reason instrument, coming to Reason+ and the Reason Studios Shop in May. After three videos and three weeks of speculation, Ryan thought it was worth seeing if there's any consensus or interesting guesses out there. ### Transcript in the last three weeks since we dropped some teasers for the latest instrument coming to the reason rack there's been a lot of speculation trying to figure it out so let's do a speculation Roundup to see what the reason gang is thinking choco mode predicts algo friction while you're not right choco I too would love to see a mashup series along with grainstrom radical Thor and everybody's favorite your roof Club mutator there was a lot of talk about it being an ai-powered chat GPT synth and I don't really know what that is but I definitely want to play one of those before it becomes self-aware and takes over the planet hola sounds says I think this new device turns audio from your mouth into sounds and you know holla what if I told you you weren't a hundred percent completely wrong I mean you're way off and totally not right but you're also not wrong and you'll see what I mean soon enough and by far the biggest category of speculation from people is that this is a physical modeling synthesizer and what I can either confirm nor deny those rumors I will say whatever your guess was we have some pretty clever reason users out there [Music]
https://www.youtube.com/watch?v=NtJq2QI5wNA	# YouTube ## Sampling like a pro in Reason 12 ### 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, sampling reason, mimic creative sampler, nn-xt, dr octo rex sampling, kong drum designer tutorial, chopping samples in reason - Runtime: PT13M51S ### Description The technique of sampling songs or loops has been a staple in hip hop music since its birth. Reason 12 has many instruments that can be used for creating Sample Based beats. In This video, Chris Reed will show you how to chop samples, prepare them for use in various Reason instruments and play the samples with your midi keyboard or using the piano roll. Chapters: 0:00 Intro 00:16 Chopping Your Samples - Mimic Slice Mode 00:45 Chopping Your Samples - Sequencer Rex Creation 1:47 Choosing Your Sampler 4:41 Creating with Samples-NN-19 5:39 NN-XT - Chopping by Sample Start 6:41 Mimic - Sampling with Time Stretch 8:15 Dr.Octo Rex Loop Player 10:01 Kong Drum Designer 11:01 Setting up Kong for Chunk Trigger 12:34 Building around a sample Follow Chris Reed: Instagram: / chrisreedbeats Youtube: / @chrisreedbeats Website: https://www.chrisreedbeats.com/ ### Transcript [Music] you want to learn how to sample like that I got the perfect video for you what's up everybody my name is Chris Reed and this is how to sample in reason step one prepare your sample preparing your sample is very easy and reason depending on which instrument you're going to use so for example if you're going to use mimic preparing your sample can be as simple as finding the sample you want dragging and dropping into mimic and then choosing slice mode your sample has already been prepared you can dial down the sensitivity and that will give you less slices to be able to choose from or you can increase the sensitivity giving you more slices based on the transience of the sample another way that you can prepare your sample is by dragging and dropping it into the sequencer and here you can get a little more strategic on how you actually prepare your sample double click on this sample and you will see similar slices as what we saw in mimic the highlight each of these slices by hitting CR a deleting them and then you can choose which snap value you want and that will determine how many slices you have for this sample if I choose quarter notes and then I select my pencil tool I can then add in slices by quarter notes these slices are going to be equally divided by quarter notes from here I just need to right click and hit bounce as a Rex Loop once I have created that Rex Loop player I can then play the sample by using run or by playing the different sample chops on my midi [Music] keyboard there are multiple Samplers inside of reason that I can use in order to find the right one to create my beat let's go through some of the pros and cons of each sampler you could choose Kong now even though Kong is a drum designer and typically is used for drums it just has that NPC look and feel that calls out to the inner sampler inside of all of us you can remedy the timec consuming nature of setting up Kong by creating an empty patch where you could just load in your Rex file into the first pad and then that way it will be already set up amongst the 16 pads that you trigger in Kong So Kong would be a great sampler to use if you want to use those built-in effects and if you like using the chunk trigger function where nurse Rex will actually break up the sample in certain chunks depending on how many pads you want to use then that would be the go-to for why you would use Kong the next sampler that we have is the nn19 now the n19 is the classic sampler while you can do multi samples with it it's a little limited and it's very simplistic in how you do the keyboard mapping the n19 is a great instrument if you want to quickly drop in a sample and just do a pitch sampling if you don't need to have chops or if you don't need to do time stretching and you just want to get a sample play quickly then the nn19 is a good bet for you next up up is the nnxt the Big Brother of the nn19 while the nn19 has a very small sample info display the nnxt has a larger sample info display and that's good because you have the availability to do Advanced keyboard mapping and Sample grouping I would use the nnxt if I already have my samples chopped because then I can drag the slices into the nnxt and then I can autom map them chromatically and be able to play them on my midi keyboard so if you already have your samples chopped or if you know you're just going to be playing the sample at different pitches then you could use the nnxt next up we have the Dr octo Rex Loop player Dr octo Rex Loop player is another great instrument if you already have a Rex file because you can just drag and drop that Rex file into the instrument and be able to play on your midi keyboard and or play the Rex file exactly how it is it does have eight different slots that you can load in different Rex files so you can have multiple Rex files loaded into one instrument and be able to choose from which variation or which sample you want to work with lastly we have mimic and the major Pro of mimic is it Tim stretching capabilities you can drag in your sample and be able to pitch that sample up or down and using the different Tim stretching modes you will be able to speed up or slow down that sample and get it to sound exactly how you want it to sound unlike the other Samplers where if you change the pitch you also change how fast your sample is being played so those are some of the pros and cons of the different Samplers that are inside of reason now let's actually take a listen to how we could use some of those Samplers with some beats that we've created in reason starting off with the n19 we have this sample right [Music] [Applause] [Music] here we're just going to be playing different pitches with this n19 but we can drag and drop that sample into the n19 and we'll be able to play the different pitches on our midi [Music] keyboard we pitched it down a half note from C to B and then we Loop that sample a couple of times added in some Pitch bins and this is what we [Music] got so with the n19 we're using one chop of the sample and we're just looping that using a lower pitch now let's listen to what we did with the nnxt for the nnxt we're going to drag over our sample and we're going to add it into the nnxt a couple of times and this time we're going to change the sample start in order for us to get our different chops first we're going to select all of the samples and then we can go to autom map zones chromatically and that will allow us to be able to play each of these samples on our midi keyboard starting on C1 and from here we're just going to adjust the start for each of these samples until we can get the sound that we [Music] want and here is the sample chop that we [Applause] have next up let's take a look at mimic we'll load up the instrument reset it and then we'll add in our [Music] sample for this sample we didn't need to prepare any chops we can use mimic and we can use the sensitivity to set the chops full for us once we change from Pitch to slice mode we can see all of the slices that appear we can change our sensitivity so that we get more or less slices and then we'll be able to place slices on our midi keyboard here is a chop that I've prepared using the sensitivity knob on mimic and using that Loop let's change our time shet to advance we can drop down our speed to about 43% and then we can drop down our semi tones and we'll be able to get this [Music] sound here's the pattern that I prepared for this [Music] track with a little bit of automation we're able to drop down the EQ high cut and give us a filtered sound for the verse section of this [Music] track now let's check out the Dr Octor Rex loot player we're going to start with this sample we're going to create a Rex file by setting a slice on each half note and then we're going to bounce this as a Rex file right click and hit bounce clip to Rex file now we have a Rex file that we can create we have the added ability of being able to play this Rex file with our Mini keyboard we can change the transpose or we can go higher we can turn up our release on our envelope and turn our pany down so that way the loop will just play all the way [Music] through here is the pattern that we created using these sample chops [Music] a for our last track we'll use Kong here's what the original sample sounds [Music] like and since we already have that Rex Loop ready all we need to do is drop in a Kong reset the device open up our Show drum effects and choose the nurse Rex Loop player from there we just need to add in that Rex file that we created by going to song samples all self-contained samples and finding the Rex Loop that we want to add in this Rex Loop is already pre-sliced so we have the availability to go in between the different slices and we can turn on the trigger for those slices and then we can use our hit type and set it to slice trigger in order to set these pads up to play by the slice but there's an even easier way to do this if your Rex file doesn't have slices that are equally distrib uted then you could just use trunk trigger in order to set this Kong up so that we can use it to play our sample we need to do two things the first thing is to set up our drum assignment by changing all the pads to play on the drum one this will ensure that each of the pads are playing from the same nurse rex that we set up on the first pad secondly we need to change our hit type to chunk trigger which will be hit tipe number two so we'll set each pad to number two what this does is it creates chunks that will then be distributed amongst the different pads in chunk trigger mode you can select how many chunks that you want to split your Rex file into if you don't want all 16 pads you could separate the Rex file by four pads or any other variation of number of pads that you want to use in order to play your [Music] sample so to set up this Kong I'm going to turn down the velocity on the nurse Rex so that way it doesn't read how hard I'm pressing the pads I just want them to play at the same velocity and I will pretty much leave everything else the same but remember you have the availability to use all of the Kong effects including Reverb tape Echo filter compression EQ and so on and so forth let's check out how we chopped up this [Music] sample I added in this house loop from Loop [Music] Supply as well as some of my own drums and Redrum some base effects and some vocals from [Music] arcade I hope that you guys have enjoyed this exploration of the different Samplers inside of reason and some examples of how you can start sampling inside of reason today if you're looking for more tutorials or more videos make sure to check out this video next my name is Chris Reed until next time peace
https://www.youtube.com/watch?v=uKKqGy09ZXw	# YouTube ## Record Home Sessions - Amber Rubarth ### Video Metadata - Keywords: Reason, Record, Production, Software, Propellerhead, Propellerheads, Music, Mixing, Home, Recording, songwriting, Amber, Rubarth, John, Alagia, Ari, Hest, Hotel, Cafe, getting, started, beatmaking, music, production, Propellerheads-LTVS13 - Runtime: PT3M48S ### 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. Seasoned music producer and Norah Jones collaborator, Peter Malick, packed up his studio and moved it home to his living room and garage. For its maiden session he brought in indie artists Amber Rubarth, Courtney Jones, and a veritable A-List of players from the LA singer-songwriter scene. On Peter's first day in the new space and first day on Record 1.5 we rolled cameras to capture the new 'studio' in action. In this video Amber Rubarth invites over her friends to help her record "Full Moon in Paris." Peter Malick balances the common limitations of home recording like a reduced number of microphones and a lack of isolation with the more important goal of capturing a special moment while not letting "bleed" decide important production decisions. You can download the final mix of this session here: http://luxurywafers.net/mp3s/amberrub... ### Transcript what is the project going to be it is what it is we're recording this song in a day it's not $150 an hour Studio that has isolation booths you know every 6 feet and so there are certain compromises that we have to make and at the same time we're getting a better feel overall by giving up a little bit of bleed you ready we'll just roll one more full moon Paris there's a full moon in Paris a full moon in Paris tonight I think so much of recording is is trying to figure out you know you have a situation no situation is ever ideal how do you get what you want to get and still honor everybody who's there you know what I have for the drums I have overhead kick and room we have eight possible mics and seven if I'm going to have a talk back but I don't necessarily have to have a talk back the only thing is I I usually change the tempo quite a bit if there was some way of making so that Butch and I could see each other while while doing it and I wouldn't come through on his mics too much I have a couple of old doors that have acoustic foam on them so maybe I can sort of set that up you could be sort of angled that's awesome full moon in Paris a full moon in Paris t the really surprising thing about the session originally when I contacted Amber she wanted to fill out a little bit of a band we were thinking maybe just getting a bass player at the end all the people that she's been playing with just sort of all piled on and so we had this crowd kind of the A-list of La Studio cats and live cats who do like the singer songwriter scene and you know everybody just sort of came in and like one of the one of the background vocalists is like a legendary producer who's produced some huge huge records in the last few years one of them is another singer songwriter from New York who's had success on his own the musicianship was amazing and these are guys who know how to play dynamically you know you could have perfectly isolated tracks but if the song's not good the performances aren't good it doesn't matter but if you have a great performance of a great song then there can be it can be One mic as far as me for for right now today I'm going to be using record on a regular basis full moon in Paris tonight in many ways it's just a brilliant program there's a mo in Paris full moon in Paris it could just become an indispensible part of my workflow I'll go back inside oh my gosh I love youby me get that Peter we're done awesome
https://www.youtube.com/watch?v=dxLPN-vrvKY	# YouTube ## Can they make a club banger in 30 minutes? (Gentlemens Club) ### Video Metadata - Keywords: video, dela, kameratelefon, videotelefon, gratis, ladda upp - Runtime: PT28M38S ### Description We set the lads from ‪@GentlemensClubUK‬, one of the hottest electronic acts out of the UK right now, a little 10 minute relay challenge. With just 10 minutes each in the hot seat, their task was to create their next club banger—or at least make a start. Let us know how you think they went in the comments down below! #bassline #reasongang #gentlemensclub Follow Gentlemens Club: / gentlemensclub / gentlemensclubuk / gentlemensclubuk ### Transcript it's proven to be to be quite difficult to ask actually i'm not used to this you're gonna have to cut me some slack in the comments all right get out of the room dirty [Music] nice who wants to go first hello people we are the gentlemen's club and we are in a studio today and we are being set some tasks by reason studios i'm going to do some little challenges with the boys let's see first challenge 10 minute challenge where you each have 10 minutes on one song first person starts 10 minutes alone next person comes in on the same project 10 minutes alone then the last person wraps it up all right so who wants to go first oh i like that yeah he's a key let's do it 10 minutes are you ready 10 minutes starting now we were banging on those doors brother in 10 minutes right so start off with obviously it's drums you have to start with some sort of kind of bass line so i do drums as my kind of bass starter yeah that's a beasty kick oh and it's a beasty snare okay let's get all wet down a little bit and then we want to to get the speed up to probably about 128 give it a bit of swinging the drums 127 128 range then what i'll do is to be a bit hipster we'll move this there i believe so we'll loop this over get that as the base and then we can start cracking on with some synth work yeah all right cool how much time am i on i don't like this four minutes oh okay all right all right to make it all right okay easy simple sawtooth reese bass you probably are you've been told many times by the producers but get that scent going see that dirty that's just the beginning but we don't have too much time so i'm going to do this quite rapid so [Music] [Music] not 100 keen but with the time that we've been given we'll just have to ride with it and then i think just on a quick vibe just to get it all kind of there so it's not just fully barren we'll get some some drum loops in there it's nice and all of them are nice yeah we'll have that blah we'll blah that any day of the week so you want to just build up the drums get everything kind of thick full and everything i think for this i'm going to have to miss our [Music] [Music] simple but effective i feel let's get that done for now [Music] and then really because i know the boys are going to probably step in the room any second now we'll just add some vocals i feel like and i don't know where to find these vocals so it's a bit scary for me but we'll see what we can get yeah we'll have a bit of that okay so then we can just slightly move this a bit more right i'm scared i don't like there's four of them coming in i want some vocals [ __ ] ah vocals all right let's just cheat and write vocals in there [Music] i might use that it's not good is it it's not great but we'll we'll deal with it i feel like i can do something [Music] i'm going to have to chop up a little bit i don't like leaving samples exactly how they are i feel like if you are going to use a sample do your best to kind of separate the original sound from what you're making [Music] i think we'll use this little chop there as well [Music] i think i like this one every time i hear a little noise like outside i just feel like it's the boys walking and then maybe copy that over again and then same again and maybe keep that there's a little variation for now for the boys to get the full project so they can also play with it and then i think now just to make it a little bit so there's more for the boys to work with i think i'll play with the filter oh no it's me and the bloody okay double click okay we got it for reference this is solomon's laptop not mine so a few things a little bit different but we'll work with this all good i think they're here yep here we go time's up all right all right all right all right it's tough tough game that is i think we got quite a bit we've got a little intro there tiny for you guys to work with this is this is what we've got so far don't be you know let's be serious it's not going to be uh amazing [Music] don't expect anything crazy boys but it's not the worst but it's you know i got a bit lost if the drums that three minutes of the video is me just lost the drums i'm not going to touch it i can't do too much [Music] on the right [Music] it's not amazing but we're working with 10 minutes so the good thing is the notes are all simple so you know what kind of noise they could follow well let's uh let's see who's next by the way actually are you next all right let's do it first of all let's just give it a quick listen [Music] all right cool sweet so i'm just gonna make the intro a little bit longer here there we go nice i kind of want some four four drums but i think i'm going to leave that until we got drop let's get let's get a drop base in real quick subtractor great for those like wompy bases love it loads of bass lines started from that [Music] nice let's make it four four so it goes in line in fact we can just pull these four like that these are not off sides like that strap them into four there we go looking good copy all that over beautiful [Music] sweet cool so now you got a nice little simple bass line a bit deeper than the intro one so awesome let's get these vocals over it [Music] just want to turn those hi-hats down a little bit [Music] cool get some reverb on them a little bit too dry just a little bit i'm gonna put a side chain on it too let's give it that pump short side favorite i love it [Music] still a little bit harsh when they come in so i'm going to give them a bit of a fade fade in and fade out do that up here just a little once it takes the edge off tiny little bit [Music] i'm also going to add a side chain to this subtractor so it gives up one base a little bit more flow just a little bit [Music] i'm going to make these kicks 4 4 as well [Music] in fact i'll speed it up a little bit like one three two [Music] all right let's get some noise in there give it some texture got copied across for the drop while we on five minutes [ __ ] [Music] [Music] kind of like a bit more of a an airy clap a bit more of a bright clap so let's have a look here so you can find something sounds good it's a little loud [Music] [Music] [Music] cool i like that let's get some risers in add some effects in there [Applause] i need that you know you know you have your favorite samples right are my favorite noise sounds a bit harsh but when you put it in tone it down a little bit it's great [Music] [Music] let's get a nice little clap for the build up that sounds cool get that in we haven't got much time it's it's proven to be to be quite difficult this task actually i'm not used to this you're gonna have to cut me some slack in the comments you know transpose it a little bit reverse that bit of a building my [Music] [Music] see if you've got time to do a couple more little touches let's see just some reverb in places now you can't get much done in 10 minutes i commend i commend people who can because this is this has been a challenge for sure you find yourself like fumbling all over the place but luckily reasons pretty pretty easy to use so we're managing we're getting there we're getting there [Music] a little bit too much too [Music] so you've got time to put a little scratch sampling i might do i might just be able to put a little little scratch in see if we can find some so we listen yeah okay just fill it up a little bit [Music] [Music] [Music] [Music] was that yeah pressure yeah pressure this truly is artsy you don't realize how short 10 minutes really is oh no maybe i know in 10 minutes looking through like just kicks yeah so it's uh it's very very short but i think i think we're on the way anyway have a little listen yeah cool didn't do anything to the intro i just made it longer though but oh okay perfect setting it up for you you know what i mean clean it up [Music] you've got something to play with [Music] foreign [Music] [Music] [Music] [Music] looks like you're up mate you're in the hot seat brother switch it out good luck buddy we'll see you in 10 minutes all right all right all right get out of the room so first things first is i'm gonna mess around with the melody on here and i'm gonna slap in a different base let's try this one copy the melody up [Music] it'll put one off [Music] i'll change this melody slightly on there one not save up or not save down [Music] and again let's say that's a g sharp [Music] so copy that over put a filter on it [Music] so we've got the kick it's a bit too weighty at the moment so punch me key on that oops it's really cute [Music] and what i'll do now is i'll run a bus for the kick and the clap and then what i like to do is add a glue compressor to here so i'll add a um and sciatica glue and you've got to make sure now you hit it just when it's you want about four db on there and then [Music] you want to see change ride ride the makeup on there just has a real snap to it [Music] [Music] to give some give some whip to this synth so what i'll do is i'll create a parallel of that then initially i will take out the low end out of that and then a bunga reverb on there valhalla room 100 wet bring it down just add some real whip to it and then i'll grab the and then for this on the boss and then just be quick with this i'll add a reason studios synchronous and effect patches pumping [Music] this is really nice hey it's been eight minutes [Music] food [Music] [Music] and let's get this on here let's bang let's take that off bring that up here and i'll fill this up so you can just tease it in for the people to to understand what's coming in so i'll put a high pass filter on there high pass and then i'll just bring it up ever so slightly up and towards the drop so it's got some real weight ones once it drops [Music] [Music] oh [Music] i'll bang a fax rack on here run it through a decapitate it just adds some real weight to it it just gets rid of those peaks in there as well just really squashes it down i told you come in yeah that was odd mate that was yeah i got i've got nothing nothing on the interim [Music] 10 minutes is not enough time at all it's like seven minutes i realized like oh my god i have not done it all [Music] what [Music] um [Music] [Music] foreign [Music] [Music] yeah overall i'm not here it's hard man i'm definitely not happy with it well i think you did a great job so cheers man we've got you it's a nice lemon doughnut right there yeah well done thanks man but yeah i'll i will not be doing a 10 minute challenge again anytime
https://www.youtube.com/watch?v=J9xItBDCvNc	# YouTube ## One Minute Favorites! — Parsec 2 Spectral Synthesizer #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, parsec 2 - Runtime: PT1M0S ### Description In just one minute, Ryan give us the low down on Parsec 2 Spectral Synthesizer, available in Reason+ or as a Rack Extension in the Reason Studios Shop! Buy or learn more about Parsec 2: https://www.reasonstudios.com/shop/ra... ### Transcript you know what I love about the parsec spectral synthesizer it's that parsec is a chameleon the flexibility of additive style synthesis means that parsec can do a lot of the sounds other synthesizers specialize in fat subtractive crunchy wavetable FM even some physical modeling effects but you know what it also can do some stuff the others can't do textures and evolving pads that modulate with astounding Precision some of the purest Bells glass tones and plucks with crisp transients on top risers and builds which are not the same old pink noise sweeps that we've all been using and Ambience effects that are musically useful but surprisingly atmospheric too like this water cord in fact every sound you're hearing in this beat was made using parsec the harmonic chords the warm Bass the plucks that fall somewhere between toy piano and triangle wave the melody and yes even the drums were made with parsec that's parsec 2 and the power of additive style spectral synthesis
https://www.youtube.com/watch?v=itRXDzojl6g	# YouTube ## Reason Masterclass: Hybrid Setups for Creative Workflow and Live Performances \| ADE 2023 ### 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, beyun, ade panel, ade masterclass, hybrid setups, hardware software, live performance setup, creative workflow, music production tips - Runtime: PT40M51S ### Description Welcome to the collaborative workshop presented by Reason Studios and Reverb, hosted by Fess Grandiose at ADE 2023. In this inspiring Masterclass, Rotterdam-based producer and DJ, Beyun, shares her expertise in optimizing Reason for live performances. We'll delve into the synergy between studio hardware and software solutions, demonstrating how to set it all up while emphasizing how fun it is to use this hybrid workflow. Beyun will guide you on how to make Reason an ideal companion in your music-making journey, generously sharing her best creative workflow tips and tricks along the way. Learn more about Reason: https://www.reasonstudios.com/ Chapters: 00:00 Intro 01:38 How did you start using Reason? 03:50 Hardware showcase 06:09 Demo jam – Live setup 11:45 Hardware setup together with Reason 15:20 How combinators are used 17:30 Drums & Rhythms 19:30 Latency settings 20:30 Demo jam – Studio setup 21:56 The difference with this setup – MIDI, sample libraries etc 27:25 "On the Road" setup & Reason Player Midi Effects 33:30 Q&A Follow Beyun: / beyun303 https://beyun.club/links Follow Fess Grandiose: / fessgrandiose Watch our other ADE workshop with DJ Pierre here: • How Acid House Founder DJ Pierre Make... Big thanks to Reverb and ADE! ### Transcript [Music] just to reintroduce myself I am fest Fest grandios I host videos about synthesizers electronic music DJing also interview artists as well and that's why I'm here right now so we are with beun hi everyone yes I'm I'm beun uh I am originally from the states mainly um but now I'm based in rdam uh so I didn't have a very long commute this morning so that's great and today I'm going to kind of look at um a couple different things uh with reason one is how I have a live Set uh setup that fuses both hardware and reason together I'm using reason as sort of a soundbox and kind of shifting a a few paradigms of how you might think of the timeline in order to set up automation for all the different tracks that I transition through um and then another one uh another part of the talk will involve how I kind of brainstorm in the studio and talking about Studio workflows I'm using Hardware sequencers uh and vsts in uh reason and uh yeah how I approach that and and take the jams that I have in the studio and then transform them into live sets and then also looking at some really nice uh reason players um if how I would work on a jam if I didn't have my Hardware sequencers so that's kind of hell yeah yeah let's back up a little bit how did you start using reason or when did you start using reason yeah so I was actually introduced to Reason by Pierre um who is on his way uh and uh before that I was using Ableton um and uh reason he was using reason in his studio and I was kind of interested by the interface it looked a lot more colorful and tangible and really mimicked the feel of hardware and to me that's something that was very appealing because um yeah I I kind of want that a greater tangibility um I'm a very visual person uh I like how customizable the reason rack is um it just feels very interesting to me it doesn't feel like this kind of gray Excel spreadsheet type thing but I do love I do love uh Ableton as well for what it does um and uh but reason is it's a common joke it's cool even though they're right over there it's it's cool I mean but you know let's call it what it is reason is the software that mimics Hardware I know for me personally that's how I got in the hardware is actually using reason from like 2004 to like uh at least 2010 and then of course I switched to Ableton like probably a lot of us but then just like last year when I realized that Reon can be used in a plugin inside Ableton yeah it's pretty sick too that's a game changer yeah you can have it both ways it's great yeah have you done that set up at all or experimented with that I don't I don't really use uh Ableton as much anymore but I do have friends who use the plugin and love the plugin and I think that that's you know because they're using Redrum and uh and nnxt and a whole bunch of other favorite uh built-in reason uh synths that are so wonderful and uh it's great to have that option as well um because yeah there's strengths for both gws there's strengths for any DAW and it's all you know it's all about finding the workflow that works for you um and I'm going to maybe share some ideas today that might inspire you and uh see if this is a workflow that you could adopt in your studio or Liv set setup um yeah it's just all about sharing ideas so what Hardware do we have on this table right now yeah so um we have a electron analog Rhythm uh the octat TR uh also by electron um I have an re 303 which is a replica not a clone of the original 303 um that one you can it's made by dsync and you can either custom build it yourself if you're good with oscilloscopes and soldering or you can ask some Builders out there to make it for you um and then I have the Uya keystep Pro um and all of those will be SE sequencing uh some vsts that are in reason um in a bunch of uh yeah I'll explain this in a little bit after I do my jam there'll be more details uh soon um and then I have a little Novation launch control MIDI controller just because that's what I had lying around and I use that to uh do some filtering of the the vsts that I have set up um yeah and and oh and most not most importantly but important is the sound how you get the sound out of everything and um I'm using the personas Quantum 2626 which is a thunderbolt interface and has really low latency and it's perfect for a live setup um and you can do this setup with like a tiny audio interface and just like I would put the 303 in there just because I have effects uh that do the 303 and then um all the hardware can go into separate uh outboard Hardware mixer that's also possible um but you will have to adjust for some latency uh with the timing there um I just like having it everything in one place and knowing that the latency oh yeah the the thing that keeps the timing of everything the conductor is the ERM multiclock and this is very a very important piece of equipment making sure that all of the hardware in the software stays in sync um and that's how I keep the timings in place um and that one is very adjustable uh depending on your scenario um but I just have it set up for how I have it in the studio so that's sick a lot of lot of stuff I feel like we should just hear this in practice okay if you're ready for that yeah I'll do a little gam let's do [Music] it [Music] [Music] d o [Music] oh [Music] [Music] [Music] d [Music] [Music] for [Music] for [Music] no [Music] [Music] do [Music] oh [Music] oh [Music] [Music] [Applause] that sounded great I just got to jump in and say I never seen an OCTA track used in re with reason like ever and I I I I see what's what's happening somewhat I see a lot of combinators yes I see OCTA tracks one through eight seems like the OCTA track's doing a lot of integration here please break this down definitely is um so uh let's start with the octat track so um I well basically overview is I have midi coming from octat Trak and keystep pro going into the advanced midi menu here so if you guys have ever have never seen this this is really powerful um you can basically map any channels coming in from your sequencers or whatever you have um direct to an instrument in this case I have it into a bunch of these combinators and Within These combinators for uh at least for the kyep pro um I have it driving a combinator each with right now an analog lab but you could have any sort of instrument in there um and switch between uh whatever instrument you have with a customizable switch on the combinator and I'll get into that with so just for reference if you're not familiar combinators in reason is your key to customization you could pretty much make whatever you want using combinators similarly with with Ableton Rex so this is what you got going here so please continue so what I have with the octat TR so the way the Octor TR is getting midi into my laptop is electron very clever in completely disallowing midi coming in through the USB which made things a little more complicated but you can get this little USB MIDI mate which takes the midi information and sends it to USB to your computer and there you you can get the octat Trak midi out and so um the nice thing with octat TR is you have uh both the Samplers the the eight track of samples you could do each with four parts but at the same time you have eight midi outs that are they basically I have it all being sent to my combinators with a bunch of NN XTS because I find that uh the sound that comes out of the nnxt is a