, English 3.
Operation Manual by Synkron: Anders Nordmark The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. The software described herein is subject to a License Agreement and may not be copied to any other media expect as specifically allowed in the License Agreement.
D Table of Contents
2 5 The Sequencer 57 Advanced MIDI - the External Control Bus inputs 6 9 11 12 15 18 28 29 31 Recording Copying REX loops and Patterns to Sequencer Tracks Editing - About Snap Editing in the Arrange View Using Groups The Edit View Quantizing The Change Events Dialog Importing and Exporting MIDI Files 58 About the External Control Bus inputs 59 Synchronization 60 60 60 61 61 ReWire users – Read This! What is Synchronization and MIDI Clock? Slaving Reason to an External Device Slaving Reason to An
87 The Mixer 123 Malström Synthesizer 88 88 90 90 90 90 91 92 Introduction The Channel Strip The Mixer signal flow About the EQ modes The Auxiliary Return Section The Master Fader Connections Chaining Mixers 124 125 127 128 131 134 136 137 93 The Line Mixer 6:2 139 NN-19 Sampler 94 94 94 94 95 Introduction Channel parameters The Auxiliary Return Section Master level Connections 97 Redrum 98 98 99 100 103 106 106 Introduction About File Formats Using Patches Programming Patterns Redrum Paramete
185 Dr. Rex Loop Player 221 The Effect Devices 186 186 187 188 189 190 194 222 223 223 224 225 227 227 232 239 240 241 241 244 245 246 246 247 248 249 Introduction About File Formats Adding a Loop Creating Sequencer Notes Slice Handling Dr.
1 D The Sequencer
Recording Recording Notes The Overdub/Replace switch Recording and Playback Basics The basic procedures for recording and playback are described in the Getting Started book. Here is a brief repetition: D Make sure that the device you wish to play/record has master keyboard MIDI input by clicking in the In column for the track connected to the device. The master keyboard icon and the Record enable button will light up for the corresponding track in the sequencer track list.
Recording automation of a device parameter Recording more for the same controller 1. Make sure there is a sequencer track for the device. For the instrument devices and the Matrix, sequencer tracks are automatically added when you create the device. For a mixer or effect device, you need to add tracks manually, by selecting “Create Sequencer Track for...” from the device context menu.
Recording automation on multiple tracks Recording Pattern Changes Although only one track can have MIDI input, it is possible to record enable any number of tracks for automation recording. If your song contains pattern devices, you probably want to use more than a single pattern throughout the song. To facilitate this you can record pattern changes in the sequencer (or draw them in manually, as described on page 26).
Copying REX loops and Patterns to Sequencer Tracks As described on page 188, you need to use the “To Track” function when using the Dr.Rex Loop Player device. This creates sequencer notes on the selected track, so that each slice in the REX loop gets a corresponding sequencer note. Playing back the sequencer track will then play all slices in the correct order, with the original timing of the loop. Similar functions are available for the pattern devices (Redrum and Matrix).
The pattern is converted to sequencer notes on the track (see the notes below). If the length of the area between the locators is greater than the pattern length, the pattern will be repeated to fill out the area. The “Convert Pattern Track to Notes” function If you have recorded or drawn pattern changes on a Redrum or Matrix track, you can have the whole track converted to notes, in the following way: 1. Select the track with the pattern changes.
Editing - About Snap D Drawing Groups in the Arrange View. When you create Groups with the Pencil tool, their start and end positions will be magnetic to the snap value positions. See page 15. When you select and edit material (both in the Arrange View and the Edit View), the Snap (Snap to Grid) function determines the result. By activating Snap, editing becomes “restricted” to the note values selected on the Snap pop-up menu (the Snap value).
Editing in the Arrange View To select events in the Arrange view, click and drag a selection rectangle. The Arrange View allows you to view several tracks at the same time, and provides a good overview of the song. This view is best suited for large-scale editing, such as rearranging blocks of music, adding or removing bars or applying quantizing and editing functions to events on different tracks at the same time.
Using Cut, Copy and Paste Deleting Events You can move or duplicate events using the Cut, Copy and Paste commands on the Edit menu. When you Paste, the events appear at the song position, on their original track(s). D To delete an Event, either select it and press [Delete], [Backspace] or select Delete from the Edit menu. Both of these methods will delete the Event.
Deleting events by single clicking Inserting and Removing Bars D Select the Eraser tool and click on the event you want to delete. When editing the overall structure of a song, you may need to rearrange the order and length of whole sections (e.g. make the “verse” two bars shorter, add a few bars to the intro, etc.).
