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Table Of Contents

Table of Contents
Introduction
- Welcome!
- About this chapter
- About this manual
- About the Reason operating system versions
- Conventions in the manual
- The Authorization system
- Reassigning the Function Keys in Mac OS X
- About automatic program updates
Common Operations and Concepts
- About this chapter
- Areas, windows and basic navigation
- General window techniques
- Editing parameters
- Tool Tips
- Context menus
- Undo and Redo
  - About multiple Undos and Redos
On-screen Piano Keys
- About this chapter
- Using the On-screen Piano Keys
Audio Basics
- About this chapter
- How Reason communicates with your audio hardware
- System signal paths
  - Audio Track signal paths
  - Instrument Track signal paths
- General information about audio and computers
Sequencer Functions
- About this chapter
- Introduction
- Sequencer area overview
- Track details
- Lane details
- Clip basics
  - Clip types
- Toolbar details
- Ruler details
- Transport Panel details
- About the Inspector
  - About subticks in the Position and Length displays
  - About the “Match Values” function
Recording in the Sequencer
- About this chapter
- General recording functions
- Audio recording details
- Note recording details
- Parameter automation recording details
- Pattern automation recording details
  - Recording pattern automation
- Tempo automation recording
  - Recording tempo automation
Arranging in the Sequencer
- About this chapter
- Clip handling
- Inserting bars
- Removing bars
  - About removing bars that contain audio recordings
Audio Editing in the Sequencer
- About this chapter
- Edit Modes, Stretch & Transpose Types and Clip Types
- Editing audio in Slice Edit mode
- Editing audio in Pitch Edit mode
- Editing audio in the Comp Editor
- Comping audio
- Common audio editing functions
- Changing the tempo and transposition of the audio
  - Tempo scaling Clips
  - Transposing Audio Clips
    - Transposing Comp Rows
- Audio and tempo matching
  - Matching an imported audio clip to the song tempo
- Editing audio using the Inspector
  - Editing recordings and cuts in the Inspector
    - Editing multiple recordings or multiple cuts in the Inspector
  - Matching audio values using the "Match Values" function
Note and Automation Editing
- About this chapter
- The Edit Mode
- Tool Window editing tools
- Note editing
- Automation editing
- Note and automation editing in the Inspector
  - Editing notes and events in the Inspector
    - Editing values for multiple notes or events in the Inspector
  - Matching notes or events using the “Match Values” function
    - Matching notes
    - Matching parameter automation events
Working with Blocks in the Sequencer
- About this chapter
- Introduction
  - The idea behind Blocks
- Arrangement Views
- Editing Blocks in the Block View
- Arranging Blocks in the Song View
Working with the Rack
- About this chapter
- Rack device procedures
Working with Players
- About this chapter
- Overview
  - Recording modes
- Using Players
- Dual Arpeggio
- Note Echo
- Scales & Chords
- Tips & Tricks
Working with Rack Extensions
- About this chapter
- What are Rack Extensions?
  - Future compatibility
- Trying and buying Rack Extensions
  - Trial versions of Rack Extensions
  - Buying Rack Extensions
- Installing and managing Rack Extensions
- Using Rack Extensions in Reason
  - About missing Rack Extensions
    - Acquiring missing Rack Extensions
Sounds, Patches and the Browser
- About this chapter
- About patches
- About ReFills
- Using the Browser
Routing Audio and CV
- About this chapter
- Signal types
- About cables
- Automatic routing
- Manual routing
- Using CV and Gate
  - Routing CV and Gate signals
  - About CV Trim knobs
The Main Mixer
- About this chapter
- Overview
- Navigating in the Main Mixer
- Managing mixer channels
- The channel strip
- The Master Section strip
- Automating mixer parameters
- Working with effects
  - Insert FX
  - Send FX
- Output Busses
- Parallel Channels
- Solo, Mute and Send FX logic
  - Solo and Mute logic
    - Solo and Mute examples
  - Send FX level and mute logic
    - Send FX level examples
    - Send FX mute examples
- Remote controlling the Main Mixer
  - Remote controlling a single mixer channel
  - Remote controlling multiple mixer channels