little bit more Rich uh than the onboard sampler and the Octor track for the the Octor TR I've kept it simple all of my brakes are on board um because I like the workf with brakes and Octor track but you could also do that with nnxt whatever I I want to pause on that did you just say that reason Samplers a little bit more favorable than after tracks that's that's a that's a statement right there I like it yeah the NXT is modeling the classic aai s uh 1200 um which is a beautiful like classic analog sampler and if you want to have a whole rack of a lot of them you're talking about shelling out a lot of cash these days so it's very convenient to have the same power uh virtually and you can effectively have an unlimited amount um of NN XTS they don't use that much uh system memory when no midi information is going into them so that makes them a really costeffective uh at least processor wise wow uh option for sampling um and so what I have here is uh for each track I have its own like kind of combinator and how I switch between what combinator gets enabled is with the timeline and so each measure in the timeline is effectively a track and so I have my Novation launch control here that allows me to kind of go between the two and since uh the timeline is not actually running it's just I just have the BPM uh automated at the top there depending that's more for my effects so that my um 303 and everything gets uh the delay effects uh in sync with everything um I I can kind of flip through the timeline and each of these like bars that you see that's all a specific combinator switch being turned on this is just the automated so you can see here with this track with a lot of uh combinator you've used fun happening and yeah you've used reason sequencers to like create your own launch grid yes that's that's amazing it's dope please continue yeah um and so the the ERM in this case is acting as the Master Clock so all the the start stop everything is from the the ERM um and I mean in theory you could run it in a loop when you're playing with us in the studio but um a Jitter right with all this gear a little bit of Jitter not necessarily staying in syn without that ERM I'm assuming yeah if you if you had it running if you had reason driving it for the live set um but when I do my studio gem example later I I flip it and reason becomes the Master Clock of course so that you can record stuff uh as you jam you can record all your midi and audio so that everything's in sync with each other and you can do something with the project after the fact so so I notice also obviously you just explain with the octat track and I'm assuming the analog Rhythm has like a shade of how that's working as well but most of your drums are coming from there yeah so um all the drums are coming from the Rhythm um so I'm using samples on the Rhythm uh I do use the rhythms midi when I sketch tracks in the studio which I'll show in the next the next uh part of this demo um and that I have going into another set of combinators and I'll show you some some cool things with that setup um and then you're also processing the 303 yeah with the effects and reason I yeah yeah so the 303 has uh its own little combinator of effects right here whoa and uh some of the tracks I have have a different combination of the the effects so I turn some things on and off with a timeline here depending on what uh what track I'm on uh this is still of course a work in progress this life set but it's coming along uh pretty nicely and so I can uh change the thing is you can't quite automate the patches so you have to have the instruments uh um yeah with yeah all set up with with the right patch so you just like change whatever thing gets the is allowed to get midi um with a combinator so you basically I have this editor here and uh So you you're using a combination of Devastator fat pilter Pro Echo boy Jr for those who can't see all within your 303 effects yeah combination combinator yes my secret secret sauce for making that really nice 303 sound can you touch on just for a second your latency set settings because you you touched on that and how important that was to be able to process using the effects live keeping your latency tight like can you like what type of settings are you using with this interface to keep that tight um I mean it's very low as you can see it's almost like simultaneous I don't feel any latency when I play the the the keystep pro um and get sound out um um I don't know the exact number that's cool but I can say that uh within the the menu it's like very very small like like 15 milliseconds or something that I have the um the offsets on on uh yeah even even maybe lower yeah that Master Clock is important you got me thinking about getting one of those wow okay this is the live setup yes how does that defer from your studio setup um yeah so let me go ahead and switch let's give it up for Bayon really quick cuz this is okay so I'm just going to do a little Jam again uh of everything and then I I'll show you how I have things set up um cool okay this time I am using reason as the Master [Music] Clock [Music] yeah [Music] uh basically with this setup the big difference is that I have midi now coming out of of the Rhythm and I do this because when I'm working on a track and I don't have quite the samples that I want set up um on already on the Rhythm itself I don't want to go menu diving and folder diving and so uh I kind of want to get to the combination of samples as quickly as possible and for that I have two combinators each uh so basically with this VST which I'll dive into in in a second um I had to split the midi from reason into two two channels um just because uh there weren't enough spaces in that VST um to kind of figure out uh yeah to to to get all the drum sounds or all the pad uh mides going and the reason why I do this is so that I can take the patterns that I already have on the Rhythm and easily move it to uh a live set because the the the thing I love the the electron sequencers um with all the different probabilities that you can have uh and and multiple pages and also um uh poly rhythms and stuff or poly metrics actually uh it's a lot lot easier to probably construct that and yeah yeah and it's also more tangible but there's ways of doing it of course if you don't have the hardware sequencer which I will go into in a little bit okay so the juice of all of this is this uh Cloud I don't know if you guys are familiar with the EXO uh xn um but basically it organizes your entire sample library in a very visual cloud and uh depending on where you are in your library you have a particular sound that corresponds to a color and also a space in the library and you can search in your uh search for a particular name or like if I want only 808 sounds I just put 808 and it Narrows down uh the the library to that so all I have is like 808's Narrows it's really a Nifty thing um I always uncheck the core content because I don't want to I want my own samples uh and uh yeah and basically you can also uh change how drummy a sound is so I have a lot of pads wait that's not a pad there we go be pads syns whatever vocals and um basically uh it's very easy like when I have a beat going so say I don't really like that sound I don't really like it let's say so I want to switch that out with all your samples laid out on a map it's kind of very easy to just kind of thumb through and find the ones you like seems like with this okay anyway that's that's the cool part you can just like really uh you know and I kind of have a feeling uh for where in the cloud to go to get a particular sound and similar sounds are organized kind of spatially together how do you have XO chained up in your combinator though yeah I have three of them because I like to layer my drum sound sometimes and so I will have uh so for this one I have like the the main beefy kick and then I think I have a a click no that's a that's that is a different kick in a different frequency for this one so I have one that's a bit sub and one that's a bit topheavy and then sometimes I'll throw in a click this one you can't can barely hear uh sorry I I don't have like a bit like a thump yeah I know we don't have studio monitors here so it's like yeah um but that's cool um yeah and uh yeah so that's kind of the the big difference and then also I have all the midi tracks here armed so that when I'm ready if I have a nice Loop and I'm ready to jam I just hit record and it records all the midi all the audio coming in through the audio interface so I would just arm these if I if I have like some brakes coming through the octat track um or mainly the 303 is what what gets recorded here so it is extremely important to hit record when you're jamming with Hardware I just want to throw that out that's like the main tidbit about jamming is just hit record cuz then you could actually make some tracks yes that's wonderful I wanted to see if anybody had any questions really quick yes I was actually wondering uh when you record all these tracks coming out of the O track um do you get the wet signal like do do you have all the compression coming from uh all the effects coming as well or is it pure dry audio oh for the Octo track well if I have effects on a particular part yeah uh then of course it'll record that there's no way to kind of get the dry it just records whatever comes out of the Octor track I see so yeah okay um so the next part of this is what do I do when I'm on the road uh and I want to jam out a little bit and I don't have my Hardware sequencers uh that's where these uh reason players come in so if I arm these I already did some work for this talk just to kind of keep things um so if I play this now and I'm going to turn off the yeah I'm going to unmute all the channels from the Rhythm so the rhythm is completely off and hit play so these are all internal sounds not from the Rhythm like you're saying and then I can do the same for uh the octat track channels so if I unmute all the midi coming from the Octor track no now no midi is coming from the Octor track or the Rhythm that's affecting this is all the reason uh players that we have if we could back up a minute aside from being able to quickly Jam what are some of your other favorite players is it just the drum sequencer or have you used any of the other players yeah let's get into that so um hang on getting confused by all the different stop buttons there's a lot of them um so well you brought your whole studio so it's all good um okay now if I want to play around with say the Baseline uh so let's get this going [Music] uh so you don't see the notes because I think you have to go down a little bit lower and for those that can't see she's using a poly step sequencer which is a reason player and looks like combination with the pattern mutator yeah so I haven't turned the pattern mutator on but if I turn it on and I hit [Music] record so and then I hit [Music] mutate I can come up with other other uh interesting Baseline okay um so that that is uh is one cool cool thing so okay hang on too many stop buttons okay there we go um and then if you're just interested in coming up with kind of a completely brand new Baseline you can do something like with a baseline generator okay hang on let me my my musical ears are kind of going a little bit I'm going to turn off all the pad sounds because they're now we not in the same scale [Music] okay this is one of my favorite players by the way Baseline generator speed map yeah so that can just be a starting point and yeah you can come up with with with with something I'm just going by feel as at this point um as you should yeah and then uh you can also do some like very cool modal jazz or something uh if you have like right now I have the the the chord sequencer here um but if I were to like I'm not going to record anything I'm just going to jam so it's [Music] like [Music] [Music] yeah you get the idea so you can kind kind of come up with there there's all sorts of like cool reason players to just jam with and if you have a tiny portable midi keyboard and your headphones and a laptop and this setup you can do pretty much what I have here but I just like this for the tangibility it's my workflow and also helps me translate the tracks to live let me stop so you can hear me a little bit better yeah well how about that yeah thank you yeah um I like the ability too to also take these players like I was talking about earlier midi out back into ath or back into even the Rhythm or the 303 have you ever done that take midi out into the 303 from the players yeah yeah definitely um I think there's a there's a little uh I I did like a sometime during the pandemic a little chat with Ryan uh from reason um where I used the the 303 with the pattern mutator um and the pattern mutator was just sending midi to the 303 and creating some cool uh yeah baselines with that um so that's totally possible I just am not really set up for this but that's certainly like a possibility definitely for sure I really appreciate the breakdown with using reason live I haven't used reason in a live setting I don't know is this like an original thing like have you seen a lot of application of reason being used live I haven't personally I know a guy called Gerald uses uh uses reason in his life set but he has two laptops going so it's a slightly different setup um and I think there's probably a few others but uh Gerald is probably the the most uh yeah like prominent person I can think of so um so how y'all feel we got any questions out here about beun setup I see you using a a um an electron Octor track do you use uh the the plugin VST uh that electron gives you or do you just use the Octor track raw I just used the octat track raw I don't use a overbridge which I think is the right yeah there's a lot of um like processing uh overhead that happens with the the overbridge um and I mean I think you can probably I I know i' I've done kind of split tracks using overbridge with the Rhythm um but I haven't done it with Octor track for me I just want the the raw midi out and the sampler on the the Octor track so that's a good question yeah thank you um with the Rhythm are are you purely using that as well just for the midi sake or is are the samples is it audio as well yeah so I don't know if you were here for the beginning um but I did a live set um and that had uh the audio coming from the Rhythm so in the live setup I do use the audio from the Rhythm just so I have kind of different sources of audio and I can bail and just use the you know if something goes wrong with the midi I I'll just use the 303 and and the the Rhythm jamming together for a little bit so cool thank you so where can we find your music let's talk about what you got out and what you got going on I understand you also run a label yeah um yeah so you can find me uh on Spotify uh at beun B Yu n um I'm also on wax so I'm I have a a record label um distributed by clone in rdam it's called Vault wax I think we have five releases now um and so if you like final I'm also there um and also on band camp so Vault wax. bandcamp.com and yeah that's that's where I'm currently found now so and you're based in Rotterdam yes yeah what's the next gig what you got going on yeah so I'm actually uh playing Rotterdam dance event don't say that don't say I'm just I'm just joking on uh on on Saturday at poing uh so with h with Lio and at here here um so that's that's a a gig iy coming up and also I'll be in the states in December um right now I'm really heads down in a studio just like making a lot of tracks and working on this live Set uh I want to get it to a point where I can debut it uh maybe on one of the local radio stations here just for a nice little lowkey debut and then somewhere somewhere else so we'll see that's awesome ladies and gentlemen once again beun thank you I wanted to ask uh from some someone who's coming not from like years and years of using Hardware why did you choose reasons why yes well I explained this in the beginning you're the one who uh who clued me on Sir reason uh thank you um but why though cuz when I think about my myself in using it I understand why I use it but for most people here that maybe have never even touched anything any hardware devices what would attract them to reasons yeah so I mean there's a few things I talked a little bit about the visual part of Reason in the beginning and how tangible it is and and how colorful the interface is and customizable the rack is but at the same time everyone is kind of using like one particular Daw in the space and there's a sound that kind of comes out from that and what because reason is so flexible in what you can do with it you can create a really unique sound with reason that I think you can't quite achieve with kind of the the typical uh DWS that people choose um and uh the thing yeah that's that's what I love and also the sound that comes out of reason I mean it's basically emulating a giant SSL board with as many channels as you want that's really kind of a nice thing to come out of software and not have to like buy a ton of Hardware um to get that quality sound that comes through and you can also have a master bus out with what you know I didn't quite dive into that but I do have uh a nice master bus on this uh with uh right now it's very simple just because I didn't want to have too much overhead but I have a nice uh warmer s73 which warms up the sound just a little bit to give it really Lush analog feel you can't really hear it on these speakers but I have a nice Studio setup and so you really kind of do hear that the sound difference is is quite uh noticeable uh with reason uh it's just really nice uh analog like sound even though you're using digital vsts um yeah I got to add to that it's also just fun this software is fun yeah do we have another software right Kitty cornered us I don't want to say they're not fun but when I look at reason I see things that look familiar to me in the actual real studio and then you flip the rack and you can actually can we can we actually yeah and then you flip the rack and then you can do your own patching you could do your own whatever especially with the combinations so I don't know I just I I just wanted to add that fun Factor because I think it's really important yeah and if I had a a whole modular setup that would even look cooler I mean you could actually have a virtual uh yeah virtual module modular set up with reason uh you know and and just drive it with like the key step or the the Rhythm without having to Shell out a lot of cash for modular so and and and also get the the gear acquisition syndrome that you get with modular gear very dangerous boy oh boy do I know that well just want to just give give it up for bayun again it's it is a lot to come out with pretty much your entire Hardware studio and opening up and sharing a bit of your process I know some of us electronic artists can be a little bit Cy about our process but we wouldn't really be here if we didn't want to like share a little bit of tidbits about what we're all doing in like the long journey of creating electronic music it's kind of never endless right especially with all the technology out there you want to kind of fuse everything together we have lots of software we have lots of Hardware that have the capabilities if not more so than software why not use it all we don't have to really have a ideology that just says I only use Ableton or I only use the octat track use it all it's cool might figure out a new [Music] workflow
https://www.youtube.com/watch?v=eThG63cIaCM	# YouTube ## Chord Sequencer 1.1 Update #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, chord sequencer, chord sequencer reason, chord sequencer 1.1 - Runtime: PT0M21S ### Description Chord Sequencer 1.1 is out now! ### Transcript [Music] foreign [Music]
https://www.youtube.com/watch?v=Ksi_r1yQcCU	# YouTube ## Music Making Month - Control Voltage In Depth part 2 ### Video Metadata - Keywords: Propellerhead, Software, propellerheads, peff, control, voltage, cv, advanced, reason, record, thor, subtractor, synth, automation - Runtime: PT31M9S ### Description If you're one of those musicians who tends to think the back of the Reason rack is for pointy headed scientists and lab-coat-wearing madmen, then we've got a great event for you to introduce to you some of the most musical uses for Control Voltage (CV). Sure you can wire up an atomic clock back there if you really know what you're doing but you can also do some simple things that will expand your music-making abilities. Peff will show you how! ### Transcript I imagine there's a lot of uh try out time right to kind of see what what works and what you like to do with CV yeah I that's and that's essentially uh where we're going to get at now and this is why I put these tools up to help people kind of understand that you know you don't you may not know exactly what's going on but you might help an idea and then help you take and find the right control signal so let me get into this oh yeah okay so here is you know let's skip that for [Music] now all right so here I have Kong and let's take a look at the back of Kong and we'll see that it has specific uh for each pad you have a gate in and a gate out and so you remember gate that's the pulse on off and we can connect anything like I said anything into each of these sockets so let's take an LFO let's change that to a pulse and let's take another LFO and and so Kurt that is triggering the gate at the peak of the lfo's oscillation well if you see I've got it set to square waves uh so square waves they look like pulses so in essence it's just a pulse train and it doesn't have to be subtractor we can use mom as well and actually whenever um it will actually trigger on the rising Edge so just as the uh control voltage rises above um zero it will trigger that event so you could program a drum beat using LFO Gates or some kind of poly rythmic patch I wouldn't call a drum yeah and we don't have to really we can like I said LFO is an LFO it doesn't matter where it's coming from we can take Thor but this usually works best with these square waves [Music] now there's one huge um problem with this patch is that there's no off switch it's constantly running I see and that's just that's just the nature of the lfos and reason as which is nice because it does mimic real low frequency analog low frequency oscillators and that it's constantly running amps on the chat wants to know how's the timing working is this based on BPM right now it's not I have everything freewheeling but you can actually go and and adjust everything to Tempo sync all right so I'm enabling sync on each of the lfos he there we have something a little more poly rythmic we can go nuts we can just keep going with with with more devices but what I've done um included in that uh file archive I've created a specific um or a custom floor patch here which routes the LFO to four output so it's like having an LF the Thor and a spider combined in one so this lfo2 will get routed to all of the four uh LFO outputs and then like the spider output four is inverted so let's solo these [Music] [Applause] two actually I hope I'm not going too fast I think you're doing okay is a screen share keeping up yeah okay so here we have the um like I said we have one of the the positive uh part of the waveform triggering the output on cv1 CV output one and then on CV output 4 the negative has been flipped around so that becomes a positive that's why we're going back and forth between pads 11 and 12 here and then we can actually control the amount and the rate from the two rotor here and so that's the pulse generator patch that's included in that archive [Applause] [Music] okay so moving right along here um one of the other patches that I put in here is uh I've taken that analyzer oops that's going to get annoying really fast hold on don't save it's a good soundtrack yeah it's fun and you know working with lfos like that I always like to show that because that's how um how it feels to play with a modular system because what you're doing now is you're just sending pulse trains and to different devices and you never know what's going to come out but ultimately you start to get a cool feel and you start tweaking things and and you know you you you will discover you know you find those happy accidents that that ultimately result in in something new um okay uh going back to be a little bit more geeky about things uh this is another file that's included in the archive here um again here is the rpg8 and I'm using it as a control voltage converter so I've got my you know I've got my external controller keyboard and it's sending midi notes into the rpg8 and then the rpg8 is sending gates up into one of the inputs and note CDs into one of the inputs and so I actually have both um here you can see the pulse on on band two and then on band one you can see the midi notes let I play up and down the keyboard and the thing to remember about this is that the the values are actually offset this should be um zero on the lower left hand ddl or lower right hand ddl where it says gate and I put in parentheses plus one that means the value is actually plus one so as I hit softly you can see there are just low values coming in and then if I hit hard there's the full value and then as you play up the scale you can see the the the value on the right hand or left hand rise and [Music] fall again just to just so you get a better idea to of what's going on with some of these things um I also have pitchbend you can take pitchbend and actually have it send to control voltage or mod wheel through the rpg8 [Music] okay hopefully that answers that question from before very cool now let's um you know I'm kind of overlooking the one of the the most basic uh features and I apologize because it's it's kind of hard having worked with reason for like what 10 years now you kind of lose sight of what was what was new then is is like really old for me now uh and and because all of these features have stayed the same for this past uh decade it it's I I tend to forget like oh yeah is this basic enough is this one of the is this something that we should cover what I've been trying to do is is show these devices and how they work with the new things like Kong and um and Thor when I but I keep forgetting like you know this all really started with subtractor and [Music] Matrix there we go and it was this kind of combination that you would have as your as your base setup for doing little control voltage step sequencer uh riffs and you can see where it says the note CV going into the CV input it has sequenc or control highlighted there Eng gate CV and you know you would just start programming your pattern [Music] and then from there we just start you know customizing the patch and trying to you would work between the step sequencer and your pattern that you have programmed as well as your sound P design and at some point you'd say hm you know I wonder what it would sound like like if we took a curve CV and then had that modulate [Music] FM maybe not [Music] [Music] and so there is our you know that would be like the this is something we did in reason why this is the basic hook your Matrix up and start working with these different curve modulations and say oh shoot you know it'd be nice if I create another uh modulation of say like the filter so we just go and create another um Matrix set it to the curve edit mode switch it to bipolar mode and say hey curve let's go and have you tweak um filter one frequency [Music] then we have to go back down here [Music] [Music] right and then it would keep going on like this like and say for like lfos you know we could have that also modulate say uh let's take lfo2 and have that modulate the amplitude so I'm still working with control voltage but within the subtractor and routing them specifically to different devices but say I wanted to take so let's take this pulse train and have that also modulate something like level well I don't have that feature here so I would go to the back and take lfo1 and have that patch it directly to amp level adjust that scale [Music] [Music] right and then before you know it your rack is starting to look like a Bonafide uh analog modular synthesizer system because then all of a sudden you're taking these different things and filter envelopes patching it to the phase mod envelope patching it to the pitch and not only that the sound that you're actually getting out of here is you know is starting to venture into that that modular realm it's no longer uh no longer your static patches I think that's what's really actually kind of neat here is that you know as much as we try and use analog vintage sounding devices and and waveforms and all that stuff this is an way to instantly get that sort of analog vintage playfulness [Applause] right and it's been there like I said and and sometimes you forget about it sometimes it's just easier to scroll through 500 patches to say oh that one sounds right you know let's so or you have it burned into your mind that oh let's go to um let's select that German engineering patch from Thor that one's got that crazy analog modular sound where you can actually just go back and you know you know there's the same amount of or same effort of programming that you're putting into this as you would with Thor it's just you're it requires more than one device you know you may need several lfos or several Matrix pattern sequencers and generally the idea is you know you could limit yourself to one but you don't have to in fact the more you add the more interesting things can actually get um so going back here I mean like this is one of the uh basic ways again using gates in a more rhythmic way instead of instead of uh having lfos trigger you know you would have your [Music] and again as you can tell as you can see here it requires for each one of these pads I would have to create a separate Matrix and we connect the gate CV to the gate input um handy shortcut like if you if you're getting into like a crazy large rack if you right click on the socket top item says scroll to device and it automatically takes you down to the destination device [Music] and I'm sure some of you have seen this one many times before but if you are a fan of using The Redrum you can always chain Redrum gate outputs to any pads on Kong inputs so if you have a pattern up on pattern one here so The Redrum is actually generating the the pulse trains and the pulse trains are getting sent out of this gate output to this [Music] conad I think this is probably even though it's very simple and and it's somewhat common knowledge to the people that don't know this uh this is probably one of the simplest and most effective Musical uh early CV things you can do is to basically add a pattern sequencer to Kong right um you know there's a feature in Kong that you I tend to tend to use quite a bit which is the um link pad groups so that you could link two pads to the same midi [Music] note and with the old Redrum um there was a similar feature for you know it's been there for ages you can take the gate out chain it to the gate in of another uh Redrum Channel and so I found you know if I if I've developed something using um Redrum you know and I want a layer a sound instead of having to go back through every pattern to reprogram it you just make this little connection and you can layer the sound instantly you don't have to rely on um going through and and if you can imagine it would mean I'd have to go through each one of these patterns and reprogram or like for five and six right so this is taking me like 10 seconds for one pattern and five whereas with just this one connection you know I don't have to reprogram anything both [Music] um both sounds are triggered just from program one pattern L and granted I don't actually have any sounds programmed in this patch but um hopefully you get the the idea of what's going on like I can show you here what I had to do for this session [Music] let's go back to [Music] [Applause] so you can hear that kick going uh it was a fairly complicated uh kick pattern that I had to program and if I needed to reprogram it for another Lane if it would take forever but I could just easily just come up with a a layer just by making that connection of the gate out to the gate in of another r drum Channel [Music] and so likewise with this thing you you can then chain a bunch of gates together let me go and open up this file that I've kind of prepared for this um so here I've got Redrum pattern programmed and if we look at the back you'll see I've got the gate outputs going into three different Kong uh pads so now I have two layers of drums just for control voltage routings without having to deal with you know coping copying patterns to track and then dealing with uh midi clips and reassigning uh midi notes and the sequen clips so I mean this isn't actually a small Point yeah because as it relates to the greater creativity goal you know the less time you have to spend thinking oh you know I'd really love to change that but then I got to go do this and that and you know you know there actually is a a a creative output benefit to that you know the more efficient you can make it the more likely you are to tweak and perfect and and go back and change after the fact yeah absolutely it's uh well again you know some people like that process I'm not going to say that one is is better than the other but this is faster and and because my mind is already wired up to think in in in that way like some people will will think like uh there's some guys in the chat room is I thought I saw Hyde here and is is Rob here you know there are a handful of us who are just like wired to think in terms of these logic systems and what you can do with with control voltages but you know for the Casual user they might be limited to um only understanding midi sequence or Clips so you know copying this pattern uh or creating a whole another Redrum with the same patterns you know there there like eight different ways to approach this uh problem using control voltages is just another or these control voltage pulse daisy chain devices is uh is another it's just another one of the solutions um but like I said there these guys a lot of respect to them there are some crazy fellow reason users and it's always good to know that you're not alone uh but I just wanted to give you guys a shout out there you go there's uh here is Ed here Ned Rush yeah he's definitely there James is there I don't think Ed um and so here I'm going to show you one another layer to this I've taken these gate uh pulses so I've gone from gate out from one pad to another pad so I could have Ed that link feature you know which is you know the like I said there's there are multiple solutions for any given situation but you know instead of using the pad link I just routed the two pads together and then here you can see on on pad one I've got the gate output going to the gate input of a sampler so now everything's being triggered from up here from pad or channel one of The Redrum and then it's going into or sorry channel four The [Music] Redrum and you can see that's going into pad one and then pad one is going to the n 19 the pulse is actually coming from The Redrum but it's then triggering uh the Kong pad and then the Kong pad is then triggering the nn19 and we can go through this and create these crazy long chains of of different things so bring this [Music] back so there's this little guitar sample that I have on the n and 19 and that's actually being triggered not by the Kong but this Redrum and the neat part about this is now everything's kind of layered and you don't have to worry about syn uh you know get into this because we're kind of running out of time and this always happens to me um which is which is uh basically you can control voltage uh modulate anything um so like for instance there's this oscillator pitch knob and I was playing around with it as [Music] playing I kind of like the way it sounds when you when you tweak that knob when you shift the uh playback into different octave registers so what I'm going to do is I'm going to I put it in a combinator and within the combinator I can take a control voltage and have it modulate that oscillator knob so it says oscillator octave so CV input one and then on the back here here's CV input one we'll switch this to bipolar I'm going to create a matrix we'll take the switch that to [Music] bipolar so I'm going to connect that curve into the CD input [Music] so here I've got that Matrix curve going up into the combinator into this routed through the sn19 to the oscillator towards the oscillator octave uh top but I can kind of use this like a spider um I could take that same input and I can actually start routing it to other things too so if I wanted to semitone [Music] filter that's not really sounding very good [Music] so like I was saying before some of these things you can't they don't have CV input some of the devices don't have CV inputs um and likewise on the end on some devices with CV inputs you can't modulate every parameter directly with the CV so this is how we would take anything um any control voltage and basically control any parameter on any device