Using Groups Sometimes it is practical to work with a section of events as one entity. This is done by Grouping the events. You may for example have a two-bar bass line that you want to move or repeat in the song - by Grouping the events, you can select, move and handle the bassline as a single object. ! This applies to the Arrange View only - you can still edit individual events in a Group in the Edit View. Appearance and Color In the Arrange View, Groups appear as colored boxes.
Selecting Groups Resizing Groups To select a Group, just click on it in the Arrange View. When a Group is selected, a handle appears on its right edge. You can click on this handle and drag to make the Group smaller or larger. The following rules apply: D If you drag to the left to make the Group smaller, any events that end up outside the Group boundary are no longer included in the Group.
Dividing Groups Find Identical Groups You can divide a Group into two by clicking with the Pencil tool at the desired position and dragging to the end of the Group. This command on the Edit menu helps you locate all Groups with the same contents: 1. Select a Group. 2. Select “Find Identical Groups” from the Edit menu. All Groups with the same contents are selected in the Arrange View. Ungrouping Actually, this is just a consequence of the fact that Groups cannot overlap.
The Edit View The Edit View allows you to perform detailed editing to the events on a single track. This is also where you create notes, pattern changes and controller values from scratch by drawing. D To select the Edit View, click the Edit/Arrange View button in the top left corner of the sequencer area. About the Lanes The Edit View is (or can be) divided vertically into lanes. There are six different lanes, suitable for editing different types of events. Any combination of lanes can be shown.
D For extensive editing, you may want to detach the sequencer area from the rack and use it in a separate window. This is done either by clicking the Detach Sequencer button in the rack or by selecting “Detach Sequencer Window” from the Windows menu. Drawing and Editing Notes Notes are drawn and edited in one of three lanes: the Key lane, the Drum lane and the REX lane: The Detach Sequencer button.
Drawing notes Moving notes 1. If you want to restrict note input to certain note values (e.g. sixteenth notes), set the Snap value accordingly and activate Snap. D To move a note, click and drag it to a new position. If several notes are selected, all will be moved. The individual distance between the moved notes will be kept. 2. Select the Pencil tool. You can toggle temporarily between the Arrow tool and the Pencil tool by holding down [Command] (Mac) or [Alt] (Windows). 3.
D If Snap is on, the end of the note will be magnetic to the Snap value positions. You can disable this function temporarily by pressing [Shift] when you drag. This allows you to resize the note to any length, regardless of the Snap value. • If a selection rectangle is drawn, it will be magnetic to the nearest snap value positions. For example, if Snap is set to “Bar”, dragging a rectangle will select all notes within an exact range of bars.
Creating velocity ramps and curves Editing Controllers You can also edit the velocity of several notes at once, in two ways: Controllers are shown and edited in the Controller lane. This lane in turn is divided into several “subtracks”, one for each automatable parameter for the corresponding device. D By dragging the Line tool across the bars, at the desired height. The Controller lane for a Subtractor track, with three controllers shown.
D By using the Controller pop-up menu on the sequencer toolbar, you can hide or show individual controllers from the sequencer. Shown controllers are indicated by a tick mark on the pop-up menu - select a controller to show it or hide it. Controllers for which there is data (automation) in the track are indicated with an asterisk next to the controller name.
Selecting sections of a controller track Deleting Controller sections To select a section of the “subtrack” for a controller, click and drag a selection rectangle with the Arrow tool. If Snap is on, the selection will be magnetic to the Snap value positions, just as when selecting notes. You can delete controller sections in two ways: D By making a selection (as described above) and pressing [Backspace] or [Delete] or by selecting Delete from the Edit menu. D By using the Eraser tool.
Copying data between different controller subtracks Using copy/paste for multiple parameters It is possible to copy controller data (e.g. a fade) from one parameter and to apply it to another parameter. This works as follows: You can use [Shift] to select and copy controller automation data on several subtracks. The following applies when you paste: 1. Make a selection, and use cut or copy to add the data to the clipboard.
Inserting and Editing Pattern Changes Pattern changes are viewed and edited in the Pattern lane: 3. Pull down the Pattern pop-up menu to the left in the Pattern lane, and select the pattern you want to insert. The selected pattern is shown next to the pop-up menu. A pattern change is shown as a yellow “tab” with the Bank and Pattern number. From the tab, a bar stretches to the right, for as long as the selected pattern is “active”, i.e. to the next pattern change.
Selecting Pattern Changes The result is this: To select a section of Pattern lane, click and drag a selection rectangle with the Arrow tool. If Snap is on, the selection will be magnetic to the Snap value positions, just as when selecting notes. The selected section is shown as a shaded rectangle. D By holding down [Shift] and dragging, you can select multiple, discontinuous sections of the Pattern lane.