    - Setting the Remote Base Channel
    - Remote controlling multiple mixer channels - an example
- Advanced routing tips and tricks
Song File Handling
- About this chapter
- Opening Songs
- Closing Songs
  - Closing a Song
- Creating Songs
- Saving Songs
- Audio data and Scratch Disk settings
- Importing and exporting Standard MIDI Files
  - Importing Standard MIDI Files
  - Exporting Standard MIDI Files
Importing and Exporting Audio
- About this chapter
- Importing audio
- Exporting audio
Sampling
- About this chapter
- Overview
- General sampling functions
  - Setting up for sampling
- Sampling
- Editing samples
- Sample management
The ReGroove Mixer
- Introduction
  - ReGroove basics
- The ReGroove Mixer
- Groove Settings
- Working with grooves
- Groovy tips & tricks
- ReGroove patches in the Factory Sounds bank
Remote - Playing and Controlling Devices
- About the various MIDI inputs
- About Remote
- Setting up
- Remote basics
  - About Standard vs Remote Override mapping
  - About mapping variations
- Locking a surface to a device
  - Locking a surface
    - Using the Surface Locking dialog
    - Using the context menu
  - Unlocking a surface
- Remote Override
  - Activating Remote Override Edit mode
  - Remote Override mapping
- Additional Remote Overrides...
- Keyboard Control
  - Enabling Keyboard Control
  - Editing Keyboard Control
    - About the two Edit Keyboard Control Modes
- Saving Remote Setups
ReWire
- About this chapter
- Why use Reason with ReWire?
- Introducing ReWire!
  - In ReWire version 1
  - In ReWire 2
- How does it work?
- Launching and quitting applications
- Using the Transport and Tempo controls
- Routing audio
  - Preparations in Reason
  - Routing in the ReWire host application
- Routing MIDI via ReWire 2
- Converting ReWire channels to audio tracks
Synchronization and Advanced MIDI
- About this chapter
- Synchronization to MIDI Clock
- Advanced MIDI - The External Control Bus inputs
Optimizing Performance
- Introduction
  - Checking Processing Power
- Optimization and latency reduction
- Optimizing your computer system
- Optimizing Songs
- RAM requirements
Hardware Interface
- Introduction
  - About using ReWire
- Sampling Input section
- Advanced MIDI Device
- More Audio
- The Big Meter
The Combinator
- Introduction
  - About the Combi patch format
- Creating Combinator devices
- Combinator elements
- About internal and external connections
- Adding devices to a Combi
- Combi handling
- Sequencer tracks and playing Combis
- The Controller panel
- Using the Programmer
Mixer 14:2
- Introduction
- The Channel Strip
  - Channel Strip Controls
- The Mixer signal flow
- About the EQ modes
- The Auxiliary Return Section
- The Master Fader
- Connections
- Chaining several Mixer 14:2 devices
  - Partially or Non-Chained Mixers
The Line Mixer 6:2
- Introduction
- Channel parameters
- The Auxiliary Return section
- Master level
- Connections
ID8 Instrument Device
- Introduction
  - The Sounds
  - The ID8 and Standard MIDI Files
- Using the ID8
Subtractor Synthesizer
- Introduction
  - Loading and Saving Patches
- The Oscillator Section
- The Filter Section
- Envelopes - General
- LFO Section
  - LFO 1 Parameters
  - LFO 2 Parameters
- Play Parameters
- External Modulation
- Connections
Thor Polysonic Synthesizer
- Introduction
  - About basic synthesizer terminology
  - Loading and Saving Patches
- Thor elements
- The Controller panel
- Using the Programmer
- Modulation bus routing section
- Step Sequencer
  - Basic operation
- Connections
Malström Synthesizer
- Introduction
- The Oscillator section
- The Modulator section
  - Modulator parameters
  - Destinations
    - Mod:A
    - Mod:B
- The Filter section
- Routing
  - Routing examples
  - The output controls
    - Volume
    - Spread
- The play controls
- Connections
- Routing external audio to the filters
  - Connecting an external signal source
  - Connecting the signals from the Malström itself
NN-19 Sampler
- Introduction
- General sampling principles
  - Background
  - Multisampling vs. single samples
- About audio file formats
- Sampling in NN-19
- About Key Zones and samples
- Automap Samples
  - Mapping samples without Root Key or Tuning information
  - How Mapping Information is saved
- NN-19 synth parameters
- Play Parameters
- Connections
NN-XT Sampler
- Introduction