https://www.youtube.com/watch?v=gNQj9aEqFSg	# YouTube ## The Producers Conference with KSHMR (The Cataracs) ### Video Metadata - Keywords: Propellerhead Software (Business Operation), The Cataracs (Composer), Reason (Software), Music production, Recording (Industry) - Runtime: PT12M48S ### Description In 2012 Niles Dhar, also known as The Cataracs, stopped by Musicians Institute in Los Angeles for a Propellerhead Producers Conference. Niles gave an incredibly inspiring talk about production, but not the technical details we often get wrapped up in. His talk gets to the heart of the philosophical points of what it means to be a producer, work with people, and how to maximize what you're good at while knowing when to collaborate. It was too good not to share. ### Transcript [Music] basically a little bit about myself I'm the producer of a group called The cataracts and the first big song that we had it was called Like a G6 and that was probably came out about two years ago now and then since that song we probably sold a little bit over 10 million uh Records that that we produced and we did G6 uh I did all the devs music at the Bas down if you know what song I want to kick it in the back seat that was me I did the song for Snoop Dog so anyway I wrote these songs I produ that I did it all in reason too I love it I wear it like a badge of honor and uh you know when we made G6 it was a bit of an anomaly and I realized really quickly that it was like this strange song that nobody ever thought would get that big and uh and I couldn't recreate it I had some friends back home they were called the pack and they made a song called the van song do you guys remember that got my van on but they look like sneakers does anybody remember that okay so that that was actually the reason I started using reason because they made that song on reason and I think it was like reason 3.0 back then or 2.0 who knows but anywh who it's an anomaly and people have these huge your records and you're like how do you do it how do you make teach me out a douge well you can okay you could do it once maybe but you got to step out of that shadow and you got to start having the strategy about how you make songs so we did this song called back seat which I was really more proud of uh than anything because I was in the shower and I was singing it to myself and I knew I wanted to make a song I thought it' be catchy about hooking up with girls in the back seat of a car cuz we've all done it and I knew there would be this catchy little part where it does this octave up do you want to kick it in the back seat and that was going to be it and I was just like no I got this Vision okay it's not like a vision like Sergeant Pepper only heart club band was a vision but it was a vision in its own right okay but it worked right and so I put the beat to it and in fact I have the reion file right here let's see going back to Simplicity I I had two instruments that work together really well and once I heard those I just knew that was it I knew I had the back seat thing and I knew I had these uh two instruments that's it you know and then you put some drums on it and then whatever you got your song but I knew when to stop and it yeah whatever you got your song but I I I knew when to stop because if you want to make beats and you just want to sell your Beats for 15 bucks I'm like sellou beats.com or something that's cool but you're not going to make a song and the only thing anyone ever syns themselves and whatever all hoop about G6 the only reason was okay my beat was cool but your popping bottles in the ice like a blizzard and you feel fly Like a G6 whatever the that means you know you're doing that that's why it's catchy that's why it made sense it it was a song so if you don't have that ability and you can't write a catchy song well you got to collaborate with people and the messed up thing about producing is that it's a really lonely art form it's like chess it's why Bobby fiser moved to Iceland and became a schizophrenic and a Nazi is because you can just live in this computer and we do and what you it it's easy to lose touch of the ultimate objective of this music which is to make music that connects and feels good now when you enter a studio you are probably the best at something I came from the hyu movement which is like you know the Bay Area is like a graveyard for really great artists and The Hyphen movement died and and it's nowhere to be found anymore but my perspective is when I step into Studio sessions what I have to offer people it's the reason that I made G6 and I made these songs it's your and you guys all have that perspective so you just got to recognize you're really good and you're meant to be the best at that thing you just have to accept what the limitations are and collect people around you if you don't just compress that drum forever find a guy who has good drums and just have them send you the wave or something if you look at Dynamite or you look at any of these big Dr Luke records you know how many producers are on there there's like three or four Benny Blanco is my good friend and has huge records I don't think he's ever produced a song by himself he doesn't give a he just bought a huge house doesn't matter he knew his limitations that might be what stops you is just not knowing your limitations knowing when to reach out to other people um you know I was in the studio in New York City this last uh weekend and I was with starg and these guys are totally out of my leag I don't know if you know who they are but they're these two Norwegian producers that and their Geniuses they sit down I gave them this song and I was like could you co-produce it with me they scrap my whole beat they put these cords in there and I was like oh my God I need to quit music these guys are amazing there's one quiet dude's playing the key and then there's one dude who's like really loud but he does he never touched the keyboard and I realized what he did he's the guy that goes that's it that's the hit that's the hook you need to bring that back no this isn't working you know he said you're taking too long to get to the hook you need to come in you know and and but that's great that's that's totally okay um you know Dr Luke's Camp is so interesting to me because I mean like hopefully this didn't take the wrong way but it is it is an assembly of like the reject Toy Story toys kind of it's like you got this hip-hop guy who did who did rap but didn't really make it rap and uh J cash and you got ammo and they write all of of K's verses uh and that's what they're good and then you have Bonnie mcke who sounds like she would have been good in the 90s she like would make sense for ad contemporary radio but she's like the Katy Perry that never made it but she writes all the Katie songs you know and Luke is like this Mastermind that brings them all together and and if you can if you can be that that's great you know if you can be a producer that learn learns how to assemble all these people you may never have to touch a keyboard again in your life because we're all here we all ventured out into music um not thinking that we were like the a modern day beeth hope and we did because we thought we knew a good catchy song when we heard it and we could do that too so that's the ultimate goal don't get caught too much up and staring at your computer you can do that if you believe it and you're right about what you believe if you believe in yourself then then you can accomplish that don't get too selfish and don't get caught up in the technical aspect of things so uh keep people around uh that maybe aren't even necessarily musical people keep people around like the LMFAO guys the LMFAO guys when I was with them they make a song they would have girls just hanging out and you would think oh it's so unprofessional but the girls would literally just be there to when the song was hitting they would be like oh my God I love this it's incredible and you need that you need somebody to tell you when you got you need energy you need people around you so you don't get just stuck in the main frame in The Matrix you need people around you to be like do that was tight and you also need people around you to be like when you're like tweaking the S they're like what the hell are you doing I believe L you do this no one's going to hear that and you need that and that's why you need to work around people because not to get all scientologists on you or something but energy and energy is what sells a song like you play your song nobody listens to all the intricacies that you put hours of work it's like they might be able to retain two things you know and you know it's like a Top Line and then if the beat was catching you know and and and and you just got to really be focused on the end product and the energy that when somebody Hears A song they're not thinking about it the same way that you are you know they're not thinking about the guy way the mixing guy or the masing guy or you and you made the be they're just thinking about the energy that it gave them so keep people around you all the time okay so the cataracts like everything is produced by it the Cataract but really I'm the producer and I got a guy named David who just sits around smokes pot he's the other cataract but he's really good good at just knowing when something's there and he tells me now yo you got to stop and it's so funny because we go these sessions like we go starting and stuff and they always reach this point where they're like wait what does the other guy do he's just been sitting back there eating because he has the Munch he's like what is he doing but you know but but but of course he raps also when we do music but um but that's so great like you have to have people around you because people will just they they'll keep you focused on on what's important and so that's he is my kind of check and balance a little bit making music is a little bit like trying to write poetry in a language that we don't speak um we learn to say yo Caro Taco Bell and I want to use the bathroom but we we're trying to write poetry in this language now and um and and but we do it and it's okay that we do it because we know when something connects okay that's why we all signed up for this we all we all think we know what that hit song is when we hear it and we go I can do that too and it's got a catchy hook and it's got a catchy beat um you know but even myself you know I I'm just one of you guys we we all throw at a wall when we're making music and we see what sticks I'm just a more experienced thrower a little bit and I've been doing this for longer and um and I I think the one thing that comes with that experience is knowing when to stop uh you know if you've got your if you've got your um I throw my hands up in the air sometimes you guys know that song that I might okay then you just gotta you got that and you stop and then you put on your I came to dance dance dance and put on my pants and whatever the hell else you did for the rest of the song but you've got you I throw my hands up in the air sometime that song is one of the biggest songs of last year because of that and everything else was just not messing that up you got to keep it simple you got to KN when you got something good you might not be sure about it and and naturally as human beings are when we're not sure we go we do more we add more we're not sure about a be is a be good yet let's add four more sents no don't don't you had it you know so many times dve the pot smoking better half of the Cataract that's what he's there for you know so you know so any um and when you have that woe moment it and you stumble on something you got to stop and notice I say stumble because it it is almost like an accident an accidents can be a great technique for achieving sounds that you and that other artist wouldn't normally do and you got to stop and you got to you got to embrace the accident now the biggest song I made to this day was like a G6 and the G6 song was a product of accidentally putting the melody of this line it was a bell and and I had my okay do you guys remember a song called jock and Jay-Z jock and Jay-Z jock okay so that had this dirty distorted uh Baseline that kind of sounded like this a little [Music] bit right so that was the distor Baseline that I was trying trying to do and I had my bells up here and they sound like this right and then accidentally on reason as you some do you ever drag like Melodies into the wrong lane by accident so it became [Music] this and it's sold 5 million records you know and and and you know what's so funny about that is okay I was in the back of this pool house when I first moved to LA and I was just taking sessions with anybody that I possibly could so they said here are these four Asian guys are called the farest movement I was like oh my God I just want to play in bed and I'm hung over it and they came in and I was like you know this is never going to amount to anything so I made this beat and I made it in like 25 minutes and we had the chorus which is like a G6 Like a G6 and that was from a different song that we already had and I was like why don't you just put that on there and and uh you know we got the beat already and I looked at the guys and I was like well I'm done you know that's it sounds pretty good I'm done you know and going back to Simplicity that was 25 minutes you know and and if I cared more about it if it was my session with acon or something and I was like oh my God I got to make this big S I probably would thought about it too much so it's it's a difficult thing to do to know when to stop and and and when anything doesn't sound right almost appreciate almost appreciate that more because a good song means so much more when it can't be compared to other songs s you know uniqueness alone will overshadow any shortcomings in the way your kick is mixed in with your bass or you know anything in the professional sounding Department if it just sounds different and new all the mix and the mat that will all come in time don't worry too much about that stuff
https://www.youtube.com/watch?v=b0Deu3JgCBM	# YouTube ## Kristian and Christian ### Video Metadata - Keywords: Propellerhead, Software, Reason, Producers, Conference, Kristian, and, Christian - Runtime: PT4M34S ### Description They attended the Propellerhad Producer Seminar that took place in Stockholm and ended up landing a record deal. Meet Kristian and Christian. ### Transcript [Music] hi my name is Christian and my name is Christian and together we are Christian and Christian we're from a small town called fallen in Sweden and we've been making music for almost a year now I think and uh we're getting ready to release our debut debut EP called Tang graat on the label called K based in Seattle last year we went to a producer conference in Stockholm and wanted to get some feedback on the material and kind of ended up with a record we went to this uh production workshop and met electronic artist Andreas tillander and we showed our stuff to him and instead of giving us feedback he actually helped us get in touch with like two week weeks after we had talked to Andreas at the workshop we get a mail from kayai said that they talked to Andreas and he had played our stuff to them and he really liked it and they asked if want to release and we get really happy and now now we're here we met online about a year ago starting started sending stuff to each other and and giving each other examples of mixes and everything we kind of liked what what we did and before we started working together we came from like kind of different backgrounds in music I was more into like techno and Electro like kind of Hightech yeah and I was more into vocal house and Hip Hop yeah and of course yeah and we now we taking like we took like uh the best parts of each and mix it together uh hopefully the future is more releases more L gig all over Europe hopefully and more material and of course our solo stuff as well yeah Christian is releasing yeah I got signed on Trump Shel German minimal label uh so I'm I'm having a 12 in coming out now in summer yeah and I got my stuff on Wanted music coming out in May I think this year Belgium uh I started using reason back in 2004 a live gig I was doing um I thought it was very simple to use and uh it didn't take a lot of CPU power and I like the way all the racks are done in it interesting yeah I think it's it's the most part why using it because it's so easy to easy to use and to maneuver everything and you have you have everything you need in it you have like two really good synthesizers a really easy PR I think this the the Red Rum is the the best drum machine the best soft drum machine I think yeah so and actually more more less is more yeah less is more because it's of chor and monster yeah specific sound of Christian Chris I think is uh comes a lot from the subtractor and the phaser and the re yeah we use a lot of basic sounds from the beginning and work with it with the effects yeah exactly we we basically just open the subtractor as it is and start like you work with the filters and work with the for the ment and start strip it down like some advice for you who want to get your music out is to send your stuff to more experienced uh producers uh send it to go to my space uh try to mix it really well yeah basically don't don't be afraid of getting a no or or take like criticism or something because it's it's always good to hear from from more experienced people try to find which label has your s yeah and of course don't forget to go to producer conference and network with other people that's the best way to do it yeah we did go to the producer conference last year with pets and I mean it worked pretty good for us so I it's a good way to go I think now now I'm lost Lost in Space
https://www.youtube.com/watch?v=XNa30gnO4d4	# YouTube ## Music Making Month - Amber Rubarth Lyric Masterclass ### Video Metadata - Keywords: Music, Making, Month, Propellerhead, Software, Amber, Rubarth, Lyrics, Songwriters, Songwriting, Paul, Zollo, Tom, Waits, Simon, Washing, Day, Adam, Levy, Reason - Runtime: PT46M40S ### Description Amber Rubarth isn't just an amazing indie musician, singer/songwriter, and recording artist. She's an awarding winning lyricist too! In 2006 the legendary trio of Tom Waits, Brian Wilson, and Robert Smith awarded Amber 1st place in the International Songwriting Competition for her lyrical ability. She'll be joining us to discuss how she approaches lyric writing and give us all some creative tips. Bring your notepad! ### Transcript [Music] it's enough to make you [Music] go it's enough to make you [Music] go it's enough to make you [Music] go it's enough to make you go hello good evening everybody so here we are Saturday 28th of May music meie month in the waning phase but still going strong I hope everyone's hanging in with me and enjoying the month we have three events left count them three so not so much but but some good ones we've we've saved some good ones for the end so listen just a couple rules to go over with everybody if you're new to joining us and don't know um you can have your music played in the opening of the broadcast this song it could be you and all you need to do is actually tweet your music to us and you tweet it with a special hash hashtag that's hasht mmm prop songs and uh that's all you need to know tweet it give us a link to your music I'll check it out every day we'll put you up on the air uh if it uh if it makes the cut I mean we've only got three events left I got a lot of submissions but but send it to me because I want to check them out and also the only other thing you need to know is if you got a question for Amber tonight just go ahead and put the word question into the chat message that you write and that'll help me sort of uh you know see it basically so all right let's see what we got going on everyone doing good in the chat everyone's doing good Okay cool so listen uh let's get to our guest tonight uh because we have we have a lot to talk to her about because she knows a lot so we're going to pick her brain and and and sponge off of her expertise so her name is Amber rubar she's a singer songwriter I would say from Brooklyn um but that seems to be a city in flux at all times I I've I've known Amber now for probably the last8 months and I think she's lived in three or four different cities in that time so she's a definitely a traveling Minstrel as it were uh amber say hello to the internet hello Internet how you doing you literally are just back uh from tour in Europe right yeah I am I just got back I was out there for 4 weeks it was wonderful and I feel a little bit loopy and sleep deprived today jet lag kicking in yeah I see well listen I um I guess I want to talk to you a lot about uh lyric writing songw writing the creative process writer block I mean there's a million things that that you uh clearly are are either expert at or not affected by in the case of things like rer block or maybe you are and we'll hear about it but um to to get started could you could you give those that aren't familiar with you just a little background on um sort of your who you are and what you do yeah so I started about seven years ago now um it was actually inspired by I was a wood sculptor before I did chainsaw carvings in Nevada for three years and the my teacher told me one day that the most important thing he'd ever learned was that you have to follow your number one passion and that if you don't do that you're not going to truly ever serve the world because you're not going to great at anything else and so he encouraged me to take everything else that wasn't my number one passion and just throw it out and say uh you know until I decide to change um I should throw everything I have into this one thing and music but I've never done anything I love I love that that you were doing chainsaw wood carving andd you would think you would think it'd be like then that's you found your passion and it was like I got to do chainsaw wood carving but you were just doing that and you were like I got to find my passion I love that yeah it was bizarre I I was going to go to college I I went when I was 17 to start this program it was an apprenticeship in Carson City Nevada the wonderful Carson City and uh it was really random how I got there and it was you know I learned a lot and it was nice to do art but it was sort of it wasn't what I wanted to you know I didn't want to be 60 doing chainsaw carving I see I felt lucky that he told me that you know and and right when he told me that I basically gave his chainsaw back and said here you go I'm going to try to learn guitar wow and have it since and uh pretty much fully on an independent level did you learn so you learned guitar starting seven years ago yeah gotcha you had never you hadn't played any instrument and done any writing whatsoever I had played a little bit of piano uh when I was a kid my brother had taken lessons and so I I learned a little bit from him but um pretty much nothing definitely nothing in public so what was the moment then he he says you got to find your passion and you're you know you you turn off the throttle on your chainsaw and put it down for a second and and you go okay what what leads you to music I mean if you if you had dabbled at piano but hadn't certainly hadn't played guitar what led you to pick up the guitar and start writing your own music as much as I can remember the only thing that I've ever wanted to do as music even though I was scared to do it that's as early as I can remember I I wanted to be a piano player actually like I didn't really know too much about songwriting I knew that I was awkward at talking to people and that songwriting uh helped that that's something I learned early is that like all these things that I had never communicated before it was a really nice Outlet to just you know go and have a pen and some paper and get it out and it felt it felt lighter interesting is that and was that sort of the the early writing that you were doing was it sort of cathartic um like expression of yeah yes extremely really yeah I I actually so I wrote three songs when I was 14 which was uh it I I mean so I guess I had done music but I hadn't it was basically because I was really bad at talking with people and needed to do something and so I wrote three songs on the piano with lyrics and didn't perform them didn't play them for anybody you know it was just it was just kind of like pure catharsis and then I put that away but I knew that that was the thing that I loved the most you know and then when I was uh I guess 21 uh I picked it up again and was like yeah this is it this is what I like interesting so over the seven years I mean I guess all artists have a a growth and a development but can you can you sort of describe you have a enough distance from when you started to sort of see that growth and development and how you've changed as a as a songwriter yeah I've been inspired a lot actually by other songwriters like Paul Simon and Randy Newman have been really big and Tom weights those I would say those are three of the biggest influences on me as far as songwriting um interesting because they're not they're not that's not like um if You' said Paul Simon and AR Garfunkle and Joanie Mitchell there's a certain like uh similar umbrella they fall under but Randy Newman and Tom weights I think don't really I don't that's that's a pretty wide umbrella you've got yeah well the thing that I feel like is similar with them is that they all really go out into into like other territory you know they all go out and they don't like that's the thing that I feel like changed when I first started I basically wrote about things that I had experienced that I was feeling period you know as as deep as I could get into that that's what I got into and that was you know trying to be vulnerable and trying to be courageous and writing about these things that were really personal to me and now I feel like this was probably directly from listening to Randy Newman you know he writes a lot where he's writing from other people's perspectives and he's uh in some I mean it's still really personal because you you connect with it on some level you know you like everybody if you if you I feel like if somebody sits next to somebody that they didn't like at the beginning of uh something and then a long time later they end up liking them because you know once you get to know anybody like you find something in yourself that is is similar uh so it still feels really personal and it still feels really vulnerable but I think I've definitely delved into the uh writing from other people's perspectives now and writing about experiences that I haven't lived myself and more of like fantasy things like I have I have a side project called the paper rain coat and that's all this story that we we made up and it's all characters that we made up and they do things that we make up it's like a totally separate thing you know and that's that's definitely a direction that I didn't I I wasn't even uh drawn towards that at the beginning this reminds me of an interview I read with uh the singer for the plain white teas they had that hit song Hey There Delilah and oh yeah and so he was he was asked about that song and and you know obviously everywhere he goes people he gets inundated with you know oh tell us about that girl and tell us about that song but he said something I thought was interesting in the interview he said that he came to realized in his songwriting that the more personal he was the more detailed and personal he was the more relatable the songs were to other people he always thought that I'll keep it kind of generic I'll just talk about love as a concept and and you know it works and whatever but when he started talking about a specific love and this girl named Delilah and he's here in New York City you know and and all the details all of a sudden people that were in Minnesota could relate to it even though they'd never met a girl named Aila and didn't have a long-distance relationship it was a sort of irony that you know um that's a funny thing you know the the one song that I have that people comment the very most on saying oh I totally have felt that before is this song called you will love this song which is completely details like I basically I wrote it for a guy who the thing that he loves most is like the small details of everything and it's it's basically making fun of that it's just all details like the whole song is is uh is only details and and it's only very specific things that nobody else there's no way that somebody could have experienced all of those you know like it would be weird but people come up to me all the time and say that that's the song that they relate to the most and it's so funny because I remember when I wrote it I I didn't that was the last thing that I expected that anybody would relate to it like I was writing it purely for this guy to listen to right it's weird that way you know there's a you mentioning Randy Newman by the way reminds me of something so just for the for the folks at home when Amber and I started talking about this event Amber recommended a book to me that I'm going to recommend to all of you now cuz it's really good it's called songwriters on songwriting it's by Paul Zolo and it is it's a little thick so you know if you're if you're against long books um be fearful but here's the good part it's all in very small digestible nuggets what this guy has done has basically made it his life's work to interview songwriters on songwriting and so it's all these little interviews with I mean basically everybody Frank Zappa Pete Seager uh I think Paul Simon is in here actually Bruce Hornsby I mean like everybody you could imagine who's written a song is pretty much in here but so there was a a thing I noticed in here Amber that I thought was interesting and Randy Newman's involved so so I'll ask you um in relation to the Randy Newman conversation there were two quotes one from David Crosby and one from Randy Newman and they're both Polar Opposites the quote the first one from David Crosby he says my songs emerge from my life unplanned and completely on a schedule on their own I can't legislate a song into being it just will not happen for me and then Randy Newman says short of quote he says I've never had an idea when I wasn't trying to have one so here are these two guys right both both very talented songwriters one sort of pursues the idea and the other one just sort of bumbles through until the idea comes to him where do fall in in that sort of Camp I definitely have both of those that that's the thing that I like about the book the most is that you read all of these songwriters who are you know you can love at least half of them easily you know if not all of them like you can love all of them and a lot of times it's so contradictory like that like one person says oh I always write the lyrics first the another person says oh I only write the music first you know and I feel like in writing if you if if anybody's going to do it long enough it's going to go through different phases and then also some people are just going to write a certain way and some people are going to write another way you know some people it's like it hits them and some people it's a 8 to five right like to put it down and edit it and everything which I think Randy Newman Falls definitely more in that side I I tend to go more towards the um you know a lot of times I'll try and write songs but I think the ones that actually get finished and the ones that I love are ones that at least like the core of the idea will will be bubbling inside of me and something that I can't ignore right um rather than you know constructing something gotcha comes more where it feels like it hits me than where I feel like I plant a seed and then watch it grow I see to it there's a uh there's a comment from third floor sound in the chat he says I tend to write the lyrics then think well this is crap and then move on and this brings up a thing that I I'm sure I I it's something that's come up a lot during music making month actually is uh writer block or judgment and and and inner critique and is that something that you struggle to overcome or or is it something that you just are lucky enough to cruise through life without ever having to worry about self-critique I definitely critique myself yeah I'm I'm not free of that I think that one thing that helps me is to make sure not to bring anybody else like if if I'm writing a song Sometimes I'll write it for a person you know I'll write it for one specific person but I think it definitely helps for me not to think about ever playing it for an audience or think about like during the writing process you know like never think about oh is this going to sound good on the radio or is this you know you have to like you have to either write it for yourself or you have to write it for somebody at least for me like I I can't bring in anything about the public before that and that definitely helps for the critiquing thing for me because I think it it Narrows the focus you know it's you just have to you have to live up to your critique or your imagined critique of the person that you're right okay going write it for you know there's a question from pedestrian monkey in the chat he says do you write in stream of Consciousness or in bits and pieces usually when I write I have a piece of paper and I write all stream of Consciousness first and it's a mess it's just a it's a big mess and are you at that point are you even worrying about rhyme scheme and and pentameter and all that no no I know a lot of great writers that I've either written with or seen write and they write in verse and I'm always so impressed by that cuz I don't do that like I feel like I get all the thoughts out on paper first and it's just splashed on there and then sort of like hone it into something but it's hard for me if I'm trying to rhyme it's hard for me to make sure that I get all the things out you know okay right right so you if you put that limitation on your on your initial thought process it will limit what you can even think of then yeah for me it does interesting there's a related question from third floor sound he says I'm very good with regular Pros is there any tips on how to convert that to lyrics yeah I mean a lot of people like if you listen to Leonard Cohen you can just you know you can just read that stuff like you don't even need lyrics with it I think uh it yeah I don't know it I I think that absolutely yeah I mean I guess it's I don't know if he if if he means a way to sort of convert that into um because there you know there's a whole thing you don't have to necessarily rhyme you don't necessarily have to fit it into a sort of um rhythmic uh pattern you know pentameter of of a normal verse so but I assume that's what he's meaning is there is there a method that you have found Works to take your scrolling of of ideas and then start shoehorning that into a a a structure that is a repeatable verse type structure yeah a lot of times what I do if I have a little piece of something of the lyrics first which which normally I actually tend to either write the lyrics and music together or the music first I I go that way more often but uh if I do write lyrics first I usually just try and start singing it like not have not really have um a guitar or a piano around yet but just the vocal Melody just try and get something um or the other way is try and make something just on the piano and guitar first and then see how you can weave the the pros that you have into it I see right um so a a question this is a question I thought was a very simple but good question that Paul Zolo asks in his book he said what do you feel makes a Melody great what makes a great Amber rubar Melody [Music] H I think what I what I often do I mean I don't know if this is great I know this is this is like what I usually do is is I I try and be somewhere outside of the music like be somewhere that's not with the guitar or not with the piano CU a lot of times I feel like if I if I do that then I'm starting to you know be limited by the things that I'm creating there so I'll go on a bike ride or I'll go on a run or I'll drive in a car and just sing things and I feel like that definitely helps me I used to actually write all my songs like that and record them on my on my phone on my message machine and' be like you have nine new messages and they' be all like but but I used to always do that of just recording things while I was doing something else you know I always take my uh recorder with me and and do that and I think that that helps me a lot to come up with better Melodies because if you're if it's something that you have to like remember at least even just for a minute um and sing it seems like it's more memorable and you kind of Go in different places that you wouldn't normally go I see right there's some people asking in the in the chat room about sort of uh some of the logistics you know do you um for example do you have a a a notebook do you sort of keep your ideas in a notebook and then reference back to it yeah yeah yeah always I think even if I don't use all the all the things that I write at the time it helps me so much just to know that it's all coming out that it all has a place to go I feel like the more if I ever don't have a notebook I feel blocked and then when I try to write I I'm like I don't have any ideas but if I always have a notebook with me which I always always always do uh and even you know just little observations of people or little thoughts that you