Quantizing 4. Click the Quantize button or select “Quantize Notes” from the Edit menu. The selected notes are quantized. The Quantize function moves recorded notes to (or closer to) exact note value positions. This can be used for correcting errors, “tightening up” recorded music or changing the rhythmic feel. The Quantize button Applying Quantizing In Reason, you use the Quantize function in the following way: 1. Select the notes you want to quantize.
Quantizing to Grooves The Quantize pop-up menu also contains three items named “Groove 1-3”. These are three different, slightly irregular rhythmic patterns. If you select one of these as Quantize value and apply Quantize, your notes will be moved towards the note positions in the Groove pattern, creating different rhythmic feels. The Change Events Dialog The Change Events dialog contains some special editing functions.
Transpose Alter Notes This function transposes the selected notes up or down, by the specified number of semitones. This function alters the properties pitch, length and velocity of the selected notes, in a random fashion. Velocity Adjusts the velocity of the selected notes. D The Add field lets you add a fixed amount to the velocity values. To subtract, enter a negative amount. Note that the possible velocity range is 1127. Adding an amount to a note with velocity 127 will not make any difference.
Importing and Exporting MIDI Files Reason can import and export standard midi files (SMF). This allows you to transfer MIDI data between Reason and other applications. D All controller data in the MIDI file is included. This means that pitch bend, volume and modulation wheel data are preserved properly. However, some controllers may “mean” different things for the original MIDI instruments used when creating the MIDI file and the devices in Reason.
32 THE SEQUENCER
2 D Routing Audio and CV
About the various signals that can be routed This chapter describes the various ways you can route signals in Reason. The following signal types are used: MIDI Routing There are several ways you can route MIDI from external MIDI devices to Reason devices. This is described in the chapter “Routing MIDI to Reason”. About Cables Audio Apart from the Matrix Pattern Sequencer, all devices have audio connectors on the back. The audio connectors carries audio signals to or from devices via virtual “cables”.
Color Coding Cables are color coded in the following way, making it easier to discern between the various connections: • • • Audio connections are different shades of red. CV connections are different shades of yellow. Connections to and from Effects devices are different shades of green. These cables are green, indicating effect device connections. Automatic Routing Auto-routing is when devices are automatically routed according to default rules.
CV/Gate Auto-route D CV/Gate auto-routing occurs when you create a Matrix Pattern Sequencer with an instrument device (Subtractor/Malström/NN-19/ NN-XT/Combinator) selected. The Matrix Note and Gate CV outputs are automatically connected to the Sequencer Control CV and Gate inputs on the instrument device, respectively.
Using pop-up menus 1. Click (or right-click) on a connector. A pop-up menu appears, listing all devices in the rack. 2. Move the pointer to the desired device (the device to which you want to create a connection). A submenu appears, listing all suitable input/output connections. For example, if you clicked on an audio output on a device, the hierarchical submenus will list all audio inputs in all other devices. Using CV and Gate CV/Gate is used for modulating and triggering device parameters.
38 ROUTING AUDIO AND CV
3 D Remote - Playing and controlling Reason devices
About the various MIDI inputs Setting up This chapter describes how you use Remote to set up your master keyboard and control surfaces, allowing you to play Reason devices, adjust parameters and control various Reason functions. This is the main way of sending MIDI to Reason, but there are also some additional methods: This is how you add your control surfaces - including the master keyboard. D Using ReWire 2.
6. An image of the selected control surface model is shown, often along with some information text - read this carefully. For some control surfaces, you need to select a specific preset to use the surface with Reason - this is noted here. 7. Use the MIDI Input pop-up to select the input port to which you have connected the surface. If in doubt, you can click the Find button and then tweak a control or play a key on the control surface to have Reason find the correct input port for you.
Other functions D To edit a surface, double click it in the list (or select it and click Edit). This lets you change its name and MIDI port settings, if needed. D To delete a surface, select it in the list and click Delete. D You can turn off a surface by deactivating its “Use with Reason” checkbox. This could be useful if the surface is connected to your system but you only want to use it with another program, etc. D There is still an “Advanced MIDI” page in the Preferences.
The “Control Surface Details” document contains some information about the standard mappings of the different control surface models. But you can also activate Remote Override Edit mode to see which parameters for each device are mapped to your control surface(s) - see page 45. D Note that if you have several control surfaces connected, some parameters could be mapped to controls on more than one control surface.
2. Pull down the Surface pop-up from at the top of the dialog and select the control surface device you wish to lock to a device. 3. Next, open the “Lock to device” pop-up menu. On this pop-up, all devices in the current song are listed. The “Follow Master Keyboard” item which is selected by default, means that the control surface isn’t locked (it instead follows the MIDI input in the sequencer). 5. Close the dialog when you are done. The device is now locked to the selected control surface.