- Sampling in NN-XT
- Panel overview
  - The main panel
  - The Remote Editor panel
- Loading complete Patches and REX files
  - Loading NN-XT Patches
  - Loading NN-19 Patches
  - Loading SoundFonts
  - Loading complete REX files as Patches
- Using the main panel
  - The Pitch and Modulation wheels
  - The External Control wheel
    - Receiving MIDI controller messages from external sources
    - Recording MIDI controller messages with the wheel
  - High Quality Interpolation
  - Global Controls
- Overview of the Remote Editor panel
  - The Key Map display
  - Sample parameters
  - Group parameters
  - Synth Parameters
- About Samples and Zones
- Selections and Edit Focus
  - Selecting Zones
    - Selecting zones via MIDI
    - Selecting All Zones in a Group
  - Moving Edit Focus
    - Moving Edit Focus
- Adjusting parameters
  - Adjusting Synth parameters
  - Adjusting Group parameters
    - About “Conflicting” parameters
  - Sample parameters
    - Copying parameters between zones
- Managing Zones and Samples
  - Creating a Key Map
    - Setting Root Notes and Key Ranges
  - About file formats and REX slices
  - Adding more samples to the Key Map
  - Replacing a sample
  - Quick browsing through samples
  - Removing samples
  - Auditioning samples
  - Adding empty Zones
  - Duplicating Zones
    - Using Copy and Paste
  - Removing Zones
  - Rearranging Zones in the List
- Working with Grouping
  - About Groups
  - Creating a Group
  - Moving a Group to another position in the List
  - Moving a Zone from one Group to another
  - Selecting a Group and/or Zones in a Group
  - The Group Parameters
- Working with Key Ranges
  - About Key Ranges
  - Setting up Key Ranges
  - About the Lock Root Keys function
  - About the Solo Sample function
  - Sorting Zones by Note
- Setting Root Notes and Tuning
  - About the Root Key
  - Setting the Root Note manually
  - Tuning samples manually
  - Setting the Root Note and Tuning using pitch detection
  - About changing the pitch of samples
- Using Automap
  - Automapping zones chromatically
- Layered, crossfaded and velocity switched sounds
  - Creating layered sounds
  - About velocity ranges
  - Setting velocity range for a Zone
  - About Crossfading Between Zones
    - Crossfading Between two Sounds
  - Setting crossfading for a Zone
    - Manually
    - Automatically
- Using Alternate
  - About the Alternate function
- Sample parameters
  - Root Note and Tune
  - Sample Start and End
  - Loop Start and End
  - Play Mode
  - Lo Key and Hi Key
  - Lo Vel and Hi Vel
  - Fade In and Fade Out
  - Alt
  - Out
    - A Stereo example
    - Using a stereo output as two mono outputs
- Group parameters
  - Key Poly
    - The Group Mono button
  - Legato and Retrig
    - Legato
    - Retrig
  - LFO 1 Rate
  - Portamento
- Synth parameters
  - The Modulation controls
  - The Velocity controls
  - The Pitch section
  - The Filter section
    - Filter mode
    - Filter controls
  - The Modulation Envelope
    - Parameters
    - Destinations
  - The Amplitude Envelope
    - Parameters
  - The LFOs
- Connections
  - Sequencer Control
  - Modulation Input
  - Gate Input
  - Audio Output
Dr. Octo Rex Loop Player
- Introduction
  - ReCycled Loops
- About REX file formats
- Loading and saving Dr. Octo Rex patches
  - About the Dr. Octo Rex patch format
  - About opening songs that previously used Dr. Rex devices
- Playing Loops
  - Switching playback between Loop Slots
- Adding Loops
- Playing individual Loop Slices
- Creating sequencer notes
- Slice handling
- Dr. Octo Rex panel parameters
- Dr. Octo Rex synth parameters
- Connections
Redrum Drum Computer
- Introduction
- Sampling in Redrum
- About file formats
  - Redrum Patches
  - Drum Samples
- Using patches
- Programming patterns
- Redrum parameters
  - Drum sound settings
  - Global settings
- Using Redrum as a sound module
- Connections
  - For each drum sound channel:
  - Other
Kong Drum Designer
- Introduction
- Overview
- About file formats
- Using patches
- Pad Settings
- The Drum and FX section
- The Drum modules
- The Support Generator modules
  - Noise Generator
  - Tone Generator
- The FX modules
- Connections
- Using Kong as an effect device
- Using external effects with Kong
External MIDI Instrument
- Introduction
- Using the External MIDI Instrument
- Connections