have or whatever um it I feel like that for me at least is the key to you know if you're constantly putting things out then once you go down and sit down and try and do something it's a lot easier and there's a um a question um from form and he asks do you use any rhyming tools and I don't know if he means actual sort of liter Lit Literature tools or like the rhymezone.com or something yeah I try not to do that very much every once in a while I'll go on like rhyme Zone and see what's there or you know I have a rhyme dictionary sometimes but I think it can help at certain points because you you find where wor that you're like oh I wouldn't even think of it going that direction and sometimes it'll actually put an idea into your head which I like when that happens but I try and tend to not go towards the ones that are like the obvious Rhymes you know where you're where you're compromising the meaning in order for it to rhyme right okay I feel like too it's too easy if you're always going to a rhyme dictionary it's too easy to compromise the the meanings you know I see I had a I had a friend that reminds me when I was in school that he was a a producer and he had worked with someone and I don't know if it was literal or if he was just venting his frustration but he talked about their lyrics as if they were um I I hope I do not see a ghost it is the thing I fear the most uh I can't remember how the rest of it went but it was one of those where it's just like you know the whole it's like the meaning is gone just to get the Rhymes at the end of the sentence you yeah yeah and if you listen to think like if you listen to Tom weights or if you listen to Paul Simon they're so creative with their Rhymes you know it's not it's not true pure rhymes like it's really creative right or Paul Simon has some songs where it has no Rhymes you know and somehow it still works and I think that to me it it means much more to have a meaning in it and to have uh something that makes somebody feel something and to you know sort of tweak the rhyme a little bit so maybe it's not exactly the perfect rhyme rather than meaning like you don't want to tweak the meaning you want to make sure that you're getting the the full thing out that you're trying to say gotcha there's a a comment uh that just brings this up to me uh third floor sound says love Tom weights uh great internal RH there um but this reminds me that uh I wanted to actually play one of your songs for people this is a song that uh has a Tom weight's connection actually um you did a song called washing day right with Adam Levy is that correct that uh you wrote with him and entered it into the international songwriters what's the official name of it International songwriting songwriting competition yeah and you won which is a great contest yeah yeah place we won for lyrics yeah which is awesome and Tom weights was a judge Tom we you're right so basically Tom weights looked at your song and lyrics and was like winner put the blue ribbon on it stamped it and gave you the official Tom we vote of approval how awesome is how awesome was that I mean was it you know that was the only it's funny because Adam actually sent me an email before and he had seen the contest and he said hey Tom weights is a judge wouldn't that be cool if he heard our song and so that was actually the only purpose of us entering it was because we wanted Tom waight to hear it so it was definitely a thrill very cool well I'm gonna I'm GNA actually play a little bit of uh washing day for the folks at home and cool because a it's a good song and B it's like really neat the lyrics for it I think are you know really show I mean I understand why you want it really showcases uh your lyric Talent so okay so here it is there's a video too if anybody wants to see I don't know if you're doing the video or not I am not doing the video No I um but yeah if anybody wants to go on YouTube there's I think you can just put washing day that is true in fact there is um s foran in the chat he says watch day is also a great video so yes um Martin W2 says love all your songs Amber just passing that along too oh a question from s Forman who produced the video actually it's a person named Patrick Osborne who is brilliant he's one of the most brilliant artists I've ever met and he it's actually all photographs there's no video in it oh wow and he did it in 24 hours and it's it's photographs and animation uh drawn on did he do the animation in that 24-hour span yeah wow he's brilliant one of those Ric I don't think he slept but he's pretty amazing all right well here it is this is washing day with Amber birth [Music] thanks walking past my lover [Music] house bitter taste still in my mouth too much whiskey SK too much [Music] smoke last night's tears hang on my go now the rain has stopped its fall Street shine like a mirror ball Sun comes on it's just enough watch the flowers waking up it's washing day it's washing colors run and the fade away it's washing day it's washing feel the threads like you [Music] again so very cool um some Applause and um people enjoying it in the in the chat for sure so uh I want to I think that one really demonstrates very well-crafted lyrics and I far be it for me to sort of analyze what makes them great but there's two things that jumped out at me that I just thought oh that's so cool how you how you do that and I wanted to ask you sort of what's are the Genesis of that idea the first one was the line you have is last night's tears uh wait oh now I'm drawing a blank on the second half what it go last night's tears stay stay on my clothes stuck in my still on my coat still on my coat thank you um that is uh it's one of those things where you just sort of like it's a it's a small detail but it becomes one of those I don't think I've ever actually noticed tears on my coat but I go like yeah I can relate to that you know how is that is that come from something it's an actual um experience or is it just an image that you made for that line I think that one is just an image you know the So Adam and I wrote that together and we actually I think we were both going through similar things on a without knowing that the other person was going through it we it was actually right when we when we first met and so he started writing he always writes in verse he's brilliant like that like he he writes with Rhymes and I write you know I had all my pages and they were a mess and uh so the the whole idea actually came because we were both looking for an idea to write about we just decided we want you know we both liked each other's music and we wanted to write a song together and it had just been raining we were both living in La at the time and it was like brilliantly clean streets in La which never happen except for after it rains you know and I said oh do you have a notebook that you've been writing ideas in and he goes I think I left my notebook in my pocket and it went in the washing machine um so I don't have any of my ideas anymore I lost them all and I was like that's brilliant we need to write about that so that was that was where the whole thing came from was that he actually lost his notebook writings like by leaving his little notebook in his pocket wow and we talked about you know and then we came up with this thing like washing day like that's what you know that was that was kind of just specifically about him losing his his notebook and and and then you know he started writing in verses and I started writing with these like I kind of came up with the three different scenes and then we sort of came together and did it and it was I think we rode the whole thing in maybe 3 hours cuz I had a show in San Diego that night so it definitely felt like um we were we were lucky and caught in something where we were both kind of vibing off each other and had this little seat of an idea that really worked together and then he had a guitar he had just been playing with open tuning and so he had a guitar and and basically it's just like the most simple fingerpicking pattern that you can do for it and I just started singing over it and so it was like it felt like a really organic but fast Written song do you uh do you often collaborate with other people write songs with other people or is it a solo Endeavor not as much I've written with Adam Levy a couple times um in this side prod band that I have the paper rain coat I write with Alex Wong who's my collaborator for that and I've written with a couple other P people it's it's really hard for me sometimes to write with people like I I prefer writing by myself usually unless it's the right person than I love writing with other people um why is that done is it a is it a creative freedom or is it a being comfortable to just experiment or well the thing I love about collaborating is that you get a lot of times like with Adam and I when we were writing that song I was seen it from I think the more like bright side of things like if you look at the lyrics There's kind of two lines that are dark and two lines that are light in each verse and I think I was seeing some of the light stuff and he was seeing some of the dark stuff so it was really nice to collaborate because if either of us had written the song by ourselves I think it would be like a little bit too light or a little too dark and it's nice to have the two sides it felt like we were looking at the same thing you know from different angles and I love that and that's the same thing with with Alex Wong when I write with him for the paper rain coat we have like such differing ideas on things that it that it Blends and it balances it out but the thing that if if you're not writing with somebody that you have that chemistry with or you have some sort of chemistry with I think that it can be hard to really open up and like stay vulnerable like a lot of times when I'm writing my own songs I'll start crying like if it's not even if it's necessarily a sad song but just because it feels really vulnerable and raw wow and so you have to feel really comfortable with somebody like you don't want to go to a writing session with some stranger and just be like oh my God you know like it's just a it's I feel like some like the parts that I like the most are when it feels that when when it feels so raw and so vulnerable and that you have to have like some sort of Courage that you're bringing into it to get through writing the song I love that feeling I see and and you can't do that with everybody right okay that makes sense I wanted to also ask you about uh you talked about the open tuning on on washing day and um I wanted to ask you a little bit about Keys the key of the song I I know i' I've spoken to um guy sigworth who's you know producer of uh Fu bork a bunch of people and he has his opinion is that there is a right key for every song and it's his job to find that key The Melodies can be one thing but it'll work in one key in a way that it won't work in the other the intervals May be the same but the is that how how are you with the key of the song is it can something you can just cap up and play around with it or is it there's one key yeah for that one we we kind of came up with it in F and it's he was playing it in F and so I started singing it there and that's where it landed and so we kept it there for that um but this last I just recorded an album with Jakir King producing it and he's done you know he he's done King's of Leo and stuff and Nora Jones and Tom weights actually and a lot of brilliant records and something he had me do that was really helpful I also normally just if I write it on guitar it stays on guitar and if I write it on piano it stays on piano and I've never switched them before and what he had me do in the pre-production is he you know I sent all my songs in and then he said okay everything that you've written on the guitar play on the piano try it out on different keys and everything you've written on the piano Try It Out On guitar try it out on different keys and I did that and it was we changed either two or three of the songs to to an opposite instrument wow and or a I think three of the songs were on opposite instruments than I wrote it on and it just worked better and both of us were like wow this sounds way better on this instrument that it wasn't written on so I think that's really helpful to do that and also different tunings you know like washing day is an open tuning and that was the first one that was the first experience I had with open tunings but it's really nice to write in opposite tunings because I think that as a songwriter lots of times it's easy to get into patterns you know where you you automatically go to certain things and if you make something in open tuning so like for Wasing day it's d a d f a d just a d chord um your fingers are confused you can't go to patterns you have to go completely by ear right and it's a it just messes you up you know it just I've heard I've heard Joanie Mitchell say the same thing in interviews that that she she uses the Alterna tunings as a a way to sort of you you don't know what what chords to play you have to find the chords again you know yeah and uh I mean for her it came to a point where she was going nuts trying to play live because she had to have you know a small army of guitar tchs you know like setting up the next guitar for her for the next song but um but I think that is and that's something that uh is that something you can do if you're a piano player can you experiment in that same way I mean being a piano player I mean you can't really do open tuning so how do you break out of those same routines on piano well you can do you can just change the key you know uh easily so I think that that's yeah I mean I guess it's not quite the same as changing to an open tuning but um it works I don't know or you could just try and play something else play the harp right play you know play something that you're not play an instrument that you're not used to right okay and um so can you tell us a little about uh the the session with jqu King down in where was it in Memphis or it was actually in Kentucky in Lexington Kentucky and it was the reason I got to record with him was as a prize for the new song Mountain Stage contest this year okay um which before the prize used to be just playing on Mountain Stage and this year or last year they started working with um different producers and so Jakir King was the was the like prize was to record five songs with him and that was the reason why I it was the same the Tom weights thing you know like he produced mule variations which is my favorite Tom weights record and uh recorded that and the sounds are so so brilliant so beautiful and so I entered the contest and and then got to work with him and um we ended up doing a full album which was exciting we just we we did the five songs and then he was like you want to do some more so we ended up just doing the whole thing which was amazing it was like dreamy uh but he brought his own guys in for for Bass and for drums and a keyboard player in La did some stuff and then um and then I brought Adam Levy down for guitar and he's brilliant and it was it was just we did we cut everything mostly live um for about I think we only did three days with the whole band three long days and cut everything live and then I added a few things you know like a few backup harmonies and stuff after that how much do you uh when you go into a session like that how much do you do rewriting in the studio or is everything there's no unknowns by that a little bit yeah the first two days Jakir and I it was just the two of us and we worked together to make sure that like everything was right you know sometimes we added a little intro or sometimes we switched around a couple little things um or changed a couple words but for the for the most part I did the writing beforehand and there were there were a few little tweaks throughout gotcha um well listen I want to I'm going to send a word out to the chat here uh guys send in your last questions we're going to be wrapping up with uh amber here momentarily but uh so go ahead and shoot in your last questions but while they do that um one of the one of the questions I actually had on my list uh from the Paul Zolo School of uh questioning is um he had he had discussed with a lot of people actually when he interviews them about how they approach composition whether it's from a rhythmic Viewpoint or a melodic Viewpoint and I think that's an interesting way of looking at it you know rap is entirely rhythmic um we tend to think of singing as melodic but it's it's got a huge rhythmic component so which do you which is the most important driving thing for you creatively it used to be Melody lately I actually just started writing with a drummer that has never written songs before because it was because I love Rhythm and I love you know if you listen to something and like that's the first thing you hear is rhythm and Paul Simon does incredible rhythms you know I love I love Rhythm and so I'm exploring more of writing with rhythm as the first thing I think with everything all these questions you know it's for me at least it it moves like some sometimes before it used to be just honest personal things and then it became more like a little bit uh exploring other things and before it used to be just Melody first and now a lot of times I write with rhythm first first I got you yeah I think I'm definitely I'm tending to move towards Rhythm first right now just cuz that's the first thing you hear you know and you can you can always put a great Melody over a great Rhythm and I think it might be harder to do a great Rhythm you know under a Melody right okay a few questions coming in from the chat um Martin W2 wanted to know how did you get on Sun Studio sessions and I wonder if you could tell people about Sun Studio sessions as well yeah Sun Studio sessions is amazing they actually just invited me the the person who ran the program uh came he was at one of my shows I think in Philadelphia and he said hey we're starting this thing and we have the the first person that did it was Grace Potter and I was the second person and he just invited me to come down to Memphis and I invited Adam Levy to join me and then Alex Wong also and so we just went down there and we recorded and it's a it's a brilliant thing they're not really using the studio to record regular records they're doing mostly just a a live uh invite thing but they're really into artists who don't have you know artists who who are independent so what's the Jeff Jeff Davidson is the guy's name that's the guy who runs it his contact is on the Sun Studio thing but they they're airing it all over the US and um a bunch of other places on PBS right now how was that to do it it was it was amazing I mean there's so many great records that were produced there and it's this like crazy little box room you know you go in there and it makes you realize that you don't have to have a super fancy Studio like you just have to bring the vibe into it you know right right that's very cool um there was a question from s foran in the chat he wants to know do you have a SoundCloud I think that I have had one on my I had one on my last computer so I'm sure that I have it but I don't really use it right now use how let me broaden that out to just I'll put one up social media in general um are you are you using the Facebooks and the twitters and the the all the social media tools of the web to get your stuff out there now I am to a certain degree I think I'm not the greatest at it but I I definitely like I have Facebook I have Twitter you know I have them all linked up so I just do the little thing and it sends it out to everything um I'm not very good at I'm not very good at always doing it I could be a lot better you stick to the uh the actual uh human contact over the virtual yeah I like human contact awesome well listen you know I just want to thank you so much for joining us tonight and uh for sort of sharing some of your knowledge you know it's just oh thank you thank you to everyone for watching too it's really nice to it's really nice to be here and go so go check out where where can we uh what What's our plugs is a amber rar.com yeah Amber rar.com I'm actually redoing my website right now so there's going to be a better one up next week um but also if anybody has questions that they didn't get in you can email me it's just Amber Amber rar.com and I'm happy to say hello and uh Facebook there's Amber rubar music Twitter there's Amber rubar you can go on any of those also cool that's excellent and um new album new tour what's what's in the works um well I just got back from my tour I have a few shows in California and New York um and then the album will be coming out soon we're mixing it right now cool do you have a name yet for it no I have like 20 names for it but I don't have one yet okay well that's not that's a better problem to have than having no names so yeah cool also am well take care have a good one and we'll be talking to you again I'm sure thanks Ryan thanks for having me all right gang well uh that will do it for us tonight and I will be with you again on Monday night we have Giles or Guiles I actually should I guess it's Guiles Guiles Reeves Giles Reeves one of those um he he's a member of our Forum he goes by the name uh seelig in our forums super knowledgeable guy super talented work works with uh Emy L Harris he's worked with Patty Griffin he's worked with a million people as well as having his own synth uh backstory to his life where he had put was putting out albums of just synth-based U I want to call it new age but that may be the wrong genre so I'll I'll hold off on calling it that but um join us for that that is going to be on Monday he's going to be showing us his setup that he uses with Emy L Harris live he is a like a I think they call it a Twan five-piece band so it's like five he's doing like three or or four or two different things all at the same time it's crazy so uh come check that out that's going to be 9:00 p.m. European Time 300 p.m. Eastern noon on the west coast and we'll see you on Monday and don't forget if you want to get your music and we only have two shows left now if you want to get your music into that show uh and one of those shows go ahead and tweet your music it's going to be # mmm propop songs or facebook.com/ propellerhead and this could be you but only if you tweet it or post [Music] it it's enough to make you [Music] go it's enough to make you go yeah it's enough to make you go yeah it's enough to make you go it's enough to make you [Music] go it's enough to make you go it's enough to make you go it's enough to make you go Dr Dr [Music] it's enough to make you [Music] go it's enough to make you [Music] go it's enough to make you [Music] go it's enough to make you go it's enough to make you [Music] go it's enough to make you go it's enough to make you it's enough to make you feel
https://www.youtube.com/watch?v=fuYkM0qAqhU	# YouTube ## Tutorial: Record Drum Takes - Using Additional Mixes ### Video Metadata - Keywords: Reason, Record, Music, Multi, Track, Drums, Live, Recordings, Propellerhead, Software, Making, Production, Loops - Runtime: PT4M6S ### Description More info on Drum Takes: 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 second Record Drum Takes tutorial we will go over how to use the additional mixes included with the ReFills. Record Drum Takes brings big league rock and pop multitrack drums played by skilled session drummers to Record — a steady foundation for any rock or pop creation. ### Transcript hello and welcome in this tutorial we'll take a look at how you can use the additional mix documents in the record drum takes refill the additional mix documents in the drum takes refill provide different mixer channel settings for all drum channels and result in a different drum sound altogether using these additional mixes is a very convenient way of defining the overall drum sound in your song plus it's a great way of learning how drums can be mixed as in the previous drum takes video tutorial we'll use record and reason Duo so we'll have access to the nnxt sampler as well however this is not necessary to be able to use the additional mix documents they'll work just fine in record Standalone as well since the additional Mix song documents also make use various send effects for example reverbs the easiest would be to start building your song from the addition additional mix document however if you choose to copy the drum tracks to another song you can manually copy the send effects afterwards or load send effect Patches from the effect patches folder in the drum takes refill to make it easy to find a suitable drum mix sound the record drum takes refill provides a couple of bars of audio of each of the featured additional mixes let's use the import audio file function to preview the audio examples of the additional mixes okay I think this drum sound would be great for my song the name of the preview audio file is the same as that of the additional mixed song document let's cancel the preview and open the corresponding multitrack additional Mix song document here we have the complete multitrack session of the additional mix there are also a couple of bars of audio included for preview purposes since I won't need the preview audio clips in my song I'll just delete them since all the song documents in the record drum takes refill are readon files I save a copy of the additional mix document using the save as command now I want to use the drum audio clips from one of the regular record drum takes refill songs and use them in my song I select all audio clips in the regular song and select copy I switch to my song and select paste now all audio clips are pasted into my song on new audio tracks it's quite a lot of audio data so this operation could take a minute since I want to use the channels and settings of the additional mix I have to move my audio clips to the additional mix tracks instead select all audio clips on the new drum tracks and drag to the corresponding tracks of the additional mix document like this okay let's play back the song [Music] yep that's definitely the drum sound I want now that I've moved the drum audio clips I can just delete the unused audio tracks then I can continue building my song by adding more tracks and by rearranging the drum audio clipss as described in the previous tutorial so that's how you can Define the overall drum sound using the additional mix documents in the record drum takes refill [Music]
https://www.youtube.com/watch?v=pbkkcpj1r2E	# YouTube ## Express Your Emotions in Music – Interview with the amazing Claudio ### Video Metadata - Keywords: circuit tracks novation, claudio, claudio music, propellerhead reason, propellerheads, reason propellerhead, reason studio, reason studios, reason+ - Runtime: PT19M40S ### Description So many of us got into making music because of our deep visceral love of music and the emotions we feel when listening to it, but when it comes to actually making music, many of us can get distracted by the technical task at hand, the inner-critical mind, considerations of what others might think and many many other factors that can actually hold us back from tapping into the very emotion that drew us to music in the first place. Claudio joined us to talk about a topic that is very near and dear to her. Her talks on translating emotions into music have featured at the annual Loop Conference and the prestigious Ted conference. Claudio sat down with Ryan to discuss ways we can all better connect with our feelings to channel them into our music. ### Transcript first of all thanks so much for uh joining me my pleasure thanks for inviting me what struck me when i heard that we had been talking to you about music and the translation of feelings through music and the conveyance of feelings through music i thought what a perfect guest for this because you're an actual expert it's not it's not many people that can say they're such an expert that they're an actual ted talk alumnus uh on the subject but uh you are that's the first time anyone's called me that so thank you i interviewed a artist once who said something that just stuck with me he was talking about the process of learning to play music and learning to create music and what he said was starting to make music is like trying to write poetry in a language you don't speak yet it's a command of energy and ability to synthesize thought and feeling ahead of time and filter them sound is the vehicle for an emotion this stuff is just a medium it's just a medium it's just it's like i said in the talk it's just language these are language these are components of what language are and to understand them gives you the ability to speak eloquently you think of yourself as a translator a feelings translator musical to feelings translator definitely 100 most of us have the chronic problem of editing our art on the way out the editing is to be done after all the paint is thrown on the canvas that sounds easier said than done to notice that you're doing it is the first step to notice all of the intrusive thoughts that happen while you're getting something out is the first process what is so-and-so going to think of this is it is it going to be basically i mean you know and that's all just a symptom of i enough am i adequate am i accepted can i accept myself i mean it happened to me that the first video i uh yeah that went nuts viral was the cover of hey it's sonically terrible but emotionally it is exactly what i meant this is the first time i have ever lined up how i wanted to feel this is it for me and if three people like it i've got to be okay with that because this is what i want i did a million two days my whole life changed after that point okay if ever i needed evidence that the whole purpose is to line up who we are with the sound that was it that's the thing that saved my music not music tech you know what i mean because we're all at the the music when all is said and done is just the reflection of where you are in a moment of time it's just a picture and they're just so there i mean it's always going to be distorted that's the nature of self that's nature of self-awareness we cannot see this is why we need relationships so that we can experience ourselves you know but i could imagine that something you can also to a degree you can capitalize on that as an artist um if the person if on the receiving end of your of whatever you're emoting if they receive it exactly as you intended it cool score job well done if they receive it differently but it still resonates job well done it's not it's not quite exactly it's not yours at that point it's not yours he belongs to the world after that that's your job done that's like that's like when i play a show i can only control what happens up until the d i's you know after that it's out of my hands right but what you said is huge like as as a really preliminary um i guess thing to thing that i really want to always be mindful of is am i having fun or you know we don't have to call it that am i am i here am i here am i with the music or am i with the analysis is this it not is it good is this it and it happens all along the line all along the road so it applies to lyrics it applies to chord progressions and that's just obviously a melody and that's just the pure songwriting aspect and then the same thing has to happen in production the same thing has to happen in the engineering if i can get lots of people to resonate with the thing that means a lot to me that's the only version of success that i want you know the word that keeps coming up while you're talking about these things is uh vulnerability and sort of the there's a there's a vulnerability to the process but the first step in that is to allow yourself to be vulnerable and that's maybe a hard hurdle to overcome i guess or perhaps to notice when you're not aha how do you notice when you're not because it doesn't feel any good to yourself there's no capacitors there's no catharsis in your songwriting when you're not being vulnerable right there's the vulnerability aspect of being worried about maybe oh am i exposing myself too much and then there's the like i don't know what to call it the cool factor of like i want what i do to maybe sound cool and can i sound cool and emote at the same time is that are those at odds with each other or do they just seem to be at odds concentric circles aha i think i i think cool is over here true is over here and they can totally intersect i reckon it's easy to make cool music and it's really easy to make formulaic music but to make something that is actually substantially you in a way that is relatable by virtue of being cool and accessible enough so that it appeals to what people understand that's humility to me and vulnerability but even bigger than that is a sense of satisfaction that you can't fake right right and at this point i could not make something that i thought was cool that didn't mean anything to me i'm not saying that this needs to apply to every any to everyone i think some people are making cool stuff and that's all i want to do and that's great but where people feel slightly unfulfilled or if you're making something cool but no one's really noticing then that could probably be why because you're hiding behind cool yes right that's almost i think that's where i was yeah you're hiding behind cool yeah yeah it's not real it's not real anyone can do it at this point we're at this amazing time in history where anyone can learn to be a music producer and there are so many cheap codes anyone can make something cool but to make something that moves people that requires digging a bit deeper right it's it's almost in a way i sort of you know if everybody came to realize it the coolest thing to do is actually to yeah to dig that little bit deeper yeah yeah if you look at the people who have really changed the face of music they weren't hiding all of us and people watching hopefully have had moments and maybe they haven't maybe this is an abstract thing for them but have had those moments you know it's like the goosebump feeling or the or you get the little chill up your back oh well something's happening here you know not not that that's a requirement like oh if i if i don't get you know goosebumps then i'm not gonna keep writing but that that is sort of the you should feel you should do something yeah yeah and sometimes what you're making is good but because you've got so much um just brain noise going on you can't allow yourself to feel it so sometimes again that question what do you feel speaking to your body like often often i'll go it's it's the same thing on the other side of the spectrum i'll just be i was banging away and i think and then i remember okay i'm totally outside of my body right now and i will ask and i'm listening and i think ah it's there it's already there you know what i mean whereas i've been going around in circles trying to get it better because i'm just in my outside of the moment in my analytical brain it does not serve me you know this goes back to the um what i call the uh first album syndrome you know so many bands there their first album is really really successful right and then the second one is not i've heard that referred to the sophomore slump as well so same yeah same idea it's really really clear i mean i obviously was just my theory but um you go to band and they get together and they're just they're just full they're vibing they're vibing and they get in the studio they're just in it in it and they're just making what is relevant to them they're doing it for them and then it has success and all of a sudden rather than try and replicate the emotional experience they were all trying to facilitate an emotional experience that was genuine that happened the first time they're trying to replicate an outcome it's never going to work i want to find out a little bit in terms of your actual creative process a little bit ago you were talking about how if it's you kind of take a moment you can't take your temperature you go is this is this happening is this clicking is this doing what i need it to and if not i'm going to change gears in the terms of the actual nitty-gritty of that does that mean that you're you might try a sound and if it's not doing something for you you'll switch a sound or is it switching a key a scale tonality or i mean in the actual sort of mechanics of the music making what are the tools that you employ to either tap into a feeling or fi course correct when you feel that maybe you're you're not tapping into it i mean for me most of the time it's it's a songwriting process um and it's just it's it's harmonies that do it for me or don't so i might have a i might have a um a phrase that just plays in my head will not let me sleep and then that will be the thing that starts the song but the moment that the chords come the song is there the chords don't feel right it can't continue just doesn't it doesn't you said something in your ted talk about chords particularly and you said that you love that one note can have the final word in a chord and the way that somebody receives it and i loved that idea that that that one that one note can what do you mean by that that one note in a chord can have the final word on what someone feels from it that's such a good point i'll show you [Music] that's a d minor nine and it's it doesn't matter what it means to me i mean it doesn't matter what it means to me to me but it could mean something totally different for you obviously but if i [Music] i mean just adding putting that b-flat in there that's for me that's a totally different piece of content and for what it evokes and yeah i i gotta i am a little bit obsessed with the idea that it's not us creating music music calls the thing that exists already that is demanding expression and i don't i can't really do much beyond um melodically i can't really do much beyond that if i don't have chords i just don't right i'm just really hungry inspired that's just the way i operate and once i have the chords then the rest of the stuff starts to come you know sort of the feeling that went into a song and you you're now going to sort of package it into a a production as we know it to convey it to the listener at what point do you think about how to introduce the feeling to them are you trying to establish from the get-go like okay this is a sad song or this is a wistful lonely song or do you let oh i think the best way to answer that i think the best way to answer that the director of uh the film eve is in yves saint laurent it's a french director and i can't remember his name he said to the lead actor don't show me let me see and for me the way that applies to music and i is paramount i feel like my task is just to match in terms of my own my own perception of my research my resonance to to match up what i wish to communicate not even to someone but what i wish to just simply release or express i just have to match that up to the sound and then let go of the rest if i do that i swear nine times out of ten you will get it the way i intended because i wasn't trying to get it to you i was allowing our human resonance to take care of it one of my favorite uh quotes from uh a music there was a a biography uh that was written about tom petty there's a quote that i love they're describing uh his band the heartbreakers company and the heartbreakers and the guy the author is describing the members of the heartbreakers and what he says is they were the type of players who were careful when there was a song in the room because there was a song in the room oh oh i couldn't love it more oh my goodness oh that is so lovely and what your reaction tells me is that you have had that too you've been in a moment when there was a song in the room you feel it something is you know it's a it's a presence yeah in the room yeah and an extra entity yes and then and what and then i love the the awareness within that quote that when that happens the the response of the musician is to be careful be like no that is just that is beautiful that's the most beautiful way i've ever heard it put hands down if i ever leave my solo concave it's only ever to make music with people who understand that something i i've noticed from watching um various performances of yours is that you seem to switch controllers the the actual physical tactile method by which you're playing is part of the your creative process at least that's how i perceive it do you is that true that you you will actually play differently on a different surface and therefore choose a different input method for the way that you might write oh yeah sometimes and sometimes it's just been necessity like if i've been in a hotel room and i only had the push you're like oh what am i gonna do and that's been wonderful that's just been wonderful because i you know you play with the simplicity in terms of chords that i would never play with on a you know my fingers know the thing too well and that's that can be a an obstacle you know there's a tune that i wrote that is still so dear to my heart called madness and dragons i wrote it on the push because i i couldn't play anything else i remember being really frustrated wishing i had a keyboard at the time and yet what came out of it was something i could never ever have made on a keyboard and that is that's a for me that's a beautiful way to extend your bag right with using like an arpeggiator or something on like learning a power or any kind of big repeat or you know or whatever you know pattern mutator or whatever it's a great way to expose you to things that are not in your current algorithms and then you can learn them and pull them out as desired there is uh there's a new thing and there's a new experience that a reason user is having now with reason plus whereby they are able to get these sound packs that come through the reason plus companion app they're giving you the the sounds they're giving you the presets they're giving you a bass line or not bass line but a bass preset that matches uh a pad sound complements it well a drum sound that complements that as well and you're taking someone else's feeling raw ingredients and now you're going to reinterpret them through your own prism and i'm curious how you sort of channel or maybe try and understand [Music] an emotional intent behind that sound to begin with and then re you know projected forward in your own creative work does that make sense yeah definitely um one of the biggest issues i came up against 10 years ago is that i loved everything and that used to be really paralyzing for me i loved everything and i think egoically i i think i needed people to know that i was capable of many many things you know i didn't write anything at this particular point in my life about six months i'm like okay well the well is dry i'm done and then i went into studio with a friend of mine whose name was ben long soul and at the time he was a huge deal in france and it was just all motown and the moment i sat down with him this song came out i was really happy with it and i realized okay it's because the constraints are tight i know what motown looks like the general quote same as reagan you know regular's got these real tight codes i thought okay so if i'm going to move forward i'm going to need some really tight constraints and it was the best thing that ever happened to me and i thought i may only use them for about six months i'm still using them because sometimes the tighter the constraints the more you actually push through you're moving forward you're propelling yourself forward so um thinking of you know when you hold your thumb on the garden hose beautiful yeah yeah exactly and um so in my case it's really analog sounding bass lines it's i mean anyone could pick apart my sounds it's real simple if you if you had advice for someone who is um loading up the reason plus companion and kind of perusing through things is there a plan of attack for how you might go about exploring different sound packs and finding something to get going with yeah sure if you're starting from zero if you're really starting from zero then i would use the don't use the body test to like play the demos play the demos and say yes is this is this something that works for me don't ask is it cool you know or is this what other people are doing does it mean something to me and be brave enough to answer your own question truthfully that's the maybe the biggest challenge be brave enough to answer yourself truthfully in all aspects of what you're doing people can do that one thing over and over and over again on the big decisions and the small decisions yes they'll your whole life will change but yeah and and that's actually not hyperbole in a sense right i mean you actually you mean that i mean that in every sense of the word in every sense of the word if you can consciously accept yourself in any feeling your body will give you so much information it will change all your relationships it will change your music yeah and slowly all the limitations you think you have will start to dissolve that is uh i think that may be the biggest encouragement for people uh far beyond sound cool but change your life oh my goodness one beat at a time one sound pack at a time [Laughter] exactly oh well listen i want to thank you so much for taking the time to talk with us and share what has been a lifelong process for you we've asked you to distill it down now into just a few snappy sound bites and you've done an admirable job of trying to sort of mind dump uh everything you know for us but uh i think it's uh hopefully maybe it's an ongoing conversation maybe there's more to be had and more to be said here so equally pleasurable for me ryan thank you so much i love any day any day of the week all day we talk about this stuff
https://www.youtube.com/watch?v=k4AWaWsmL_4	# YouTube ## Kill The Noise - Reason Artist Feature ### Video Metadata - Keywords: Kill, The, Noise, Reason, Record, Propellerhead, Software, music, production, recording, live, performance, DJ, House - Runtime: PT4M37S ### Description More info on Reason: http://www.propellerheads.se/products... Kill The Noise DJ and Producer Jake Stanczak discusses how he uses Reason to produce tracks on his debut EP, Roots. ### Transcript we want to find we want to we want to it's like so my name is Jake stanzak AKA Kill The Noise and I'm from Los Angeles California I produce electronic music mostly house is what I'm known for I mean I've always liked house music but a couple years ago it started to kind of start drawing more influences from the stuff that I was into which is like Distortion house is just taking over my life my dad got me a copy of reason reason 1.0 you know he hooked me up I mean reason when I as soon as I opened it I just started messing around and I was getting results so what does this do what does this do it was kind of of like a a rewarding process to to figure it out how it actually worked you know most of my production is all reason I found ways to manipulate sounds and do a lot of processing and stuff and take a sound that sounds like a reason sound and make it my own sound you know this track right here is off of my new EP on solos records the name of the track is called my world we're going to take a look at how it was put together so here's the track and I'm going to play play a little bit of it well I mean this track is like real simple so there isn't that much going on I spent a lot of time like processing the lead and it does a lot of cool stuff the track's basically broken down into that lead synth sound the drums there's a couple different percussions sounds in there that's basically it we got my the drums set up over here I'm using the uh nnxt and I have my main Kick Drum that's sending a signal out to the main like out and then I have another kick drum that's running out on a separate Channel That's controlling like the side chain so I can change like the volume of the sample the length of the sample I can change the pitch I can change everything in the sample that's controlling the side chain but it will still you know I still got the main kit coming [Applause] out I think that if I go back and suggest anything to myself I would say listen more listen to sound what are good drums what are what do they sound like why do I like this track so much why does this track get such a great reaction on the Dance Floor what does a good synth sound sound like if I want to make a distorted Baseline it doesn't necessarily need to be like super loud and crazy and have a ton of high end in IT the nasty sound I want comes from like the low mid-range I got that from listening to records before I'd have like 100 things going on and tons of processing on everything when I would play it on the Dance Floor there'd be like a couple guys being like yeah that's pretty impressive you know but everybody else is just like I don't get it you know I'm not it's not making me dance the name of the game is dance music you want people to dance you want people to be like whoa and their you know brains to start shooting signals off malstrom is my favorite device by far of any device that exists on planet Earth it's become an extension of my body now it's super diverse I can get bass sounds out of it I can get lead synth sounds out of it ambient effects out of it I use a malstrom for everything I'll play you know a c not on the malstrom and then I'll play like a Ceno on like this you know this moo over here you know and they're two different sounds you know and and and I like the sound that I get from rezon as well as I like that sound with that being said I love the Thor and I love you can do a lot with the Thor with the sents that are in there Thor malstrom subtract you can do a lot with all that when reason 4 came out my production just took off because there's so many new [Music] tools I'm just as excited as anybody else to see what they're going to come up with next world you know one thing it's like world you know one thing it's like
https://www.youtube.com/watch?v=oqh9-IfdCpk	# YouTube ## How to Write Melodies - Super Neat Beat Cheat Sheet ### Video Metadata - Keywords: Reason, Songwriting, Melody, Music making, Reason 9, Scales, Chords, Beatmaking, Composition - Runtime: PT10M14S ### Description To learn more about Reason: http://propellerheads.com/reason/ For years people have asked us to give some tips and tricks on how to write melodies. Now thanks to the Scales & Chords player in Reason 9, we've come up with a systematic and teachable way for arriving at a melody that doesn't just follow the often trite advice like "just play whatever sounds good" or "use your ear." If it was that easy, people asking for tips and tricks wouldn't be asking! By the time your done, you should have a good idea on how to start your next melody - and even some ideas for how to use the same techniques to start your next chord progression too. ### Transcript [Music] for years people have asked for a beginner's tutorial on how to write melodies and for years i've avoided making that tutorial because that's a really complicated subject to try and do in 10 minutes what the first year of music college does but all that changed with reason 9 and the scales and chords player which does all the heavy lifting for us so today we'll be working with the scales and chords player to develop a systematic approach to melody writing without trudging through intro to theory 101 we'll start out with some chords i've got my preset from the reason 9 sounds already loaded i'll drag in a scales and chords player to do the chords for me we'll set it to d minor today but you can obviously explore whatever key and scale you wish to on your own now i can record single notes to generate a chord progression so what notes should i play well actually one thing i love about scales and chords is that you can approach chord progressions now with the same techniques used to write melodies so by the end of this tutorial you'll have ideas for how you can start these chord progressions yourself for now i'll just put one down my next step is to create a second instrument that we'll work out our melody on in early production stages like this a piano works great so let's bring in our handy dandy root and id8 piano the first step to our systematic melody approach is to lay out the framework of notes that our melody can be built upon we'll start with a very basic melody and then improve upon it so what notes can we use for our melodic framework the answer is simple we can use any of the notes found inside our chords to extract the notes in our chords i'll set up loop locators and click the send to track button on my player this does a few key things in our sequencer it mutes my original single note performance it creates a new note lane and it renders a new clip that has all the notes that scales and chords was generating from my single note input it also bypasses the players to stop my chords which are now in the sequencer from playing yet more chords back through the player these notes are the source from which we'll start our melody so let's move that rendered clip to our piano track unmute our original performance unbypass the players and now look at our melody options in essence what you see is columns of notes for each chord and each column has a low note a middle note and a high note because that's how scales and chords was set up what i want to do is for each chord remove two of the three notes so i'm now playing a single note melody if i wanted to i could experiment with doing that randomly by just picking which note stays in each chord by chance like this [Music] that is a totally valid place to start another thing i could do is choose one interval of the chord to stick to for example i could just keep the top note of each chord which happens to be what's called the fifth interval of our chord [Music] sure let's keep that so far we already have a melody by the strictest definition but let's add interest movement and more complexity to our phrase at first i want you to think of this melodic framework like a connect the dots drawing in order to get the full picture of our melody we need to transition from note to note so to make this next section easier without veering outside of our d minor key let's drag a scales and chords player above our piano set it to d minor turn off chord mode and i'll turn on filter notes to only let us hear the pitches of d minor when i'm moving notes around our first connect the dots is getting from here a to here c you can hear there's only one pitch that occurs between those [Music] so our choice is simple if you look ahead you can see the next notes don't have any real gaps to be filled there is no pitch in the scale between this and this so that's fine we'll leave it as is for now but here you can see there is a gap so let's shorten the preceding note and add notes to transition us down to the lower note [Music] okay so there's two notes in our scale between this part of our melody and this part so now when we play our melody [Music] it's starting to sound like a real melody even something you could sing along to or write words to by now one thing you've noticed is that our technique involves using the notes of the scale to walk up or walk down to the fence post notes we extracted from our chords but we don't always have to be so literal as to walk up from lower notes and walk down from higher notes what if we approach things from the opposite direction and landed on this note from the note just above it instead of the note just below it [Music] let's take it one step further we'll shorten the note and add another note above it by holding down option on a mac or control on windows and dragging to duplicate it [Music] okay let's go one more we'll shorten back our first note a little further and duplicate another note even one pitch higher okay our examples so far have started establishing some melody rules that i'm basically making up as i go but saying with authority number one we can find the fence post of the melody in the notes of our chords number two a lot of melodic movement is simply walking up or down to transition between those fence posts and now number three to break up the predictability of linear walk-ups or walk-downs we can jump intervals that's what just naturally happened here when we switched from a walk up transition to a walk down transition we naturally created an interval jump here and it sounds cool so let's play around more with interval jumps we have this long sustained note so let's cut it in half and drag it to a lower note the first pitch we come to that isn't just the next lower note in our scale is a which is nice to help guide the ear back up to the next fence post pitch in our melody we could add another note in between which given the distance would have to be another interval jump in my own writing i like these interval jumps because of my fourth made-up rule for melody writing number four catchy melodies are those which are predictable enough to help the listener follow along but unpredictable enough to surprise their expectations if we stuck to adjacent notes at all times we'd put people to sleep but if we only jumped node intervals our melody would be harder to follow but by combining adjacent movement with interval jumps we get the best of both worlds so let's add some jumps to the end of our melody i'll draw in a note and let's move it around to see what we like i like that in fact let's get rid of this walk down here and do another one not quite yeah that works now however instead of ending with another big interval jump that we've just created here let's change our last note to walk down from this high note to a nice resting spot to conclude our musical phrase [Music] with our backing chords and thanks to the scales and chords player you can hear that our melody is now interesting understandable for the listener and working all together we can move forward in developing this idea now i could do that whole process again making different choices to arrive at another four bars of melody and if i add a dual arpeggio player to my chords and program a custom pattern my sustained chords now have movement [Music] i can swap out the id8 for another reason preset and of course add some drums [Music] and maybe guitar and bass so if you're new to melody writing this is a systematic way you could approach the process the more you do it the more intuitive it becomes and you'll start realizing little tricks and personal taste preferences there are a million other ways one could approach and even teach melody writing this is only a starting point but hopefully one that actually does get you started so good luck and i'll see you again soon [Music]
https://www.youtube.com/watch?v=bcUaXzhMF3w	# YouTube ## Music Making Month - Finish What You Started (with James Bernard) ### Video Metadata - Keywords: Propellerhead, Software, Reason, James, Bernard, Inspiration, Creativity, Songwriting, Finish, Songs, Writers, Block, Organization, Blocks, Mute, Tool - Runtime: PT6M39S ### Description Do you have a lot of ideas for hooks of a song, but you get stuck on how to take that hook and turn it into a complete and finished piece of music? This week James will share some tips and concepts on how to take a hook and sculpt it into a finished piece of music. ### Transcript if you're like me you probably have a lot of unfinished reason song files saved in your computer maybe you had an idea for a cool hook or chorus and quickly opened up a new song and recorded the part figuring you would get back to it later or maybe you were working on an 8 bar loop for a while and felt stuck when it came time to transform it from a loop into a song in this video i'm going to show you some of the techniques that i have used to help me convert my ideas from a hook or a loop into a finished song before we get into the actual ways on how to expand these ideas into a song let's cover some important basics the first one is organization now i know it's probably the last thing you want to hear but just like when your mother would tell you if you keep your room clean you will always be able to find your toys the same applies to your music when you are organized with your files you will find that it's much easier to get back to work on a song or idea that you would put aside for a moment i usually have a work in progress folder that i keep on my desktop and in that folder i have some subfolders that are named for the kind of energy or feel of the tune in those subfolders i will have an audio exported version of the idea so i can quickly listen to it without having to open up the reason song file this is especially handy if you want to quickly audition some ideas to a client or singer that you're working with the second thing is to save everything ever find yourself working on an idea and after all the time you've spent on it you're just not liking the results or you feel like it's going nowhere rather than closing the song or deleting it save it put it in a folder marked revisit later or something along those lines don't listen to it or open it for a few months who knows you might find out that after some time away and working on other songs you open the song back up and are suddenly inspired or maybe there was just one part of the song a bass line or drum loop or something else and you find out it is the perfect part to add to another song you are working on or maybe the time away helps you get inspired to take this song in a totally different direction saving everything is one way to make sure that you never run out of ideas now let's look at some ways that you can take that idea or hook and craft it into a song arrangement before reason 5 i used to copy all the tracks of a loop and paste and repeat them for as long as i thought i wanted the song to be then i would create the structure of the arrangement by looping sections and removing parts as you can see this was quite tedious and not very musically inspiring but in reason 5 we introduced a new sequencer function called blocks and it makes the process of trying out different song arrangements much more fun easy and musical even if you were not using blocks to come up with the original song idea and i'm guilty of this from time to time as well you can easily copy the idea from song mode into a block just select all the parts and copy them then go into block edit mode making sure that blocks is enabled and paste the parts in now to experiment with different song arrangements going back into song edit mode delete the clips of the parts and draw in a clip on the blocks track at the top for eight bars copy and repeat that clip a few times and use the mute tool to mute out some parts maybe we will start the song with just a beat and this bass part a fun thing to do with block clips is to cut them and rearrange or repeat sections like you would do if it was a sample loop maybe do an 8th or 16th note repeat or stutter just before the phrase repeats this technique works really well with audio tracks as well as midi if you find that you really like the way a section sounded and wanted to convert that into a block you can use the convert block track to song clips function copy the section and paste it into a new block in the block edit mode then go back into the song edit mode delete the clips that were converted and now you can use the new block that you just created the genre of music that you're producing is going to dictate the type of arrangement that you're aiming for if you're creating a song that is strictly for the dance floor and meant to be played by djs the arrangement is going to have much longer intro and outro sections and at least two long breakdown or build up sections you should also add some little flourishes like noise sweeps or rhythmic loops and sounds that happen just before each turn every 8 or 16 bars if it's a pop rock or hip hop song then you're probably going to be doing a fairly standard arrangement like this usually when i have an idea for a song what i'm really hearing in my head is the chorus or hook and that is most likely what i'll have saved as a loop when you're doing this type of an arrangement creating a verse section can sometimes be as simple as muting parts and stripping the song down to nothing more than just the bass and drums maybe adding an additional part or sound that complements the vocal but does not overtake it now how could we make this standard arrangement more interesting one thing we could do is add an intro it could simply be a vamp or variation of the opening bars of the verse or maybe the final four or eight bars of the chorus four bars of drums at the beginning of a song never fail either another idea is to try getting rid of the first chorus by sticking verse 1 and verse 2 together then after verse 3 double up on the chorus drop the last verse down a bit and make it a middle eight cutting the speed of the rhythm track in half or changing the chord voicing are good ways of doing this adding a middle eighth section is also a great way to set up the final chorus repetition using these tips and techniques should inspire you to turn those ideas and loops into complete songs and help you to finish what you've started you
https://www.youtube.com/watch?v=-uktGchonvo	# YouTube ## RV7000 Advanced Reverb - Micro Tutorial ### Video Metadata - Keywords: reverb, rv7000, reason, propellerhead, tutorial, beginner, send effect, fx, send fx, mixing, device, rack - Runtime: PT4M38S ### Description More info on Reason: https://www.propellerheads.se/product... The RV7000 is a high quality stereo reverb that's all about embedding your sound in rich, sophisticated reverb. Regardless if you want the sound of a concert hall, a retro spring reverb or a cramped closet - RV7000 can handle it. In this tutorial we'll take a closer look at its features and what it can do to your music. ### Transcript [Music] space an essential part of your music so in this tutorial we'll take a closer look at RV 7000 reason's Advanced Reverb and the go-to tool in the rack for adding space to your tracks the RV 7000 is a highquality stereo Reverb that's all about embedding your sound in Rich sophisticated Reverb regardless if you want the sound of a concert hall a retro spring reverb or a cramped closet RV 7000 can handle it just listen to this [Music] track I my head high to lose sounds a bit dry doesn't it that's because there's pretty much no Reverb natural or otherwise on any of the tracks so let's jump in and add some space to this track using RV 7000 rebs are traditionally used as send effects a send effect is basically an effect routed to the mixer setup in such a way that you can send multiple different channels and sounds to the same effect this is perfect for Reverb Music and Sound much more cohesive if many different instruments and tracks sound like they're in the same space like a singer in a piano being in the same room for example to set up a send effect in reason let's go to the master section for this track I'll start by adding one of my all-time favorite Reverb patches a big Lush Hall Reverb called all film score you can then send different channels to this effect directly from reasons mixer the opening synth blip definitely needs some Reverb so I'll turn on the first send here and perfect so what else needs some Reverb H how about you know [Music] everything and the track is sounding a lot better already for the lead vocal Channel we could use an additional Reverb I want it to sound a bit more natural like it was recorded in a certain space so let's create a room Reverb patch from scratch we'll create an RV 7000 and open the remote programmer this is where we can select what Reverb algorithm to use that is what space we're in the room algorithm is perfect perfect for well a room now the rest of the rotaries are settings for this particular space so we can for example make the room a bit bigger by turning up the [Music] size now myself and change the shape of the room here all head I kep my head high not to lose myself that sounds good let's also add a bit of pre- delay that is the delay between the vocals and the start of the Reverb meant to simulate the distance from The Sound Source to the walls of the simulated space creating the reverberation all I let you have me so now I hate myself okay take one more listen to the vocals without the Reverb oh hey I kept my head high not to lose myself and with all head that's much more like it the mix is sounding much better now all thanks to the RV 7000 all it needed was some space kind of like me so um if you could just like uh you know go bye-bye while you fled toes in your mind I did not know it's hard to forgive
https://www.youtube.com/watch?v=T-TpPLzRpsU	# YouTube ## Finally Understanding Levels and Clipping ### Video Metadata - Keywords: Reason, Propellerhead software, Music Making, Professional mixing, Mastering, Mix tips, Digital Audio, Beatmaking, Ryan's Picks for Quick Mix Fix Tricks, clipping - Runtime: PT11M18S ### Description Try Reason free: https://www.reasonstudios.com/en/reas... Over the years I've seen a lot of confusion out there about levels and clipping during mixing - but only recently I came to realize that the confusion was so deep that people were altering their mixes to avoid clipping that wasn't even really happening! Once and for all, I thought I'd lay out for people in highly technical terms, but hopefully still keeping it fun too, everything they need to know about digital audio and clipping so that they can finally realize how little they really need to know. If you're the type of person who has found themselves worriedly watching the meters more than you're listening to the sound, this tutorial will put your mind at rest and your concentration back to the fun part: making music. ### Transcript [Music] i'll say this up front this wasn't a topic i really planned on covering yet every time i put up a video some eagle-eyed scout looks around on my screen and comments with some mixture of concern confusion or critique about what they see in my reason mixer and it wasn't until recently that i realized how deep this confusion went in fact i came to realize that these misunderstandings are actually causing some people to compromise their mixes and so i thought maybe we should discuss ideas like clipping bit depths and how to know when a red led is your enemy and when it's your friend but my biggest wish is that once you understand this you mostly forget it and go back to the real task which is making music because everything we're going to talk about today amounts to one simple idea don't sweat it that red led phobia that so many of us have from years of conditioning yeah for the most part don't sweat it to understand how i could suggest something so careless and reckless we have to discuss audio bit depths inside of reason first of all why is there fear in the hearts of musicians and producers the world over when anyone mentions 0db [Music] the answer lies in how we all consume music ever since music went digital music is almost always listened to as what's called 16-bit fixed point audio to record a sound digitally thousands of times a second the amplitude of a signal is measured and documented and if we looked at those measurements over time we'd see the very familiar audio waveforms we've grown used to but digital audio pioneers were faced with a problem real world dynamic range is virtually infinite this has a lot more volume than this which comparatively has infinitely more volume than this to represent every possible dynamic value in between those extremes was impossible not least of which because the more dynamic values we need to represent the more storage it takes and back when they were working this stuff out this was a 250 megabyte hard drive that's megabyte not gigabyte so they defined a range of not the quietest sound possible and not the loudest sound possible but a workable range in the middle with over 65 000 possible values in between and their method worked amazingly well when a signal fell within that range but when it went over they had no choice but to represent the higher signal with their highest number possible so instead of accurately plotting where the waveform is at we end up hitting the ceiling of the numbering system and storing the maximum value over and over the end result is a waveform that looks like it's gotten a haircut it's been clipped and that's why we call it flipping distortion it looks wrong and it sounds wrong but what if we add more numbers to store more signal value possibilities we could accommodate a wider dynamic range of sound before we had to clip the values all it takes is more bits and more storage to store those bits but thankfully now we can put 500 of these onto one of these so space is less of an issue without going too far down this rabbit hole just understand that higher bit depth audio means a wider dynamic range of sound 24 bits can handle more values before clipping than 16 bits 32 bits even more and by the time we get to 64 bits we're pretty close to representing every value that's measurable so how does this all relate to reason well i'm glad you asked reason uses high bit depth audio for all of its internal signal routing the audio that flows from synths to effects and down the mixer channels is 32-bit floating point digital audio offering enormous dynamic range when we start summing those signals together into group output buses and the master output reason jumps up to 64 bits for effectively limitless signal headroom so what does this mean for you it means what i said at the start don't sweat it it means that for as long as signals are traveling around inside of reason they won't clip there is no too loud inside of reason's mixer or reasons rack in fact the meters on reason's mix channel aren't even concerned with representing a clipping point and here lies one of the key points of confusion the vu offset metering on the channels is its own scale bouncing up and down showing a smoothed moving average representation of channel levels it was never meant for you to make decisions about clipping look at this sine wave i have i've wired selig's gain rack extension to it on its way to the mixer and it's telling me that it leaves thor and into my mix channel at -1 db on the peak dbfs scale and sure enough it's passing through my mixer and out the master fader at the same minus 1 db but look at the channel meter and you'll see a visual reading of plus 8 db on reason's vu offset scale and those dreaded red leds remember what i said though don't sweat it and this is what led me to make this video i've seen people that treat every mix channel like it's at risk of clipping and adjusting their faders until the red leds go away and all that does is complicate your mixing process and it might even force you to make compromises in your music based on what you think you're seeing and i certainly don't want that to happen now unfortunately until our crack team of r d engineers create some knurled jack that connects our brain directly to reason in order to actually hear our sounds we eventually have to leave the clipless world of 32-bit and 64-bit floating point audio and now to our sound cards and speakers or we export files for consumer formats like itunes and youtube it's in that final external output stage that we are thrust back into the limitations of fixed point audio and suddenly we have reason to fear zero db one obvious way to make sure that we're not exceeding 0 db on our master output is to simply turn down the master fader while checking either the master meter or the big meter in reasons rack when set to peak mode which is the standard reference for digital audio we can simply pull our fader down until our master signal is not going above [Music] 0db easy enough but this brings us full circle to how we got to this topic in the first place people keep seeing my videos and remarking on the red leds both the channel faders which we all know now are fine but also the red leds they're seeing in my master fader from the looks of it i'm trying to send my music out above 0db and i'm clipping and i'll concede that they're right that is how it looks but that's not actually true of course so why do my meters look so hot but without harsh clipped audio the answer lies in something called the loudness wars basically commercial releases are in a competition to see who can sound the loudest it's a war they've been waging for more than 20 years but we all know by now that there is no way to be louder than 0db in consumer 16-bit formats but there are ways to sound louder than 0db i won't get into philosophical discussions on the merits or the evils of the loudness war except to say that love it or hate it it's the world we live in that's why when i'm not having my tracks professionally mastered by a mastering engineer i at least do the loudness work myself with any one of reasons maximizers maximizers are surprisingly transparent highly effective look ahead digital brick wall limiters most follow in the footsteps of popular hardware limiters like the waves l2 which became a mastering house mainstay any maximizer whether it's hardware or reason rack devices all work by a clever method of turning down audio peaks in a signal in such a way that you can drive your music louder while knowing that none of the peaks are getting above 0db reason comes with a maximizer as part of the m-class mastering suite of devices today though i'll demonstrate loudness mastering using izotope's ozone maximizer but i encourage you to try out all of the options available in reason to see which one works for your style the first thing i should say about mastering limiters is that you don't want to have them on while you're creating or mixing your music if you do you won't get a clear picture of your mix and how instruments relate to each other because the limiter is altering your sound turn up the bass guitar too loud and suddenly your vocal might seem more buried than it once was so during mixing and production use the previous simple method of setting your master fader so that the output to your sound card isn't clipping when you're done you can snap your master fader back to its default or what's called unity position by command clicking on a mac or control clicking on windows and then drag your maximizer into the master section inserts if your reason song template has the insert fx bypass button activated by default you'll want to deactivate that for illustration purposes i'm also going to drag in a cellic gain so we can monitor the peak output level maximizing the perceived volume of your mix mainly happens with one control on ozone we adjust the threshold fader to taste as i move the fader down you can hear the perceived volume of my mix goes up [Music] but notice on cellic gain the peak volume isn't going above 0 db no matter how low i set the threshold [Music] ozone just processes the signal more and more and the perceived volume goes up as a result there will come a point where the result becomes very audible and undesirable [Music] i'll leave that point up to your taste to decide for me something around here is working [Music] now watch what happens if we bypass our maximizer [Music] not only does the perceived volume of our song go down but the peak level goes up above 0 db and into clipping so when people are noticing my master fader's led hitting 0 db it's not because it's going over 0 db which you don't want it's because it's getting right up to 0 db without going over which is what you do want so i hope i could help clear up some of the confusion and anxiety out there about clipping and digital audio but like i said up front the most important thing you could take away from this tutorial is actually to pay far more attention to your melodies and having fun than you do to how much headroom there is in 32-bit floating point audio streams sure when it comes to the final output it wouldn't hurt to keep an eye on your peak meter level but before that don't sweat it so good luck and i'll see you again soon you