  - Sequencer Control
  - Assignable CC
- Tips & Tricks
  - Audio recording of MIDI controlled external instruments
    - Using the ReGroove Mixer for MIDI latency compensation
The MClass Effects
- The MClass effects
  - Common effect device parameters
- The MClass Equalizer
- The MClass Stereo Imager
  - Parameters
  - Connections
- The MClass Compressor
- The MClass Maximizer
  - Parameters
Softube Amps
- Introduction
  - Basic usage
    - Important note about using the Softube amps as insert effects
  - Front panel
    - Common effect device parameters
- Using the Softube Amps
Scream 4 Sound Destruction Unit
- Scream 4 Sound Destruction Unit
Pulveriser
- Introduction
  - About the Patch format
- Parameters
- Modulation inputs and outputs
- Demolition tips and tricks
  - Beef up your sounds
  - Make your pads tremble
Alligator Triple Filtered Gate
- Introduction
  - About the Patch format
- Overview and signal flow
- Parameters
- Audio connections
  - Main Inputs and Outputs
  - Separate Outputs
- CV connections
- The built-in patterns
- Methods and Tips
RV7000 Mk II Advanced Reverb
- Overview
- Reverb algorithms and parameters
- The EQ section
- The Gate section
- CV Inputs
The Echo
- Introduction
  - About the Patch format
- Parameters
- CV/Gate inputs
- The Breakout Jacks
- Tips and Tricks
BV512 Vocoder
- Introduction
  - How does a vocoder work?
- Setting up for basic vocoding
  - Vocoding vocals in real-time
    - Recording the vocoded audio
  - Vocoding an existing audio track
- Using the BV512 as an equalizer
  - Setting up
  - In use
- BV512 parameters
- Connections
- Automation
- Tips and tricks
Neptune Pitch Adjuster and Voice Synth
- Introduction
  - Typical use cases
- Overview and basic concepts
  - Sections overview
  - The display
- Setting up for pitch processing
  - Setting up for pitch processing of recorded audio tracks
  - Setting up for pitch processing of “live” audio
- Using pitch correction
- Using pitch shifting (Transpose)
- Using Formant control
  - What are formants?
  - Using the Formant function
- Using the Voice Synth
- Panel parameters
- Connections
- Pitch adjustment tips and tricks
Audiomatic Retro Transformer
- Introduction
- Using Audiomatic Retro Transformer
- Connections
Half-Rack Effects
- Common effect device features
- DDL-1 Digital Delay Line
- CF-101 Chorus/Flanger
- Spider Audio Merger & Splitter
- Spider CV Merger & Splitter
- RV-7 Digital Reverb
  - Parameters
  - CV Inputs
- D-11 Foldback Distortion
  - Parameters
  - CV Inputs
- ECF-42 Envelope Controlled Filter
- PH-90 Phaser
- UN-16 Unison
  - Parameters
  - CV Input
- COMP-01 Auto Make-up Gain Compressor
  - Parameters
- PEQ-2 Two Band Parametric EQ
Matrix Pattern Sequencer
- Introduction
  - About the three Output types
- Programming patterns
- Example usage
RPG-8 Arpeggiator
- Introduction
- Using the RPG-8
- RPG-8 Parameters
- CV connections
  - CV Inputs
  - CV Outputs
- Tips and tricks
Pulsar Dual LFO
- Introduction
- Panel parameters
- Modulation inputs and outputs
- Tips and Tricks
  - Patch between LFO 1 and LFO 2 on the back for more flexibility
  - Using Pulsar as a monophonic synth
ReBirth Input Machine
- Information about ReBirth Input Machine
Menu and Dialog Reference
- Reason menu (Mac OS X)
- File menu
- Edit menu
- Create menu
- Options menu
- Window menu (Windows version)
- Window menu (Mac OS X version)
- Help menu
Key Commands
- About the Key Commands chapter
Index

SUBTRACTOR SYNTHESIZER

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• 12 dB Lowpass (LP 12)

This type of lowpass filter is also widely used in analog synthesizers (Oberheim, early Korg synths etc.). It has a

gentler slope (12 dB/Octave), leaving more of the harmonics in the filtered sound compared to the LP 24 filter.

The darker curve illustrates the roll-off curve of the 12dB Lowpass Filter. The lighter curve in the middle represents the filter

characteristic when the Resonance parameter is raised.

• Bandpass (BP 12)

A bandpass filter cuts both high and low frequencies, while midrange frequencies are not affected. Each slope in

this filter type has a 12 dB/Octave roll-off.

The darker curve illustrates the roll-off curve of the Bandpass Filter. The lighter curve in the middle represents the filter

characteristic when the Resonance parameter is raised.