https://www.youtube.com/watch?v=itMhzBL_3PM	# YouTube ## Speed up your beatmaking workflow \| Arcade & Reason+ Bundle ### Video Metadata - Keywords: beatmaking, beat making tutorial, reason studios, reason 12, output arcade, yana mahal, beats, ableton live, output arcade vst, reason+, plugins, plugin, vst plugins, music producer, beat making, fl studio, beatmaking tutorial, how to make beats, making a beat, beat tutorial, how to make a beat, beat making tips, making a beat from scratch, making a beat for beginners, music production, ableton, hip hop production, music production tutorial, how to make beats tutorial - Runtime: PT16M59S ### Description Every new song idea starts with a spark, and thousands of music makers have been relying on Output Arcade and Reason+ as two of the best production bundles to help generate musical ideas. Output and Reason Studios have teamed up to pair these two powerful plugins together, offering access to hundreds of instantly playable, mind-blowing instruments—the perfect starting points for the next idea. Both the Reason Rack Plugin and Arcade support all plugin formats (VST/AU/AAX) and can be used in any DAW, whether it be Ableton Live, Pro Tools, Logic Pro, FL Studio or any other major DAW. The bundle includes two annual subscriptions—one to Reason+ and one to Arcade. The package costs $249/year (saving producers 17% if they would purchase both annual subscriptions separately), but through July 14th 2022 users can snap up this deal for just $149 for the first year. Sign up for the bundle now at at https://plugin.reasonstudios.com/arca... A huge shoutout and thank you to Jordan Atkins-Loria for putting this amazing video together for us. Go and check out Jordan's channel ‪@Luckydatemusic‬ RIGHT NOW / mrmaingo #reasongang ### Transcript [Music] what's up guys today we're going to take a look at reason plus and arcade they've just released a bundle together and i think this is one of the most awesome bundles available because these are two of the easiest ways to get tracks going that i can think of reason plus comes with everything you need to get started with music production it's a daw it works within any daw itself and it comes with so many incredible sounds sequencers bass lines anything you can think of and arcade is one of the dopest sample libraries period so let's take a look at how we can use these two but today i'm going to do something i've never done before which is use reason as the sampler and arcade as kind of the vessel for most of the main synths going on in here normally when i produce i use reason to create synth lines bass lines drum sequencers and arcade is my main sampler but i'm going to try and switch it up and see what i can come up with so what i'm thinking for today is i want to create some sort of flute bass track and one thing that i love about arcade is that it has every sound i can imagine anytime i go to the search bar and type it in it's usually got me let's see if it does today i'm gonna load an arcade and i'm going to search flute and just like that i have 80 different sampler kits just right in front of me not bad i'm gonna hit bravado and let's listen to some of these sounds [Music] [Applause] oh that one's cool i'm gonna record this nice normally what i would do here is i would just leave this as is and start building the track around it but instead i'm going to resample this bring it into reason and see what we can come up with change the sound somehow so the first thing i'm going to do is freeze the track and flatten it awesome and now i have this track in audio form so i can resample this in any sampler of my choice i'm going to open up a reason rack now and i'm going to open up the mimic creative sampler now if i drag the audio from that original arcade into it i'm going to have it loaded here on my keyboard pretty cool now one thing that i know right off the bat is that i want to splice this up chop it up kind of and the easiest way to do that is to go to slice mode once we're in slice mode i'm going to take the sensitivity knob down a little bit the lower i bring the sensitivity the longer the notes are going to be on my keyboard and as always i can zoom in and adjust these by hand but i think it does a great job at finding those transients automatically let's take a listen to what we have very cool so one thing i want to do before i create the synth line for this is i'm going to switch the stretch type to advanced which is similar to warping let's listen to what this sounds like if i engage the reverse button cool and if i reduce the speed well i'm gonna hear is [Music] a much more stretched out version of this and i think that sounds sick now what i'm also gonna do is i'm gonna engage the low-pass filter but i'm gonna bring this all the way up and the reason i do that is because it has this drive knob and i think that the little bit of drive that it comes when you turn on the filter sounds amazing i'm gonna bring the amp envelope attack up a little bit so i'm getting rid of the clicks very cool and maybe lastly i'll add a little bit of compression by turning the squeeze knob up [Applause] very cool let's try recording a line [Applause] wow that sounds so cool i want to see what it sounds like a little bit higher so i'm going to pitch this up 12 semitones or an octave and see what it sounds like [Applause] cool a little squeaky but if i turn it down i think that's going to sound really nice the next thing i'm going to do is add a little bit of reverb to the sound just going to right click on the device go to effects and i'm going to use one of the earliest reverbs and one of my favorite reverbs still to this day that reason has it's the rv7 i'm gonna do a small room let's bring down the dry wet a bit maybe the size a little bit and let's take a listen [Music] the reverb makes this sound a little bit older and that's exactly what i'm looking for the next thing that i'm going to do is duplicate the track and try and create another layer of this where i bring the octave down so now i'm just going to loop this second section here and open up the reason rack one way that i could bring this down in pitch would be just to use the semitone here but i'm going to try something else what i'm thinking would be a cool way to pitch this down is to use reasons polar dual pitch shifter which sounds so sick and gives you a lot of different options on how you want to pan out these pitch variations i'm going to take a listen just with the default sound very cool let's try pitching down the semitones to 12 on each of these which would be a full octave and then let's take these fine and that's going to create that unison effect which is basically these are like detuning these fine knobs here let's bring the first one to zero because i don't want it to sound too detuned very cool now the reason you're still hearing the original signal is because the dry signal button is engaged if i turn that off we're just hearing the pitch so i'll leave that off for now and maybe we'll bring some back in the second one let's just bring the fine down a little bit [Music] and that adds a slight unison sound but nothing crazy next thing i want to do is just turn up the volume on these not all the way but pretty close and then lastly i want to change the pan of these a little bit that sounds so cool now let's add the dry signal back in what i like to do is turn it back on close my eyes and bring down the volume knob till it sounds right [Music] [Applause] [Music] sick all right let's take a listen to how they sound together [Music] love it i'm thinking we'll add one more sound to this maybe some sort of a bell so what i'm gonna do is create one more reason rack let's add a friction modeled strings it's where i go to when i'm looking for an acoustic sounding instrument let's check out the browser section and hit bells in a box [Music] so cool all right let's try and record the same line as the flute with the bell [Music] [Applause] [Music] [Applause] perfect just gonna turn down the bells a little bit so they blend in a little bit better [Music] [Applause] [Music] sick i think it's time to add some drums all right so i'm going to open up an arcade to find a nice kick drum let's take a listen [Music] [Applause] [Music] cool i think i like that first kick line let's see what it sounds like on the track [Music] cool i'm just going to duplicate that out and let's add another sound i think this raw deal has some awesome drums yeah let's add this top kick [Music] all right let's add one more reason rack now looking to add some more percussive elements so i'm going to open up the kong drum designer in here it's going to come pre-loaded with some awesome samples cool let's check out these presets and i'm gonna go to kong kids and maybe look in the hip hop kits and let's try the doom kit nice let's go ahead and try and record a drum groove [Music] [Applause] [Music] [Applause] now just to give these drums a little bit more life i'm gonna add the master bust compressor in my opinion this is one of the most underrated devices that raisin comes with it sounds so great so transparent and really can bring any sound to life so if i just go to built-in devices and i select the master bus compressor let's start messing around with this till it sounds good [Music] [Applause] sick i love the dry wet knob here so you can end up having parallel compression underrated check it out let's add one more hi-hat layer to top this off gonna open up another instance of arcade let's take a listen to what this pack comes with [Music] oh i love those it's got a lot of tape distortion on it let's lay that down [Music] [Applause] [Music] [Applause] [Music] i want to add a shaker groove now let's open up another arcade take a listen to what this pack comes with yeah that this should this should definitely work i'm not 100 sure about the snares though so maybe what we'll do is record this resample it again in reason and kind of chop out some of those snares [Music] [Applause] [Music] so now i'm just gonna create a track below it and i'm gonna re-sample those back in i'm gonna solo it i'm going to open up another mimic creative sampler in reason and i'm going to drag these shaker sounds in here now you can see the transients are pretty much just around these snares but if i switch it to slice mode we're going to get some slices right around all those shaker sounds now let's take a listen with these shakers all split apart across the keyboard sick let's record a groove [Music] [Applause] so if i solo these shakers now this is the new groove i think it's almost done the only thing i might want to add is a baseline let's open up the reason rack and let's go to the reason sound section now if i hit base and then synth bass i can type in anything i'm looking for maybe i want to reese let's see what they have just like that we have plenty of reese's but i'm looking for more of a sub base let's try the blip sub base cool maybe the dirty south sub that's fat maybe a little too fat for this how about huge sub bass that's interesting i like how analog and crunchy it sounds but there's a couple things i'm not liking so let's go into the sound and let's change it up a little bit i'm gonna get rid of the lfo and that's gonna be that wobble sound at the end so now it should sound a little more flat last thing i'm gonna do is just bring down the frequency on the main filter here that sounds so nice it's quite a bass line [Music] [Applause] [Music] hot okay let's take a listen to what we have starting from the top [Music] [Applause] [Music] [Applause] [Music] so [Music] so [Music] i love this and the thing that i love the most about this is just how simple it is usually simple to me means less control but with reason plus an arcade i'm getting full control i basically feel like i can do anything i want to do just a little bit faster the reason being simple browsers that's a plus amazing sounds huge plus versatility huge plus and the amazing thing about these two things together is that i honestly feel like i don't really need anything else yeah there's a lot of amazing synths out there there's a lot of other vsts and i'm not going to stop using them but this is probably where i'm gonna start most of the tracks from here on out i hope you had fun watching me build this today i had an absolute blast i can't wait to do this again i'll see you guys soon
https://www.youtube.com/watch?v=3dCLkrJL9ZQ	# YouTube ## James Bernard's Favorite New Patches ### Video Metadata - Keywords: Propellerhead, Software, Reason, James, Bernard, Factory, Sound, Bank, Strings, Key, switching, Dubstep, Wobble, Bass, Line, Guitar, Amplifiers, Pod, Amps, Tabla - Runtime: PT3M6S ### Description More info on Reason: http://www.propellerheads.se/products... The expanded factory sound bank in Reason 6 is a new source of inspiration. Propellerhead product specialist James Bernard put together a sampling of new music he's been making with the new patches in the Reason 6 sound bank. This file is also downloadable in Reason's demo song format. If you're trying out Reason and want to see these patches and sequencer clips up close, just go here: http://www.propellerheads.se/stuff/so... ### Transcript [Music] hey everyone this is James Bernard with propeller head software and today I thought I'd give you a little taste of some of the new sounds in reason [Music] 6 this is just a sample of some new music that I've started and everything that you hear is using Factory soundbank sounds from reason 6 [Music] the factory sound bank has been expanded with new inspiring patches across all our instruments and believe me they are really [Music] inspiring [Music] [Music] he [Music] you'll notice that I've automated things like either a rotary knob or a mod wheel to breathe some new life into the [Music] sound on this particular cello sound I'm using key switching to change between different cello tones [Music] [Music] make sure to visit our website to download this recent song file with all the parts in it so you can look more closely at how I'm using these [Music] sounds [Music] oh
https://www.youtube.com/watch?v=gr_XQ4qmaPA	# YouTube ## Music Producer Tips: Make Drum Patterns with Drum Sequencer ### Video Metadata - Keywords: Propellerhead Software, Reason software, Drum programming, Drum patterns, Step sequencer, Beat making, Beatmaking, Drum sequencer, Advanced drums, drum patterns easy, drum patterns beginners, drum patterns pop, drum patterns edm, drumming patterns, j dilla, advice for new producers, music producer tips, beat maker, edm tips, propellerheads reason, drum patterns for beginners, dem bow beat, cookin soul, propellerhead, midi pack, reason propellerhead - Runtime: PT20M43S ### Description Learn more: https://www.reasonstudios.com/en/reas... Drum Sequencer is a Player Rack Extension that can be added to any instrument device in Reason. With its set of powerful-yet-intuitive programming tools you’ll be knocking out drum beats faster than ever. With features such as repeats, probability and per-channel time resolution, the creative potential is endless! And the best of all - it adds fun to drum programming. Loads of fun! The ability to set individual speed and step count for each channel means you can go for polyrhythmic mayhem or simply create patterns that don’t sound repetitive after one play through. Unless that’s what you are after of course. Why not try to use the Drum Sequencer Player as a step sequencer for synths? Use Drum Sequencer the way that suits your creative flow best: to sequence all the drums for your project or as a blazingly fast starting point. If you wish you can dump your drum patterns to Reason’s main sequencer so you can finish your work there. 00:00 - What is the Drum Sequencer? 01:48 - Adjusting note velocity 03:00 - Adding shuffle/swing for a house style beat 03:49 - Patterns and how to Copy/Paste 05:29 - Pattern variation using polyrhythms 08:12 - Find inspiration through the random function 08:56 - Humanize the beat with the slide function 10:01 - Change the playback speed or direction of individual lanes 11:15 - Adding probability and repeats 16:00 - Using drum sequencer with VST-plugins (NI Battery) 18:15 - Go even deeper by combining Drum Sequencer with other Players 20:05 - Outro Propellerhead Software is now Reason Studios! Visit us at: https://www.reasonstudios.com/ ### Transcript We wanted to make drum programming easier, faster, more powerful, more experimental and even help get you started on the right foot if you’re new to all this. That’s why we’ve introduced the Drum Sequencer- player. If you know and have used the Players already included with Reason, then you can probably already imagine the same concepts apply here. Drum Sequencer is, all at once, a support tool for helping you get started, an efficient tool for quick beat construction, and an advanced tool for things not otherwise possible in Reason’s sequencer. To get started, let’s drag a Kong Drum Designer into our Rack and add a Drum Sequencer Player above it. By default the eight pattern lanes in the Drum Sequencer player are set up to correspond with the first eight pads on Kong or the first 8 channels on the Redrum. That means that we can get right down to business programming patterns. Drum Sequencer has 16 steps per pattern lane which, by default, correspond to the 16th notes in one bar of music. Programming a basic pattern is just a matter of toggling on steps for the kick… like on every quarter note of our 16 step bar. And then let’s add a snare drum. Our Snare is on lane 2, which I can verify if I wanted to by clicking its number to audition it… and if you’re the type of music maker who likes tidy labels and notes we could label our lane as such too. I’ll toggle on beat 2 and 4 of our snare… press the Run button, and already we have the foundational beat for approximately 3,288 genres of music. I could click and drag across our hi hat lane to paint in hi hats on every 16th note in our bar… or I could toggle off every other step for a less frenetic 8th note pattern. When any lane is selected, you can see that we have a corresponding velocity lane where we can adjust the velocity and therefore the relative volume of each step in our pattern. So for example if we take this highly robotic pattern and simply add some dynamics to every other hi hat step, instantly our pattern gains a little musical feel to it. Step patterns don’t have to be every beat or every eighth note either. It’s up to you to choose where you draw in steps or leave gaps to create interesting contours to your musical pattern. For example, if I added a shaker pattern on lane seven, I could draw in some steps… maybe leave a gap… draw in some more… leave a gap… and maybe one more… Wait a second… is this?… yeah, this sorta reminds me of… oh no! Shut it down, boys! Shut it down! Phew… That was a close one… Let’s get out of danger by trying something else. I can clear out individual lanes here, or to start over I can clear the whole pattern globally up top. Let’s load up another type of Kong drum kit useful for House style club beats. And let’s draw in a couple steps for a basic house beat… four on the floor kicks… backbeat snare… and disco hi hats that play off of open and closed patterns. How about a clap accent on the fourth beat too. House drums need to swing so let’s adjust the shuffle up so our hats aren’t quite so straight. While our drums now have some swing, they’re still a bit repetitive because our pattern is predictable. The next phase of drum programing is all about adding variation to keep our drums from being so monotonous. One way to do that is to alter our pattern. The Drum Sequencer Player has 8 patterns where we can program entirely different beats, fills, and turnarounds. Let’s select Pattern 2 and you’ll see we have a blank canvas to make a whole new pattern. But if we just want to alter the pattern we already made, we don’t need to start from scratch. If we go back to Pattern 1 momentarily and switch to “Copy/Paste” you’ll see that, just like we had the ability to clear individual lanes, we have the same ability to copy and paste individual lanes to other lanes within the same pattern or in this case, we could use this global Copy button and then go over to Pattern 2 to paste our whole pattern across. Now let’s make an alteration… like an extra clap right before the pattern cycles around. We could also go to Pattern 3 and paste our pattern in again for a little turnaround variation. We’ll add an extra snare hit with a lower velocity leading into the last beat and a clap on the upbeat. We can automate pattern switches in the sequencer just like you might with a Dr. Octorex, Matrix Pattern Sequencer, or Redrum. I’ll right click the Patterns and choose Edit Automation to create a Pattern Lane in the sequencer where I can draw in four bars, selecting Pattern 2 on the second measure and Pattern 3 on the fourth. Now we have a more varied drum sequence that switches to a variation on bar 2… and then a turnaround for a complete four bar pattern. There are, of course, other ways to introduce variation and character into our drum programming and some of them get downright experimental. One way is using what’s called “polyrhythms.” Instead of automating pattern switches to get variation. We can use simple math. I’ll show you what I mean back on Pattern 1. Instead of this clap, let’s turn off that step and program some steps on lanes 7 and 8 which are these cowbell style percussive sounds. We’ll just pepper some hits in, mostly on the down beats. Initially my 16 step pattern is back to feeling repetitive but what if we weren’t making only 16 step patterns? What if I shortened this percussion to, say, 14 steps. Now our percussion isn’t playing 4 beats per cycle. It’s playing 3 and a half beats every cycle. And when we stack that shorter 14 step percussion cycle up against our 16 step kick, snare, and hats we end up with patterns that don’t loop evenly. Each cycle our percussion pattern falls a half beat behind our other drums, which makes for interesting syncopation and variation. As these two patterns cycle out of sync more and more each time, they would eventually match back up after 112 steps. But we can force them to restart their cycles for a more musical grouping of four bars, for example. If we set “Reset Step” to 64, which is 4 bars of 16 steps, our mis-matched cycling polyrhythms will reset after four bars in our song for a pattern that has mathematically-generated variation but a musical four-bar length. Polyrhythms can get very experimental and the Drum Sequencer comes with a collection of patches, some of which are already set up for polyrhythmic experimentation. But let’s move our focus over to another style of drums to talk about Drum Sequencer’s more advanced methods of altering and spicing up your patterns. How about some downtempo slow jams? We’ve got this Electric Keys and bass idea here… Let’s load one of Reason Drum Supply’s RnB kits and start putting together a little pattern. The musical style might change but our workflow doesn’t. I want to make a kick, snare, and hi hat pattern as a foundation. Snares go on 2 and 4, as usual, but at these slower tempos I can have busier kick drums with more feel to them. Just like the house style, I’ll turn up the shuffle for some swing. For the hi hats, I could draw in patterns like we’ve been doing but I could also get some happy accident help from Drum Sequencer’s Random function. I just roll the dice and each time I click I get a randomized pattern of hi hats that might inspire me. I’ll look for something fairly busy to try out. Okay I like that one. Let’s see how things are sounding with our other instruments. It’s nice but we’re back in that familiar position of having a nice pattern, yet one in need of some variation and spice. For slow jam styles like this, one way to add sonic spice is dial in some imperfection. Let me show you what I mean… I’ve got two snare drums in this Kong kit. This one which I’m using for my back beat. And this clap style sound. I’ll add one step on beat 2 with my first snare to stack the sounds. Right now you can hardly hear that there’s two samples on beat two because the snare and clap are perfectly aligned. Drum Sequencer includes the ability to slide a pattern lane slightly ahead or behind the beat. If we slide Snare 1 backwards ahead of the beat and push Snare 2 a bit after the beat… you can hear our stacked snares now feel distinct and our slow jam beat feels looser to match the mood. In addition to the slide controls, we can also change each pattern lane’s playback speed or direction. For example, with our hi hats… let’s change the direction from Forward to Backward and you’ll see that while most of our pattern cycles left to right, our hi hat pattern plays in the opposite direction from right to left. If we set it to “pendulum” it starts in sync with our other pattern lanes but when they loop back to step 1 to repeat, our hi hats will boomerang backwards instead. This effectively turns our one bar drum pattern into a two bar pattern with built-in hi hat variations. Let’s add an open hi hat that also follows the pendulum behavior for some extra smooth factor. By now you can see how Drum Sequencer helps you build up patterns and then experiment with them using randomization, timing alterations, and directional variation. Now let’s talk about some of the coolest tools in Drum Sequencer: probability and repeats. To illustrate probability, let’s switch to what might feel like the polar opposite of R&B: country music! Country brushes like this are critical to the feel of the whole song. If I take these away… we lose the entire sense of movement and pulse. While it may sound like our drummer is just chugging along and peppering in little dynamic variations now and again when it moves him, it’s actually all happening courtesy of Drum Sequencer’s probability settings. Let’s solo the drums. The kit is a pretty simple collection of samples. A kick, a hi hat, and then a series of light, medium, and heavy snare samples being played with brushes. I’ve set the playback speed of the kick lane to half-time, so I get two measures of kick variation for every cycle through its pattern. Lane 7 is our main snare hit. The basic part is a simple back beat rhythm. But the main flourish of a country brush pattern is snare hits on each side of this back-beat at lower velocity, like this. However, you can instantly hear how repetitive and robotic it gets. Real drummers don’t play this three snare figure every time. So watch… Probability is exactly what it sounds like. If I dial down the probability I can decide how often a step will trigger… say 33% for this one… and 25% for this one… and let’s remove these two steps… and dial back the probability here… here… and on these two as well. Now what we’ve got is a pattern that’s been engineered for chance. Our main back-beat is still solid. Those will trigger every time. But the hollow steps will only happen roughly every third time… every fourth time… or less depending on how the probability works out each cycle. What it means for us is that no two cycles are the same. The other lighter brush samples are just sprinkled in randomly to just create constant motion underneath. Once they’re in place, you’ll hear our drummer is playing random dynamics for softer and harder hits in a way we didn’t have to program by hand and in a way that’s always changing subtly. Okay let’s switch gears yet again! Probability and its super cool neighbor down there, Repeats, are useful for all sorts of styles. If you’re thinking about glitchier drums, well so am I so let’s check out this song. We’ve got the start of a drum pattern already and you’ll start to recognize some previous topics right away. We’ve slowed the speed of some lanes down for longer patterns each cycle… and we’ve got some hollow probability steps that only sound occasionally. One thing we don’t have at all in this pattern is hi hats. Hi hat patterns can benefit from Drum Sequencer’s “Repeats” section with glitchy genres, trap, drum n’ bass, and many other styles. To introduce the concept of repeats, let’s first add some basic ones to our snare. Just like we dialed down the probability to alter a step, we can dial up the repeats for each step to increase the number of triggers inside that step. So for example let’s just dial up this snare to 2. You can see its step has now split in half with two hits occupying the same step space. Let’s solo just the snare to hear the result. We can dial up repeats for some of the other probability steps too. Now onto the hi hats to play more with the Repeats concept. Instead of programming hi hats here on our Kong lets bring in another drum instrument. One great thing about the Drum Sequencer player is that it turns EVERY drum library and every plugin into a Drum Machine. Battery 4 by Native Instruments is a very popular drum plugin but it doesn’t have it’s own built in pattern sequencer. So by adding a Drum Sequencer above it in our rack we can program Battery samples the same way we’ve been using Kong today. One key difference though, is that Battery doesn’t map samples to the same keys every time. The kick drum isn’t always on C1 on the keyboard. The hi hat isn’t always or even often on D1. So we need to teach Drum Sequencer what notes on Battery we want to trigger. Drum Sequencer has a Learn button. When clicked, Drum Sequencer is listening to note input. So we can just go lane by lane searching for percussive hi hat style sounds in this Battery preset to add above our Kong drums already. When we’ve got a few, we click learn again to exit the note assignment process and commit our MIDI notes to the lanes we’ve assigned. Now, instead of clicking in steps, let’s use Drum Sequencer’s “record” feature to play them in live. I activate recording, hit play on Reason’s transport, and play my Battery samples live on my keyboard. As I do, my performance is written into Drum Sequencer for me as steps. After I’ve got a few I can click Record again to exit this live input method and now we can go about experimenting with altering some of these steps to be repeats. We can divide a step up in half, thirds, fourths, and even faster repeat divisions for super quick hi hat rolls and flutters. Inside the repeat options, we also have alternate note groupings like 16th and 8th note triplets and flams that mimics live drummer accents. When you get to customizing repeats, probability, speed, directional variation, slide, shuffle, and multiple pattern automation you can see just how deep Drum Sequencer can go. But one great thing about Players is that their deepness expands exponentially when you start combining them with other players. For Drum Sequencer, set aside its name right now. It’s not actually a “Drum” sequencer. It’s really a “note” sequencer. And you’ve just learned how to have our players learn which notes you want to assign to each pattern lane. What would happen if we hooked up Drum Sequencer to a synth to play musical patterns instead of rhythm patterns? Let’s not wonder. Let’s find out. If we bring in a Europa synth and add a Drum Sequencer above it we could enter Learn mode and assign some notes. Then we could do any number of techniques we’ve learned from clicking in steps, recording steps, or using the built-in random step generators or included step presets to populate our pattern. I’ve come up with this pattern that I like. What would be great is if this musical pattern could shift around to arpeggiate different chords, yet stay in the same musical key… and of course, this is where the modularity and creativity of Players is most at home. Let’s put Note Echo beneath the Drum Sequencer and set it up not as a note echo, but rather a note transposer using its Pitch knob… and let’s put a Scales and Chords player beneath Note Echo to keep all our notes inside the key of C minor. Watch what happens as I adjust the pitch knob of Note Echo to transpose my pattern around… So that’s Drum Sequencer… like all players, it’s capability goes as deep as your imagination. Pattern based workflows don’t have to mean less variation. Hopefully today you’ve seen they can actually mean more variation, more experimentation, and more musical ideas for you to cook up.
https://www.youtube.com/watch?v=p2BFOkTwc94	# YouTube ## Malström Sound Design - Micro Tutorial ### Video Metadata - Keywords: Malström, Reason, tutorial, synth, wavetable, granular, graintable, synthesizer, experimental, pad, sound design, micro tutorial, instrument, rack, LFO, Ambient - Runtime: PT4M6S ### Description More info on Reason: https://www.propellerheads.se/product... Malström is a one-of-a-kind synth, begging to be explored. In this tutorial we'll learn the basics of this mean green machine by creating a synth pad sound from scratch. And once you've got a feel for what Malström can do, endless sound design possibilities are just around the corner! ### Transcript in this tutorial we'll take a look at the Mean Green Machine of the reason rack malstrom using its one-of-a-kind grain table synthesis we'll dive head first into the deep end of sound design malstrom's unique combination of granular and wave table synthesis makes it the go-to place for the weird and wonderful as well as classic synth sounds the included pre-processed waveforms can be manipulated in a variety of ways and just blindly tweaking a few rotaries will often lead to amazing new textures we'll keep it slightly more focused though take off our blindfolds and aim for creating a nice synth pad begin with a malstrom and make sure you reset the device for this pad we want the typical slowly evolving floaty character we'll adjust the amp envelope to give the sound a nice long attack and release ah brilliant that about does it for me then Frank out hey Frank there's a lot more what more do you need there's like another page of this script hold on a [Music] minute all right yeah okay so uh anyway the real strength of malstrom is in its unique oscillators in each oscillator we can select a looped waveform the index slider determines where the waveform starts playing and motion sets how fast it's played in fact setting motion to zero gives you a static waveform that won't change at all this is great for finding a nice little grain of sound to build sweet sweet music from there are quite a few waveforms to choose from but we'll select the blurb flies waveform and adjust the motion to sweep through it very [Music] slowly to expand the texture a bit more we'll also enable oscillator b a different waveform is probably a good idea so let's take something weird like this guitar wave for form here low Twang and again bring down the motion a [Music] bit and you he it's sounding good already to add some additional motion we'll use malstrom's modulators you can use these modulators to affect different parameters of the sound like with an LFO the guitar waveform could use some additional movement to only modulate oscillator B choose B with this little switch right here and now we'll bring up the index rotary to modulate the index of oscillator B and then bring down the rate to make the modulation a bit slower for a slow evolving Timber [Music] [Laughter] now that's a nice pad sound now let's add some Reverb and call it a day [Music]
https://www.youtube.com/watch?v=WtvzUxIuoF0	# YouTube ## Reason 10 Live Stream #3: Organic Instruments & Sounds ### Video Metadata - Keywords: Propellerhead Software, Reason 10, Organic instruments, Soundiron, Live stream - Runtime: PT82M15S ### Description To learn more about Reason 10: https://www.propellerheads.se/en/reas... In the third and final Reason 10 live stream, Mattias and Ryan dive into the highly organic, highly inspiring, and highly awesome organic sound elements new in Reason 10. First it's a walk through to show Pangea, Klang and Humana, the new sampled instruments created in partnership with Soundiron. Then it's on to exploring Radical Piano, Synchronous, and the vastly expanded drum sample and loop content in Reason 10. To round things out, Mattias even puts a song idea together at the end using many of Reason 10's new instruments and sounds. ### Transcript [Music] [Music] it's that time of week Matias it's time again we're back they're back everyone's back everyone's a bag it's the cool place to be finally exactly finally I'll I've been looking for the cool place to be I gotta found it I know somewhere I have often said wherever Matias is that's where the party's at and truth half well I don't know I liked it I like to think it's true hey everybody thanks for joining us we're back we're back for our third installment third installment and it's our final installment I can also report for our reason 10 live streams we love doing them with you we love you guys join in I'm watching everybody kind of jump in here in the comments I'm seeing a live comments update which is anything to have happen pretty smart Darnell if someone here wonder if anyone can help Darnell by commenting Darnell Triple D doesn't have sound he's got to turn the sound on I made a graphic on the first live stream that was a fantastic graphic I don't have that graphic anymore but some way to having things like pens and paper yes I take my fantastic drawing but anyway let's um let's actually get head and get started here so the the first two live streams people have been joining in and taking a look at what - uh - a synth geek might be the the headline instruments in reason 10 right yeah one might say that one one might say now I don't know I'm gonna make it a little bit of an American reference here but the theme song to Gilligan's Island as a kid okay I don't know if people know the TV show gilligan's island but if you know me already oh man alright this Americans this is for you only the theme song - Gilligan's Island used to run through all the characters you know the professor Mary Ann and I know you know it would do them all and then it got to the end there was only two more characters and the song theme song went and the rest was thought what just name um it takes us much time to name them as it does to say on the rest so in a way this stream is and the rest we're gonna be looking at all the other things that were in reason 10 a synth geek might think is below the headline but we will hopefully have you understanding how cool these new instruments are in reason there's a new loop content and how cool it is to have radical piano and synchronous in in reason 10 as well so that's kind of the agenda we're gonna kind of look at all that stuff today expect it and maybe there's no time like the present to get going with I think so and the rest and the rest gonna get me singing that all day that's right so so Matthias why don't you take the lead here and kind of showing your stuff but I guess the the right place to start is with the new what we're calling the organic instruments yeah exactly in in reason 10 yeah so really the thought behind that was that recents always been known for having a lot of really good sounds out of the box and this content update if you want to call it that we're calling it that because it's all about the content and we're getting new sins through getting new awesome stuff I wanted to make sure that you also got some some really instruments some actual sampled instruments it sounded great that you could use in really any type of music kind of a spice where you know you want to add that one imperfect element that sounds real that sounds you know close and that's why we came up with these three devices in collaboration with the sound era this is actually this is a certain philosophy that predates these three instruments in that in music production we have this wonderful perfect world that's in the box world where we can generate a sine wave more pure than any sine wave you you could generate outside the box right we can record audio in this super high fidelity pristine sound and so what ends up happening and what we've done in previous versions of reason is we've actually tried to add some of the imperfect yeah so if you look at devices like Audio Matic mmm that's all about coloring perfection to make it less perfect because less perfect is actually more human yeah in fact in a lot of the Europa modifiers and stuff there are some that just actually adds imperfections to the waveforms mm for that same reason that sometimes you just don't want pristine and clean you want something with character right right and the same was true with vice is like pulverizer exactly you've got this you know the knob is called dirt you dial up the dirt not a sound you know and and a little bit it's just that little bit of kind of seasoning that can can make something so but so this takes that same philosophy of giving you some of that natural imperfection exactly so we we have three devices actually the reason is to kind of have three easy ways to get to the sounds right so they're always available in your instrument palette and you can just drag them in and choose something you want to play we made this in collaboration with sound iron and nuclear Sound Lab helped develop them I think they turned out really great I just want to start showing you how they sound yeah let's let's do that okay I'm gonna start off by loading in first of the three Clank Andre Lemieux I'm gonna totally butcher this I think French name he says he needs more kalimba and bells in his life so good you're gonna be so happy so clang is all about yes Bell like stuff it's about mallets it's about tuned percussion it's called clang to percussion so that's the name in price that's what you're getting it's actually quite a basic device you can do a lot more than you think with it but the point was to keep it simple that you load up a sound it sounds great you can switch this out that also sounds great right so I'm just gonna play the initialized patch here which is circle bells and kind of a metal almost cone like bells metal metal not in the darkened sense of the word exactly okay so let's just give it a quickly [Music] sound really nice yeah just really kind of simple yeah exactly like they definitely there's I say simple but there's like all these layers if you were to say like oh I'm gonna make that sound with a parsec or something yeah right you you end up in this world of modifiers and yeah trying to it's tricky physically emulate these things and and there it's just it's that perfect sound with all those layers of complexity there's overtones that aren't quite right but exactly so what I like about this is that they're really well sampled and they're quite unique instruments that's why we chose them so these are things you won't find in you know your average collection of instruments and that's what makes it kind of fun so I'm gonna load up another patch just to show you what else and now I'm using patches just to show you something different so speaking of kalimba here's the kalimba natural patch to people who don't know Klem is a it's an african thumb piano album piano yeah it's it's like these little times or tongs or something Center you're kind of plug it right yeah it's a gourd or even it can be done with tin cans oh cool it's really cool and it has this kind of imperfect you can hear all the kind of weird dressed and unsee stuff now this is actually funny to me so when I was a kid my mom had a kalimba yeah and what I just heard there you hit a high velocity yeah exactly there was a thing with it that I used to find funny is if you really press down on your thumb it made that like strong wine yeah going yeah that I'm reliving my childhood exactly but then if you play it softly it's much nicer now I can't help but notice we've kind of in an organic way we've we've started off in pluck town this time we started off in look we started off and normally go there we don't even have to go to pluck downwards first not yes there pluck town but organic pluck town yeah actually one of the good things about clang is that you get these kind of black tea sounds and they're really good in electronic music because you can have this more organic plucks and play these kind of EDM e chords and really do that so let's load up just some wine glasses which is maybe not a thing you associate with EDM but it works really well especially if you add say a player so I'm just gonna add scales and chords that it's really quick and load up a patchen's case in court McDonald Singh is very excited to have a new collection of organic sounds good so are we Meyer I have a lot of release here so I'm gonna turn it down a bit so it doesn't ring out quite as long you can hear it's a bit out of tune and I love that character that you're getting these kind of sounds that are not perfect and pristine right and you can try this with a bunch of sounds so if you don't want to load patches these all come with a lot of device patches that you can check out Nikko nails in every sense this dope for tropical house beats and that's true that I mean that whole style of you know I mean it's house music but it's got that thing - yeah exactly that Island vibe yeah so speaking of I'm gonna just choose a different instrument not by choosing a patch so you can select from the list of instruments right here here we go now I'm gonna go with a BAM blong you go what the heck is a BAM long and these are kind of wooden tubes that you hit with mallets and they also have a really really nice sound I mean that's that's got an EDM vibe to it yeah exactly which I'm sure the inventor of the band long did not know all of these devices also have some effects amp and filter built in so if I want to just spice this up quickly from this quite normal sound can add a bit of reverb a nice long reverb actually mm just keeps on going forever wow that really does go for a while it's just having a bit of this 20 night I start you know the the production minded part of me starts going alright okay and then you put that on the drop and then you you sidechain that revision you know you start getting ideas yeah yeah so these effects they really just make sure that you quickly can get the sound to you know sound a bit shinier and a bit more production ready we also have a delay pretty basic delay with ping pong and also has some damping meaning the feedback it goes to your filter so it gets a bit more muddy everytime Ryan let me ask you a question Amir co asked a question in the comments then I think it's a fair question he says why not just release these as refills and there are reasons for that yeah absolutely so go ahead go ahead there's a couple of reasons and I think one of the most important ones is just the ease-of-use that this brings so you have these collections of different instruments and these are optional installs with recent done actually so when you get recent and there are a couple of things that you can choose if you want to install or not that include radical piano clang Pangea and Humana and also includes the two new drum refills so just letting people choose that and then having them ready in the device section where you actually grab your instruments I think that's a really important thing that from a workflow standpoint it's important there's another thing that that I think is interesting and people have asked this similarly of things like radical piano there might be people that have have radical piano right you know so what is it to them the radical pianos in reason 10 if you've already got it and the answer is that native devices in reason devices that are guaranteed to be in someone who owns that version of Reason become fair game to sound designers refill patch developers and the community at large if everybody knows that we all have radical piano and clang a penci and Humana and it's not a refill that you have to buy into then patch makers can make Combinator's and make various things exactly did include those yeah yeah it's a known quantity we've tried a lot of patches actually just layering a clang sound with the Europa and adding a Thor pad underneath an Oregon and it really it's kind of you feel secure that everyone else in recent n also has these if you want to send them some patches it's safe if you want to send the song safe and I think that's one of the really important parts yeah yeah okay so anyway um there was another request of someone that asked maybe I'm gonna put you on the spot a little bit here but they were hoping to hear well originally kalimba and maybe we start here and go back to the kalimba for a second they wanted to hear arpeggiators on these oh yeah sure so let's load up a dual art and I'll just use the basic patch for now I'm just gonna place the chords on the same Sabian with a Fabian wait and this no Jeff hackworth is complementing he go on to UM lapse in your name he says nicely played bro thank you again so here's some arpeggiated them blow yeah I I just love I mean I just can't get over the like how it's so easy em yet like it's a different thing you know yeah where if you were doing that just with like a square wave a triangle wave where you can cut the the release and the decay way down it's not the same it's not the same so it works really well with arpeggiators and scales and chords I think that's one of the strengths of these types of sounds and clang let's just try one other one quickly let's do the Noah bells it's another type of metallic Bell that without the arpeggiator sounds like this [Music] quite a lot of resonance from that it's nothing it's quite thin the metal yeah right a lot of a lot of sustain and not a lot of I guess you're the metal itself yeah kind of exactly and metal yeah if you turn on the arpeggiator oops um not hold especially with a simple arpeggio if anybody has been a tourist in any city any major city over the last ten years you've probably seen these people have these like hang drum yaks and looper petals various if it's set up as buskers it's got that kind of vibe to it yeah yeah yeah so that's clang strength isn't those kind of sounds yeah but that's not the only device so let's check out this snake in the back can we hang if there are questions yes well I I want to be fair to the original question was they'll actually want to hear kalimba with an arpeggiator which is probably weird it's probably a bit strange but let let let's try it out but give the people what they want that's why we're here so kalimba with an arpeggiator pretty good cool let's just try this pattern two away here you get those kind of double thumb oh yeah yeah yeah it was hard to do when you were a kid I had - kolima - when you had to go it was to get like calluses on the top of my thumb from the thumb the thumb joke I heard about like guitar fingers but kalimba the limit on my was who knew hippy parents were giving us Columba thumb exactly so the second collection of instruments it's called Pangea em Padilla is a collection of what you normally call maybe world instruments with really means in this case it's it's a lot of traditional instruments and strange instruments that are not you know in the in the common collection of instruments that you might know it's not in every school it's not in every country it's tough you'll find when you really look around and these are some of the most unique I think that we have so let's check a couple of patches out okay and let's start with something quite normal still so everyone knows the piano this is a piano except you're not playing it like a piano you're actually striking the strings inside of the piano you know I've learned from my brother's a composer there's a name for this in the hoity-toity composer world prepared piano prepared piano so you're a composer - yeah you know these things I read musicology yeah called prepared piano and it's it means basically playing a piano in any way other than XML BAE book one of yeah and this actually creates a really cool song you can hear that it's a piano but it sounds very different - so I'll just play something real quick [Music] now in terms of the physicality it's it's sort of the same concept as harpsichord exactly very different Miller it's it's got the similar kind of that that pick attack thing yet on Harper because the body of the piano is so much bigger and the range is so much bigger and and all that stuff it's a very different sound but it's sort of the same like initial concept exactly and gets quite bass heavy at the bottom that's a really nice sound I think but it's one of the more normal ones there are so some working we're getting requests while we're still on this one for prepared piano with Philip Glass ARP please is that something you can just sort of stump the band real quick and do okay do I know Philip Glass well enough I think [Applause] [Music] guys this is why Matias are the best you just throw something at him like that and he'll he pulls it out first try I'm gonna play that all day now yeah I'll be humming it on the way home so let's try another one and this is maybe something more strange so let's try the acoustic sods with a V at the end and this is a lute like instrument but it has quite a character and it's one of those instruments that if you want to play it correctly then you have to work for it a bit so with any guitar it has a set number of strings so right here I have the release set up quite a bit so if I play [Music] you can hear they all ring out mmm in reality if you want to play a guitar then some of the strings you can't wring out at the same time because you want to take a new note on that string right so then you actually have to play it properly that's damping yeah just removing the finger when you take the next note but what I like this just an example of why we like computer music to begin with right you don't have to play it like you're supposed to play it right I think that's one of the strengths of all these instruments that you can take something that's supposed to be allude to where you play very specific style of music you can play something completely different and it's you know really cool yeah yeah yeah I brought two commas so he was about to get a VST that does says hmm and he said well okay oh yeah they gotta check this one out yeah it all says again quite a different sound where you go up and down the scales quite low rumbly high say I love that yeah I get a kick out of those high velocity we you hear the frets yeah it's buzzing on the frets yeah yeah the string is kind of going against [Music] quite nice let's try something else this also has a bunch of organs actually in different categories if you want a normal big old pipe organ there's one really nice here that's well I'll let you hear it it sounds big I'm gonna turn this up slightly who [Music] now to through the wonders of Facebook's mono streaming yeah people probably aren't appreciating a lot of these sort of convolution - you're right vibe that's in there but as as always our handy-dandy trusty archive recorders recording the stream in stereo and it'll go up on YouTube afterwards so and so this pipe organ obviously it's sampled in the room it's in pipe organs are built in two rooms right so that's a part of the character that's really important but you also have some maybe less normal organs so this is a traveler organ which is kind of a small pumped organ that I think is really nice [Music] a lot of character I have to tell you when I when I first tried out this one the first thing I did just from you know having been in meditation retreats and yoga classes stuff like that is I hit a fifth just power chord fifth real low for a long time and I was singing mantras over and it sounded just like like it does when you're in those things you know yeah now we just hold that for like 10 minutes you can still mount guys yeah okay now everyone take a deep breath forget your troubles now so this but it's out it's a really good sounding pump organ and Pangea is filled with this stuff let's check out one more this sit threat and I'm loading up the natural patches now and I'll show you why I'm only loading up those those as the name might imply sound natural but we also have some other patches I'll show you later so a cigarette this is a small struck string instrument where all the strings have a pitch and you strike it with small mallets [Music] nowadays I I'm not actually expecting you do this but you're getting requests to play a Bach fugue I think now they're just some people are throwing yeah there's like oh this guy well he'll play anything yeah if you can't ask anyone to imitate Bach that's yeah that's too much no no this is also one of those really nice kind of percussive sounds that I think are really useful in a lot of music just to kind of get something in the background that kind of beat in any pop song I think it's really great so that's Pangaea there are a bunch more instruments that you can check out but we do have a lot to cover in this stream so let's move on to the next one okay so next up is Humana and these are vocal sounds but primarily it does choirs it does choirs really well and choirs it's one of those things that you mentioned your brother did soundtracks I also worked with video game soundtracks and having just a good choir in the bottom of a track just kind of in the background it adds so much that's so much of a kind of a human flair and I think that's part of why this is here because even in pop music just having a choir underneath your chorus it can add so much oh absolutely so let's check out the first patch here which is called mercury [Music] really nice to have in the background that's a children quieter actually which is something you don't always get in those quiet packs right right yeah it sounds cool which you know there is actually a an element in pop music in the history of pop music children's choirs have been something that actually get employed quite off you mean if you think about you know the pink floyd's use of it wrong stones used it there's a lot of examples where it's got a special sound absolutely so let's check out another patch and let's go with Mars and Mars as the name might imply is a man's choir so this is quite a bit more powerful [Music] you can hear the bass frequencies are quite a bit different from the children's choir [Music] yeah it's really nice for soft yeah and now I'm playing them live right so if you sequence them you'll get the exact Titans you want I have to say I'm impressed with your ability to be a choir choir leading yeah yeah doing all the low like you know suspensions and stuff yeah tricky stuff sounds good there are also other male choir so there's an R as well and this one has a bit more power do is soft and kind of its background this sound o is quite direct mmm Billy Reynolds says that Mars our sounds like a Buddhist monk if you hold a low C alright you know we pair that with my pump organ and Billy and I can really go to town on our meditation CD it's worth mentioning that actually that all of these instruments they have a good range for their sampled but we didn't want to you know leave you out of experimentation so you can play outside those those ranges and it will sound sometimes wonderful sometimes really weird when you go to like you know C minus 3 and it actually stops at C 1 you can get really weird effects but we didn't want to rob you of that experience right let's try out some women's choirs we have the Venus and I'm gonna load this up with some delay and reverb on so you can hear it kind of in effect we compare that with the Philip Glass yep it's really nice really nice yeah and you know some people in the comments are starting to you know some of the the light bulbs are starting to go off and you know through the power of the Combinator you start putting these into combinators in combinations yeah and doing key splits and stuff and you end up with you know female in the top range male choirs in the in the in the low range and a combination is a NAS I mean there's a lot you can do with that can set up a whole choir section maybe a solo vocal at the top it's it's quite flexible that way yeah and speaking of Combinator's I just want to give you an example of what you could do with a Combinator so this is just something we put together a couple of patches for fun we might post them on the blog later but these are just you know what happens if I combine all of these so here's one called old metal mallets and this one is combining clang and Pangaea so you're getting both the wineglass and the cigarette with some reverb and Distortion [Music] [Applause] [Music] you know that distortion really adds a lot especially the high velocities yeah you can get this really cinematic sounds by just combining things we have a couple of more that I can show there's one called forgotten planet and this one uses quite a bit here it uses a pulsar an organ assess and the choir all in one and this is kind of really a soundtrack thing play one note and you go like oh movie [Laughter] [Music] so what does that sustain coming from its it this is got a synth ride to it but it's not it's the pulverizer actually with some audio rate modulation of I think the filter it crunch this up it's really cool the choir comes up way in the back oh yeah the code the voices come up in the background exactly you [Music] really beautiful yeah I've got some friends that refer to sounds like this they used to listen to Pink Floyd and they said they were entering the Floyd void where they were just put on headphones and like spaced out on it yeah and it sounds like this then they would refer to us like oh man Floyd Boyd you just put it on and kind of vibe on there and that gives you an idea what you can do with the Combinator it's also an example that I think is just fun because it does two very different things called choir gate and it's two humanas but there's also an alligator in there and what it does it uses one of the staccato samples that's just the attack of the song they actually huh and then it goes away but the actual are the sustain is in the alligators who get an attack and then you get this pattern [Laughter] these kinds of effects when you really load them up and try different things and yeah pretty cool that's neat now Yuuka has said today I learned Matthias has Sasquatch hands is that true I would I wouldn't have though they're not that hairy of course I can see at least maybe you knew something something I don't so those three devices they're all great and I think you'll really learn to like them when you combine them with things they're great on their own in fact I want to show you one more thing because on the panel I mentioned yes there's a filter there's an amp with envelope delay in reverb just to show you what you can actually do with these I set up a patch that's included that's a kalimba resonator and you Michael what do you mean resonator well this is using a comb filter to get a weird resonance thing from every kalimba note you get quite a different sound from what you heard before [Music] not quite your average glimmer know this you know my my mom's Clement never sounded like that no matter how hard I find you've really tried and there's a bunch of these patches where you have things like our more synthetic order pad order more percussive there's a bunch of those patches included and you can of course create tons of your own I think you really like this and I mean I've been using recent time for a while to make music not to make you jealous or anything but we have to test it and I find that these devices they sneak into songs where you don't think oh I can never use like kalimba here or can never use a wineglass in this song but it works right works when you add it that's cool yeah um someone's quoted in the comments my mom was kalimba I don't remember us disturbing to see that quoted back in just that phrase I don't know what they so okay well so that that's kind of a good primer on the three instruments or the three sound iron collab instruments any reason Tim but but there's more but wait and so one of those is something that I've been surprised how to people who know it it's a familiar friend and to those who haven't gotten into it before it's a whole new concept and that's radical piano yep so what if we could talk a little bit about radical piano and and kind of cover some of the a little bit of an introduction ground for people that may not know it right so radical piano it's actually quite special yes it's a sample piano that's the basis of it but we go a bit further than that so it's a sample piano that also uses physical modeling technology and that sounds like a whole bunch of tech mumbo-jumbo but what it means is that we're simulating parts of the piano we're simulating parts so you can do stuff that you couldn't do to just samples and it actually leads to quite a few cool use cases that I think we can show you such as software design I know use a lot of cool music cool musical opportunities the cool songs cool things yeah you know what when I first got to start playing with radical piano the first night that I got it I was up until I don't know what hour of the night putting on some of my favorite songs that had piano recordings in it and sculpting radical piano to achieve those sounds and you know and a full range of things you know you put on an Adele song and get that beautiful grand kind of widening yeah and then I put on like a song by the police or or imagine by John Lennon which is like this weird pseudo lo5 thing you know and and it was just so fun to kind of explore the breadth of sounds that are in it exactly there's tons to do so let's quickly go through the basic so someone who hasn't seen this before check it out and in case it wasn't clear yes this is included in recent 10 for everyone which means that you can always send someone a song with radical piano and they'll have it which is great so really the center is the center this is where the sample starts there are three sample pianos a home ground which if I'm not mistaken is actually headless home grant our DSP developer that is sample is home so the lux grant and a normal upright piano you can choose from various mics here and you can mix between those mics you can actually take two different channels and mix between them but here we just have a deluxe grant that's close miked and jazz miked which is a special way how you Mike pianos I'll just play really quick and you can hear some nice piano [Music] excellent right yes good old good old-fashioned p.m. good old-fashioned the workhorse piano now but what I like about this is that you can take that as a starting point and if you want to add some extra character you can you can start with a patch like that or a norris or starting spot and you can go in and actually kind of go let's actually you know to this theme of imperfection sometimes being the preferred things actually you can actually say what if i was picking up more of the the pedal noise or what if i was picking up more of the the release of the key you know things that you can get on sometimes not well-maintained pianos but it sounds cool yeah so down below that section I just show that's where we have things like mechanics mechanics it's pretty much the mechanics of the piano that you hear so how much does it sound when I press down a key on my keyboard how much does it sound when I let go of a key and how much does it sound when I actually hit my sustain pedal so just to show you this I'm gonna really go over the top you don't want to do this for any reason but let's take them to the max level and I'm just gonna softly play a key crank that up can people hear that let's get the volume up so when Matthias is releasing his key you'll hear this low [Music] right now that is that it's way too much but it's it's an element of realism that when you dial it in it creates really nice and it is a thing when you actually take it away you realize that's a lot of how a piano sounds sounds empty yeah it's almost too clean right to clean yeah so I'd like to have that Casio almost at 50% now someone was asking the conversations it's scrolled by now so I can't see who it was they were asking about the sustain pedal in terms of its behavior is that on/off or is it continuous aha the sustain pedal is like all the sustain pedal same reason so it's actually let's try it out well your petrol in hang on your pedal is a non continuous pedal yeah this is a it's a two-part answer so yeah exactly the answer is radical piano does it support continuous sustain yes you can see this meter actually on the screen that that is under sustain you can actually turn it up manually you can see oh here it's 50 so that would so for people let's just try and just give it a little context for people that may not be following this real pianos with real sustain pedals as you push down the pedal you're pushing felt on two strings right and you can push that softly so you just kind of dampen them or you can push it all the way so you totally dampen it and in the same way this this mimics that behavior if you have a pedal that does continuous and sustain a lot of pedals you know the kind of Matthias is using today is is a binary pedal in the pedal it's so yeah it's one or zero right so it's a with the right pedal yes you have continuous sustain exactly and if you don't and what I've actually done sometimes is like I don't have a pedal with continuous sustain but sometimes I go well I'll just automate it and I'll get some of those impacts and you can send it to your mod wheel or something yeah yeah there's ways to access that without the special pedal yeah another really cool part about getting kind of the character of the piano is the resonance and you might think resonance out like in a filter and not quite this is actually the sound of sound in the piano maintenance and you'll hear what I mean if I just turn this up and turn up the release you'll hear when I release my note you will hear a lot of piano even though I'm not playing the note yeah a lot of panic going on it's almost like a reverb right it's the reverb of the piano yeah it's the exactly right and that's also something this is a enormous setting to just max every sure but you can add quite a bit of character just by having in a bit over the normal [Music] that makes this sound kinda reverb a because it just captures that piano body absolutely yeah that's cool I mean I remember when I was a kid the first time I'd be around pianos the stuff that was the thing you did you shout into the piano you know hear hear your voice exactly and actually you know like a piano you can do that because we have an audio input on the back that goes into the resonant section so if you plug a microphone in to an audio jack plug it in here you can actually scream into the piano right one of the reasons you would want to do this if you're recording like piano and singer duet and it's supposed to sound like they're in the same room then actually the singer he or he does resonate the strings when they sing right and this simulates that so you can get that same sound that it sounds super realistic right and that's also true I mean there's you know if you're if you're recording a band in a live situation you got a piano and you got the amps nearby yeah they'll resonate the piano exactly and so you can get some of that as well you know even if you're taking the soft tube amps routing them into radical piano you're creating this real organic space in in the virtual world in fact I've used it as a send reverb on a bunch of channels mmm which is quite cool actually some people are saying scream into the piano if only we could probably we could one final thing that I want to show because it's just so strange in a way is that you can now change character of a piano you mean what do you mean character well this is the physical modeling part this is where you can actually change almost the shape of the piano how the strings work and stuff like that so the normal piano patch yes it sounds like a piano let's see what happens if we bring it up to be more agitated here it's getting a bit brighter let's really go over the top this is your your Elton John rock piano [Music] if you have the other way you can adapt and dampening it a bit and here you can get really kind of soft characterful pianos even if you're playing quite hard yeah I love going this direction yeah it's my favorite one too you get these ambient kind of piano pads now yuka was asking in the comments she said wait what you can you can input a resonance source in the radical piano and yes hope maybe maybe you've made that comment before we talked a little bit more about it but yes that's exactly right you can import input a resonant source and and create that resonance yeah but anyway yes naturally when we bet you back off natural and you go back to that subdued and I really it just makes everything kind of even it's super low settings like here you get this weird sound okay it's getting kind of getting away from being a piano you can hear it's there it's like it needs new strings but in a good way it's quite cool and with this in mind you can make so many different variations on the piano and there are tons and tons of included patches and there's a reason there's a folder called natural pianos production pianos and radical pianos and those are the ones that just go way over the top just to show you kind of one example of how far you can go let's try a patch here Mike McHugh says Radiohead I think that's he's referencing that subdued piano it I think he's referencing that I was playing already ahead so were you oh my god I just based on even that thank you yes courier Mike piano sitter this is what happens if you use the envelope and the mechanics and actually bring up the agitated character [Music] this is sort of a could have been in clang open to you I was gonna say you could make a Combinator with this and Pangea yeah exactly you get some really cool stuff let's just try one more because I really like these patches this is perfumed garden [Music] yeah here it's drifting around it sounds really distant and the pitch is not static [Music] yeah that's not your stream going weird that's exactly that's just how it sounds that's how you can get really cool sounds with this that aren't candles at all right yeah I love this one I mean I you know I just probably spent more sound design time personally with radical piano then I have with some of the sense and reason which is sort of the thing you tend to think about like I'm gonna get all in the sound design right but I just love it I love that it's one of those instruments that the more you put into it the more you get out of it in terms of all these useful characters yeah so I think we should maybe take a quick look into the new drum refills let's do and I think you'll like one thing in particularly here so the new refills are made in collaboration with sample magic and they're split up into drum supply in loop supply so if you just want the one shot that's fine you can just grab that from the optional contents you would expect this right folders with the actual things you want what really you might not expect is just sheer number of samples and this is something I think is important because reason again we have a lot of great content but the samples was a while since we updated those we really wanted to give you just an injection of a lot of modern kind of production ready drum sounds so just looking into the bass drum folder you'll see it's quite long yeah oh yeah it's really long gonna scroll for one keep just keep scrolling yeah it just keeps going yep and oh the end where are you there we go that's all that's a lot of bass drum sounds and this is like when I was making the the announcement video for reason 10 I had this idea that I was gonna show all you know I said something and like your new bass kick drum got a few hundred competitors or something online I hadn't the right I was like I'll show them all and then I looked at it was like home not only not not just because there isn't enough time in my life to show them all and do the video work but I was like by the time I actually zoomed out a video screen to show all these things it would just be little dots yeah and the really cool part here is yes there's a lot but you'll quickly find favorites you can add into a favorite list you can search for genres you want you can search for you know old drum machines if you search for a know seven to seven then yeah you're gonna find some stuff right now Garrett's got a question Garrett Richardson asks is it going to increase my loading time you mean loading it depends on what you mean with a question loading up a recent starting reason no no no it's not different from having a couple of refills but even even if you took it to mean is gonna increase my loading time in terms of loading a song oh yeah a drum sound cuz they're they're notoriously small yeah that's why there are so many of them right so if you'd use you know a couple of drum kits it will hardly affect you at all right so Garrett I think the answer is however you slice it not really no no that this of course also includes a bunch of compact cheese and this is using a beta build so we're not actually quite finished with this compact cheese folder but it's a lot of different genres and there are kids for a bunch of the sounds not all of them but a bunch of them so you can get the inspiration and you can go in and maybe exchange the kick exchange the snare you know do something like that and that's a good starting point and I think the easiest way to show you this is probably that we should instead of listening to samples which can be quite dull we should maybe start making some music instead alright so I I have an idea I've cheated and I've started to have an idea I don't know you're gonna you're gonna attempt to make some music live on air I don't think being remotely slightly prepares I'm not really cheating I mean I think so I really want to use some of the stuff I've shown you so I'm gonna use the clang BAM blonde combo that I showed you before and just use that as kind of the basis of the track and let's set this to maybe yeah that's 120 that's always fine and I'll just record something real quick and then we'll start adding drums to this okay sure that's this will be the basis of my song okay this would mean that if I'm gonna show you some drum and bass loops maybe it won't fit very well but I'm gonna try well we have a request actually the people some people do want to hear some of the trap loops as well okay so maybe we can take a spin through even if if it's not the right vibe for what you just played we could at least audition yeah so maybe we should just start with a loop on this that's a good way to start I think I always thought with a loop and then in the end I might actually remove the loop but it helps you get started with the song so in loops apply you have a bunch of Rixx loops it's actually really good it's really good I'm gonna make a quick tip out of that yeah you've actually that's something maybe just through that by but but dwell on that for a second everybody some people go like I don't use the loops it's like becomes a macho thing you know I don't I don't touch those and other people love loops I love boobs but then there's that middle ground you can actually fill in for what you're doing and then if you want to pull it out and put in your own drums or whatever yeah hold out and I think that's perfect so I'm just gonna try a couple of different drum loops on this and you have different genres laid out here and these are all often different tempos so I'm just gonna try something that I know is around 120 to start with and let's maybe check out this one all of these loops have separate parts most of them so you have the full loop and the full loop is all the elements but then you also have loops that are just it's part of this so if I like the Hat in this loop the hi-hat was not I can just load [Music] just a half part yeah and these are also laid out in dr. octorex patches where you have all the related loops in one dr. of 2x pack so for example if I continue down here and get the one called swinging for example because that's God that's put them all across your top brother and it's quite a good way to just find something you like and combining different loops I think is one of the joys of this collection because there's so much they want to try them in different ways right but let's see what tempo will we need to do some trap we want to go up to like 140 and let's try some of the trap loops works weirdly well one of the things I've I've liked in these trap lips somewhere in there and I think it's maybe more towards the bottom there's a lot of those pitched snare up up pitched and down pitched snare fills those little things where you just you hear them and you go how they doing that yeah you know and I can just take the snare of this for example maybe that wasn't the best example of an uphill snare no no wait wait if you want actually try and finally hang on a second let me take I'm gonna look at your screen for a second he's looking at my screen I'm scared I can't remember where they are they're in there though the name of actually you know maybe use the search function to actually search for the word up because ups in there there's enough okay that's more manageable okay yeah oh snare feel oh yeah yes Phillip yeah yeah there you go okay cool I'm gonna use this drum date as the basis and let's add some snaps [Music] yeah those things now you don't want that going every exactly but then you can trigger it when you want right which is a great way to combine and there are a couple of those which are just you know you can make the rest of your drum pattern but that just speeds it up I think we lucked out and that this lovely drum loop actually is in the same key I played so those are some of the trap loops and I mean there are so many loops I can't go through them all but of course yes there are a bunch of slower loops too that I really like so these ones are more 90 BPM loops but I'm gonna go to 100 it's nice and even these have a lot of grip try something it's really crushed yeah [Music] actually kind of works with the song right got that fat bass drum snare drum [Music] not that at all however I kind of I want to sequence my own drums too so I'm just gonna search for island which is this patch name and I'm gonna just choose the top of this actually maybe just even the hats here we go so I can actually create some of my own drums so I'm gonna set up a rear drum real quick and check out some of the samples in the drum supply so I really need a kick and a snare or maybe a clap that's what I want so there's a bunch here that I like you know there's a million variations on the 808 but there are some really nice kind of dry kicks yeah I think are great I'm just gonna set up a pattern here and let it play there's a question you just wanna make sure I'm we can think it's an easy answer Erik Keller asks does the reason work as an isotope host you believe that I believe he means there's a VST host for isotope plugins if you mean that then yes definitely yes there are yeah you can run all the isotope beasties yeah let's check this out together with the loop I like these kind of dry kicks let's try a couple more it's actually quite nice too it's a lot of yeah okay so let's set up a snare too and I'm just gonna put in that sequence before and so when I try out different samples I can hear it in context of the song let's just go somewhere in the middle Steph I'm just comedy okay now Matisse is gonna go through twenty five thousand five hundred kick samples actually found one right away oh yeah there he goes great I'm just gonna keep it like this for now okay yeah but that's nice it's a nice basis of a song so let's try adding some more elements here and I have my lovely folder Matias makes a song where I've tried some different things and what I really like to do on this one is to add a choir but then effect it so I'm gonna use the mercury patch I showed you before [Music] others it Trevor just made a comment that I think would warm the cockles of our hearts is that the right phrase Trevor says I'm gonna start making music more and DJ less and nothing against DJing I mean DJ all you want to but that's awesome to be watching this dream and to be inspired to make more music I think that's all we wanted yeah I want you guys to make some wow that's really cool waiting way to go Trevor and can't wait to hear it yeah so I'm just gonna record the chords with this choir patch and now I'm gonna use synchronous to spice them up a bit so let's record [Music] pretty much what I was looking for and I'm just gonna copy this twice so it goes through the entire loop now synchronous we haven't talked about yet we haven't and there's requests to do it but I figured we arm do it so so synchronous is one of those devices that it's so hard to say exactly what it does because it does so much and this is I mean I've used it for a long time I used it only to just do LFOs and not modulate anything right and then I started rolling the patches so much oh you're right oh you can do okay so let's show you just the basics I find I use it often as a just world quickest sidechain effect oh yeah you know baby we're gonna end up there I'm sure so it has three curves three channels of curves where you can draw in things like let's say a quarter note sine wave or you can mix and match and do hmm let's just change these steps and maybe do that maybe add a bit of a ramp you can do really complex modulation curves really quickly and these curves what you really do with them is send them to things so sounds smart right certainly things but right here we have a bunch of effects so we have distortion filter a delay and a reverb and the level and for each of these controls there's a tiny tiny rotary here which means that I can send this curve to this rotary let's use use the filter as an example I'm gonna set up a maybe a slightly better pattern here there we go okay it's gonna be easy to hear if I just play this choir patch down and solo it right now it sounds the same I need to turn on the filter ah that's a glow pass filter now it's quite low you can almost not hear the sound but when I turn up this modulation curve you can hear the curve so it's a it's a graphical way to to do these you know some people might be familiar with doing this to basses and stuff but yeah classical wobble bass exactly it's a graphical way to do this I mean and a million other things that's what you got going on here and that was kind of just to show Vista modulation this can be used for simple things like just adding a vibrato to this choir so instead I'm gonna send to the level maybe a quick Tier one there this is a slight vibrato and you can of course use it more as a gate yeah I'm just gonna do a quick gait pattern now a questions coming in from Billy Reynolds he says rewinding the last week I guess this is something of a throwback he's curious if synchronous his curves can be sent to Europa and grain you actually do modulation of those synths absolutely you can just plug in one of the CV inputs on the back side there are four of them and you can assign that curve to anything in Europa really yeah oh yeah absolutely absolutely and it becomes quite cool wait actually you know you've got built-in envelopes in Grain and Europe betroth but if you want or if you prefer working with the curves and it's a different way of work it's a different way it produces a different version you're getting different ideas right here just set up a super quick gate on this quiet pattern so you can see what happens if you just use square waves and of course you can use all of these effects without modulating them [Laughter] [Music] [Laughter] [Laughter] but really it takes takes a while maybe to do them over more exciting stuff in synchronous so let's check out some of the patches and this is where I think you'll see people who worked hard let's check out the one called breather you can see this is using all the curves so it's using the yellow one pink one and the blue one which are all assigned to different things when you listen back clipping distortion ah distortion the patch this is a weird pumping breathing sound let's try another one that may be a bit more effective on the vocals that's nice yeah this is really sweet how do you get this completely different sound I just open up the filter a bit that could really be the basis of this one yeah works didn't plan it at all of course there are also some may be more normal patches too and like you said one of my primary uses of synchronous nowadays is quick sidechain en yes it's not actually sidechain because there's no other signal right but it's a pump effect exactly this is the thing you know these days sidechain it it's almost like I don't know it's a little it's almost a pet peeve of mine that people refer to pumping as side chaining with side chaining is something entirely different though you can make that effect with your audio engineering education I know I'm like but what about ducting and what about this there's a lot of uses for sidechain but it's absolutely probably the most common use these yeah absolutely is to create that pumping sound and just dragging one of the presets and this is how what I do every time I just go hmm such an sidechain preset and just play it then quick sergeant right which might be too quick almost too quick my pet peeves aside that's way better than the old method of setting up a compressor and getting a kick drum and feeding the kick drum into the sidechain and you know so this is quite great then if there's a couple of these presets long section bit hunger short sidechain you guessed it Jordan a super long sidechain yep super right and so and just for people to realize there's a dry/wet knob as well if you don't want it cutting all the way off but you want it just you can just mix this in you can mix in a little of the non sidechain yeah this might actually be quite good on this track Gerrit asks what is it doing Gerrit it's it's creating a volume pumping sound exactly it's it comes from an older method of doing where you would feed the kick drum signal into a compressor and the compressor was listening not to the thing it was compressing was listening to the kick drum so that when the kick drum hit the compressor turned down and you it kind of got out of the way for the kick drum and it became a popular sound that that your drums can hit really hard and kind of everything else in the song is like moving out of the way turning down real quick and then coming back up and ending anytime you've seen people at it at a club bouncing like this music it's probably because they're reacting to the sidechain yeah exactly and that's that's just a few of the examples what synchronous can do we've already done over one hour of this dream so we can't dwell - no okay but you can do so much it does a lot and this is another one - just a call back to something I was saying earlier that you know having synchronous as a device that patched design sound designers can count on everybody having access to yeah means that we can start seeing some really cool patches floating around and being exchanged and in refills and all that stuff so I'm just gonna use the first patch we used here that was kind of that minimal this it doesn't take up a lot of space but you get part of that vocal quality we ever so slightly here we go good group so far I'm then gonna use one of those Combinator's I showed you with clang and Pangea to play a bit of a melody on top of this just to get something because I won't sing if I had a singer she or he would sing here but I'm gonna play a melody instead so I'm quickly gonna just try some ideas out and then when I get it I'm gonna hit record yeah a question came in from David which I actually don't know the answer to but I imagine the answer is sort of one of those you know anything in reason is possible I just may not know the solution he asks is it possible to make synchronous begin it's curved leap when a key is held down like sort of triggering off of a possible I'd like to believe this I'm a clever way involving Thor you know you can set like this if you see yeah there is a freeze mode where you freeze the entire waveform and that can be controlled with CV so you can probably set up a combination say but the answer is probably but really it's not really meant for that and since you're getting Europe and grain - those are envelopes that have similar capabilities right and they're triggered on key down mmm is there you can just set it up and route that envelope out of you're open to whatever you want to control gotcha yep so this is getting to be a bit of a song at least what it's missing is you know you shouldn't go right away and just go okay there's a song by you should have some kind of intro maybe so I'm quickly gonna set up an intro part and play some radical piano to do there we go so now the main part it's over here and I'm gonna try to play something over here so I have a piano patch that I really really like and that's the mellow upright mmm it's because it's it's such a kind of a soft nice piano and really kind of it's great for an intro it doesn't have a lot of attack [Music] yeah I'm just gonna play some stuff in the beginning just leave the kick and snare there just have something to actually keep time with I don't want to listen to the click anymore I wanna listen to the beat so let's see if I can come up with something not the worst I'm not better but it's pretty ok not not bad for a one-take wonder one take wonder and now let's take away these drums from danger I'm just gonna have this sorry someone is there you can name the song Matias is massive handsome hands I'm not sure if I'm comfortable with it so now we're getting a piano intro and I want to add some of our old favorites too so if you've seen the last two streams and I surely hope you have because they're awesome I'm gonna use a green patch cool quite like cool this one's called mood board I might have shown it before but it's it gets it kind of an organ like character you [Music] and I think that would be great underneath the piano for the intro just in the soft sweeping sound cool let's try it out [Music] really pretty fixture yeah yeah it just kind of works because I also play a little bit sloppily on purpose because then when that beat comes in and it's quite stiff mm you have this kind of nice part that's kind of content all over the place yeah Michael says by the way that he thinks that you and I should be included in the update package if if we can figure out a way to fit in the box and we do it we'll do that now you can hear we have this kind of nice intro and then comes bit and this is missing the low one we kind of miss it from the organ and piano sound so I'm also gonna use guess Europa ah to get a quick based on going cool yeah somebody had asked no base can't make music with a base but I must admit I almost never start with base interesting I have heard most people start with drums and bass I tend to start with kind of melodies in courts and then come in and did a database so here is a basic quite like and it's it's you know it's short and one thing you forget about basis is that sometimes they're good if less is more so I'm just gonna take down actually the filter slightly would get this short sound and I'm gonna play that underneath the chorus so let's record [Music] now you have kind of two different rhythms going in the drums and in the rest of the song right and now if I were to make this a proper really nice production I would probably have some kind of sweep and stuff in - sure there's a lot where this could go yeah exactly I mean the only final thing I want to do is maybe add some more drums when we actually get into it because may be missing a bit of bite so I will sneak in a loop I've used before it's also from the loop supply and just make it play here [Music] there you go it's good little top-end edition okay rips it up a bit yeah it'll look great on the on both the the hats in there exactly yeah so this is kind of just to show you how all these different things in recent n combine them that's what I'm trying to say to you guys you know there's so much stuff you go oh I'm gonna just play with your oppa for two years and you might but just combine them and start making songs that's why we make reason we make reason so you can make a bunch of music that you really like I don't like and make more that you do like I know no it's it's true it's true yeah so I think that's been I mean I would say it's been a quick walk through it's actually been an hour and 20 minutes that we've been going through and showing in stream time quick in stream time that's right but it's it's been a lot of fun if you guys have any last questions throw them out in here I'm gonna throw one at you that I saw if we could just for the sake of auditioning and a couple people more curious to hear some drum and bass loops from Oh loop absolutely selection so let's check them out so let's go to loops ply and drum and bass and maybe it's a good idea that I set up a song that's 174 because that's drum and bass so this is gonna be slightly easier and we go two loops drum and bass and try some stuff out I just used a couple of these today they're really good yeah yeah I like this have fun that's fun that's such a tight snare yeah yeah yeah I know I'm virtually in my mind reaching for my super sauce I want to get get going with it this is a nice basic one I think when you know the kick is not is not doing so much so you can program a bunch of cool patterns along with this mmm right right especially if you take this to fix it so now you can start combining so yeah let's do this but take the top from something else maybe a top from something else you're starting to build your own loop selections here yeah yeah cool that's cool yeah so there you go so people's those that were asking for drum and bass huh there's some really cool stuff and there's out mean a lot of genres there's really cool stuff and it's got this neat like there's this experience I've had when I'll go into one of those folders and I find myself very quickly going yeah that'll that'll do that's the one you know yeah and you sort of have this concept in your head of what you want and if you're not a drummer you don't know how to quite articulate that and you can go through audition a couple you go oh yeah yeah that that's what I couldn't say I wanted that's what I wanted yeah and it's really you know it's it's good to have all those tools available I think it's one of those things where yeah you might not use loops all the time but just kind of listening to it and checking it out and hearing the different parts you can learn how to make those lips that's true that's true someone in the comments asked me to drop the song to Allie Hoopa uh-huh so I just did okay here it is and still fun you'll get the honor of copying this link without using copy/paste that's one of the biggest challenge in our modern society oh oh right yeah or you can just go to my profile that's true write that down Stefan oh yeah so again we can post the stream song what we've done so you guys can go on to Ally open you can open up and reason build off it continued and remix it dude everyone with them um well why don't you take it way better I'm sure you set us up with a loop and we'll play us out with the let's go with the song and I'll take I'll take my chance while Matthias is getting that set up to thank everyone for tuning in thanks for tuning in for all three of these streams we have had fun with you guys as we always do and every time we do more streams we come away saying we got to do even more so that'll surely be happening but thanks for tuning in I hope through the course of these 3 streams you've gotten a sense of reason 10 and I hope you're gonna get a better sense of it when you get your hands on yourself which is October 25th it's so nice that wait oh we really should yeah that's alright but yeah October 25th reason comes out you can still sign up for the beta they're still letting people into the betas they can handle the you know the influx of testers those are more testers as more for them to handle as well but they're bringing people in you can still sign up for the beta if you haven't upgraded to reason a 9 yet you can upgrade to reason 9 today and you'll get a free upgrade to reason 10 when it comes out so just show up in your accountant you'll be ready if you wanted to get your hands on you know things like players or whatever it might be new to you in whatever version you're coming from you know I mean some of the audio slicing and pitch ed and all the things that are new to reason in reason 9 you can get your hands on that already and start get your head around it and then get the new stuff when 10 comes out yep so as always it's been a blast thanks everybody for tuning in and we're gonna see you again soon through some form of some kind of stream I'm sure how's that for a plan it's good plan ok we'll see you guys take care [Music]
https://www.youtube.com/watch?v=cckO66Tb5EA	# YouTube ## ReGroove Groove Mixer - HD ### Video Metadata - Keywords: Reason, version, ReGroove, Groove, Mixer, Propellerhead, Software, virtual, instrument - Runtime: PT5M12S ### Description More info on Reason: http://www.propellerheads.se/products... A realtime, 32-channel timing and groove handling mixer. Applies non-destructive, freely editable grooves to Reason's sequencer tracks. ### Transcript [Music] hi this is Stony music producer from New York City I'm here at propeller heads to introduce to you the new regroove mixer that's going to be featured in The Reason version for what is a Groove a Groove is the Rhythm that you create yourself a Groove is your own feeling a Groove allows you to stay outside of the 16th note realm where you can come out and you can play with your velocities you can play with your timing you can play with your notes you can play with your time signatures a Groove is your own rhythms regroove here I created a drum beat where you can listen to it is pretty much of a straight run 16th quantize uh this is without any Groove applied as you can hear the changing of the timing with the high hat the groove is applied and it has more of a human feel and a nice swing to it we're going to walk through the regroove mixer in the transport area we have a button designated for the regroove mixer click on the button here you have four Banks a through D with eight channels designated for each Bank this button is designated to load up Groove t templates that come with the factory Sound Bank a template contains the timing and velocity that makes up the groove reason Factory sound Banks come with a large selection of GrooVe and categories such as NPC grooves live drum grooves and drum grooves extracted from different vinyl recordings the fader sets the impact of the groove templates on your recordings the shuffle adds and removes Shuffle from the loaded Groove template the slide shifts the timing by ticks letting you create subtle changes in timing let's take a look at how all of this works I have a high hat we're going to assign the high hat to A1 we're going to go to channel A1 I'm going to go into my browser and we're going to look at some of the regroup patches that are inside of this Factory sound bank I'm going to choose a tamarine because of the percussion and I'm using the high head right now so we're going to go to the swing Tam is that let's Press Play Let's see what it sounds like okay I'm going to use the fader to add some impact to the patch that I just chose and we're going to use the shuffle button there you can automatically hear that there's a change in the timing and then I'm going to adjust it to my liking the way that I see it fit that's pretty cool now I'm going to go to my kick drum I'm going to sign that to a to A2 Channel A2 I'm going to go into my browser and I'm going to choose something appropriate for the drum for the kick drum I'm going to choose something from the MPC folder I'm going to actually just get a shuffle Groove I'm going to add some impact to that shuffle on the kick I'm going to add a little bit of Shuffle to that also now you can automatically hear that there is a change in the Rhythm and the groove but that also changes my high hat now so I'm going to go back to the high hat I'm going to take the fader and I'm going to bring it down a little bit just to adjust it just so that it can fit into the pocket with the kick now and I'm going to adjust my Shuffle just a little bit a couple of percentages there that feels better I've just demonstrated the regroove mixer as you can see it was really easy getting results right away really quick with the impact of the fader and with using the shuffle knob I was able to see results from my high hats and my kicks right away and only with regroove I was able to do that in that fast timing fashion and I get results like that from reason for re reason buy buzy bees I'll do it over the regroove mixer reason version 4
https://www.youtube.com/watch?v=nd2EsdftkXQ	# YouTube ## Make rhythmic patterns from static sounds with Alligator and Beat Map ### 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, music production tips, how to learn music production, dub house, beat map, alligator reason, ron headback, polar reason, scenic reason, produce deep house, produce tech house - Runtime: PT19M27S ### Description Thought Beat Map was just for beats? Then think again... Ron Headback will take you through reviving your old sample drones through Alligator and breathing life into them with Beat Map. Find how to add shine to your dubs with Polar, as well as tricksy tips for adding flavour and variation to your drums with reverse FX, delay, probability, and pitching. In the end you'll learn how to turn this technique into a full on deep dub house production. DOWNLOAD COMBINATOR HERE: https://www.reasonstudios.com/blog/tu... Get Reason! https://www.reasonstudios.com/ Chapters: 00:00 - Intro 00:27 - Demo 01:30 - Devices Overview 02:43 - Making your own Alligator patterns 03:15 - Finding Patterns with Beat map 05:34 - Attack & Release 06:48 - Shimmer with Polar 09:47 - Building the beat and rhythm tips 12:08 - Probability and Patterns 15:09 - Sub Bass 16:17 - Hi Strings with Scenic 17:10 - No Limits - Alternatives to Beat map 18:28 - Many Styles, Many Reasons 19:13 - Download the combinator! Make sure to follow and support Ron here: / ronheadback https://ronheadback.bandcamp.com/ https://open.spotify.com/artist/5m5Q8... ### Transcript what's up folks it's your man Ron head back and welcome to the dark lab I'm going to be showing you how you can take a simple sample like this and turning it into something Subterranean and up something like this [Music] which should hopefully allow you to write something like this [Music] thank you thank you you feel me okay let's have a look at the rack and see how we build this okay let's have a look in the rack and see what we're using here first up we have an nn19 and what that has is a really badly looped sample but that doesn't matter and when you're picking your own sounds try and pick something about Lo-Fi a bit subdued and it doesn't have too many high frequencies and next up is alligator I have to confess I love alligator I mean I almost classify as an instrument as well as in fact I'm going to do some really interesting stuff with that next up we have a polar a delay a Unison and surprise surprise Beat Map and you'll notice that this is connected to our midi out and the reason for this is if we go and take a Beat Map and we just put it on top of our na19 and we crank this up you're going to get a result that sounds like this [Laughter] and you don't want that what's happening there is the Beat Map is triggering the notes and the na19 and what we want to do is we want to have the Beat Map opening and closing the gates on the alligator now you probably know that the alligator has built-in patterns for opening and closing the three gates High Pass band pass and low pass and but what you may not know is that you can actually program your own ones and how we do this is through CV Gates and this can be done with pretty much any player or sequencer that supports Gates so what we're going to do is we take Gate 3 and we're going to put that onto the snare and I'll just take a copy of this so we can reset it and I'm going to take this right down for the snare and then start cranking it in slowly [Music] so what you can do there is the snare of beatmap is opening and closing gate three um on the low pass and you see that you get kind of a nice rhythmic effect there you can also play around with the spawn and the density and you get you know various results just experiment play around find your way on Beat Map and you'll find your sweet spot foreign [Music] to one of the other Gates now so I'm just going to dial that down and I'm going to bring in the high pass and the high pass is on gate one and that is going to the hat so again will take us right down and we'll gradually bring it in thank you you'll notice there though quite a bit of delay and the high pass that just kind of because the low pass has you know it's really under the Earth and dubby where it has a bit high pass it's really bring it up into the sky you have lots of delay tail on that it kind of adds a good contrast for the two sounds one of the reasons that we're using beatmap is because there's really good Fidelity and control of the shuffle and you also have the different maps that you can use so I'll just go back to Gate 3 and we'll change the map and we'll play around with that foreign [Music] so again by changing the maps changing the XY changing the intensity you're going to get some really interesting results so we'll play around with it find what you can and I'm sure you'll find something pretty cool that you can work with going back to the alligator there's some other settings that we're controlling here and you can control them with the combinator up here first up is you'll see the attack and the release so I'm going to take these right down and gradually bring them back in [Music] thank you and you'll notice as I'm bringing that in at first it's quite staccato and stabby but as you gradually bring it in more it's sounding a bit smoother [Music] and we also have the attack because that can lessen the stabbiness and the staccato for example that [Music] foreign [Music] so you can play around with that to get the kind of sound that you want I tend to be a little bit of attack and kind of slightly long release you'll also notice the the planning is set a little bit and there's nothing worse than something that is just dead center always kind of plan your stuff to add a little bit of extra space because this is so kind of spacious and dubby and undulating around you kind of want to play with that and use that space now you may have noticed that there is a kind of bright Shimmer that was going on when I was bringing things in and we have here on the combinator a control called bright what I'm going to do is I'm going to bring in the high pass a little bit and we'll just turn up the bright and we'll see what that's doing [Music] feel me what's happening there is we're using polar it's kind of harmonizing effect and all we're doing is we're taking the shifter and we're putting it up by 12 semitones and the bright control is basically just bringing up the feedback and the volume of shifter one and so that adds a really kind of nice Cosmos shining Shimmer to things because the low pass is really down there in the earth whereas the high pass with the polar is really kind of dancing uh up in the air next up we have a delay and a Unison the Unison is just there to fatten up the sound a little bit and the delay it's on All Passes on the low pass you wouldn't think it's got that much of an effect but it really adds to that kind of pulsation and a high pass of course with the other delay things already kind of dance and triangle around now when you're using alligator because you're playing around with a lot of frequencies things can begin to chirp and bark a little bit that's why we're going to put in a compressor here because that's just going to keep things under control [Music] and it also adds to that kind of pulsating and pushing and pulling effect and lastly what we have as we have the dry weight and that allows you to bring in the source signal through the alligator so for example here [Music] thank you so marriaging that and can you know really enhance the sound and take it onto a more kind of smoother Plateau whereas when it's switched off it's a lot more staccato oh and also what we have is if we didn't need it as another filter uh this is just um the frequency uh from the na19 and that's particularly good when you're bringing in the bright because things can get really shimmering up there so you might want to bring them down a little bit all right [Music] feel me so that's sounding pretty good I'm sure you'll agree with this kind of sound it's just begging to have a beat put on top so let's go and have a look at that next so looking in the rack you'll see we have Kong and drum sequencer we'll just go through the individual sounds faithful four four kick next bringing in the clap you'll notice there that there's quite a lot of verb on the clap that's because without it it's just sounding a little bit Snappy and a special especially when the dubs are on it doesn't really cut through so see that Bring It On [Music] you'll see that as well with the claps as I'm just bringing a little bit of probability uh just before the second flap and that's just to add a little bit of variety next up is a thing I like to do is take a copy of the original plan and reverse it and Pitch it down a little bit again this is for variety and it's just to add a kind of nice swipe and turn around to the beat so that it's just not pick clap kick clap all the time so we can just check that [Music] so give that a try it adds a nice kind of sweep to things next up we have standard hi-hats [Music] you'll see there again playing with the probability just before the third hat just having a bit 40 and that's kind of giving that little double tap little hustle usually that kind of suits more kind of boisterous and more kind of jacking tracks uh it doesn't really seep down but this again it's just like a little bit of variety so sounding a little bit of step into things now talking about ie what we also have is [Music] and that is a reversed symbol and that is soaked in auxiliary delay I really recommend that you play around with a lot of the auxiliary effects um especially the timings as well um because you can kind of chance upon some more kind of rhythmic elements and timings and percussive effects that you wouldn't normally have for example drum sequencer is just 16 steps if you had a 64-step sequencer it would probably be too much if you had a 32 would be okay but 16 because it's quite limited it's forcing you to think in different ways and be a little bit more creative so you know play around with your probability and your effects especially with the probabilities because the more you play with that that's actually going to build your other patterns as I'm kind of going through and I'm making beats I play with the probability and I'll chance upon things that sound a lot more interesting so I'll copy and paste them and put them into my next pattern and then I can just cycle between them and get a far more variety [Music] you feel me next up we have something you shouldn't normally do in your drums but I'd like to do now and again is this and that is our vocal hit that's coming in here with lots of auxiliary delete and just bouncing around and as I say you shouldn't really do that in your drums I do it because when I'm writing something I like to just go into the Kong and just focus in and lock in on the groove and the beats and sometimes I'll drop in melodic elements and different samples and things like that I'll maybe take the challenge one day of just two Kongs with four drum sequencers and see if I can do a whole track but that's maybe a different video um and that's the reason I do it is just to kind of stay in focus for like the beat the groove you know the Rhythm and everything you know of course afterwards you're going to take that vocal sample and separate it out so you're not jumping in between lots of devices just play around and you get some interesting stuff going on because vocal hits can be kind of percussive from time to time next another thing I like to do is pitching my drums [Music] sometimes when you're writing a track you'll think that your beat just isn't kind of sitting quite right especially with the tuning and things like that play around with the pitch and you'll kind of find that sweet spot I mean here I'm just taking it just ever so slightly but it just gives me that extra Edge yes playing with your pets can also be good for drops what you should do is bring the pitch right up and then just when you're going to slam it back in take the pitch back down to where it should be and you get some pretty cool results next for a nice Dobby track like this you want to bring in some sub we'll use their namesake of subtractor you're going to want something that's just kind of low and low-fi I mean this presets actually called Lo-Fi base the sound and Lush um when you're writing your bass lines uh try and not make them too hectic I always have this temptation to just add in too much like I say less is more and another thing is I am a little bit bass deaf sometimes when I'm writing a bass line I kind of find that when I've exported everything because it's a Dobby sound and the sub is quite low things are slightly not in tune and it's your EQ and you begin to notice that so shift your bass up by an octave and you can really get that fine tuning to see that it sits correctly in the dubs foreign foreign I use this trick so if you are like me and you're a little bit bass deaf give this a try and lastly it's a little bit of a cliche and that's the high string we have the bright on the Dobbs and that's kind of shimmering things up we might want to take things a little bit up into the cosmos bringing the shine down for that I'm using Scenic it's a synthetide overlooked but I'm really loving it so I'd recommend that you revisit it it's great for atmospheres and strings and the really cool thing with that is you can put in your own samples so if I just bring this in a little bit and filter it in foreign [Music] you see that it's pretty Lush nice Spacey Vibe that's going on there so give Scenic a try now this technique isn't limited to any 19 you can put any of your scents in there Thor parsec or even some vsts the main thing is like who can opt an alligator and get these kind of interests and sounds you don't always have to use beatmap either and you know you can try any of the players for example if we bring in quote no generator and we're going to hook the gate 3 of that to the gate there and we'll just bring this in and gradually turn that up so you want to bring in the high pass and bring out on a number two and we'll enable that it's down a touch oh the thing with quad note generator is it's a little bit more visual but you can see what's going on with beatmap it's a bit crazy you're trying to find your way so you know you can try any of the players and lastly this isn't just particularly limited to making W tracks the people that reason had actually asked me to write a UK garage and it breaks track so I'm just going to take the tempo that's 138 beats per minute foreign [Music] so there you see two genres in one song and not just limited to one style uh play around with Beat Map play around with alligator this combinator is available for download so I hope you get a lot of fun out of it experiment around and see what you can get if you like this track it's going to be available on my band camp as well so I'll see you on the other side peace

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