Remote Override Remote Override allows you to map parameters and functions to controls on your control surface device, overriding the standard mapping. D Note that you can select the Transport panel as well! Most items on the Transport panel can be mapped to controls. Note that by selecting the Transport panel any standard mapping will be shown automatically, unlike other devices where you have to first direct MIDI input to the device from the sequencer.
D Or you can activate “Learn From Control Surface Input” and simply move (or press) the control you want to map the parameter to. The “Control Surface Activity” field momentarily flickers as you turn the knob, and then the dialog shows the control surface and control it is mapped to. D If the control surface has a keyboard, you can also select notes as controls. Notes work just like on/off buttons. If “Keyboard” is selected from the Controls pop-up, a Note Number field appears in the dialog. 3.
Additional Remote Overrides... D Patch selection is usually standard mapped to buttons on a control surface. If you wish to override this standard patch selection mapping for devices globally to select patches for any patch device that currently has MIDI input, you can assign this here. For example, you may always want to use the same buttons on a specific control surface for selecting patches. D Select Patch for Target Device is also meant to be assigned to a Deltatype control (see above).
Keyboard Control Assigning keyboard remote commands does not involve MIDI, so there is no special setting up required. Keyboard commands can be assigned to parameters just as when using Remote Override mapping, but the functionality differs in one central aspect: D If you click on an assignable parameter to select it, you can then select “Edit MIDI Control Mapping” from the Edit menu. This opens a dialog allowing you to select a key command for that parameter.
Saving Remote Setups There’s no need to save MIDI Remote mapping as the Standard Remote mapping for each Reason device to supported control surfaces is built-in, and is always available. You may, however, wish to save specific Remote Override mappings or Keyboard Control setups as a template: D This could be done by saving a song document containing all the devices that are affected by the related Key or Remote Override mappings, but without any sequencer data.
50 REMOTE - PLAYING AND CONTROLLING REASON DEVICES
4 D Using Reason as a ReWire Slave
About this Chapter This chapter describes how to use Reason as a ReWire slave, that is with Reason delivering audio to another ReWire compatible application. It does not deal with using ReBirth and Reason together; that is described on page 204. In ReWire 2 A number of features were added in Reason version 2. The following are the most important: • • • Why use Reason with ReWire? While Reason is a complete music tool in its own right, you might want to add other elements to the music, such as: • Vocals.
Launching and Quitting When using Rewire, the launch and quit order is very important: Launching for normal use with ReWire 1. First launch the host application. 2. Then launch Reason. Using the Transport and Tempo Controls Basic Transport Controls When you run ReWire, the transports in the two programs are completely linked. It doesn’t matter in which program you Play, Stop, Fast Forward or Rewind. Recording, however, is still completely separate in the two applications.
Routing Audio Preparations in Reason When you route audio from Reason to a ReWire host application, you make use of the Hardware Interface at the top of the rack. Basically, each output in the Hardware Interface is connected to a separate ReWire channel. Therefore: D To take full advantage of the mixing features in the host application you need to connect the different Reason devices directly to the Hardware Interface.
Converting ReWire Channels to Audio Tracks Details About Various ReWire Hosts Most often, there is no need to convert individual ReWire channels to regular audio tracks! The channels already appear in the host application’s Mixer, and you can typically perform the same kind of real-time processing as with regular audio channels (effects, EQ, volume, pan and mute automation, etc.).
56 USING REASON AS A REWIRE SLAVE
5 D Advanced MIDI - the External Control Bus inputs
About the External Control Bus inputs The External Control Bus inputs allow you to send MIDI directly to Reason devices. D These MIDI inputs are for controlling Reason devices from an external sequencer. This could be an external hardware sequencer or a sequencer application running on another computer. D If you want to control Reason from another sequencer application on the same computer, the preferred method is ReWire (see page 54).
6 D Synchronization
ReWire users – Read This! This chapter is about synchronization via MIDI Clock, and does not apply to users of ReWire. If you are using Reason together with a ReWire compatible application, ReWire automatically handles all synchronization issues for you. See page 51 for details. What is Synchronization and MIDI Clock? Synchronization, in this context, is when you make Reason play at the same tempo as another device; where both start, stop and can locate to certain positions, together.
Slaving Reason to Another Program on the Same Computer Synchronization Considerations Adjusting for Latency ! The preferred method for synchronizing two applications is by using ReWire, see page 51. However, if the application you need to sync Reason with doesn’t support ReWire, you can try the procedures described below. This section describes how to use MIDI Clock to synchronize Reason to another application running on the same computer.
About the beginning of the Song Due to the latency phenomenon, described on page 280, Reason needs some time to correct it’s playback speed when it first receives the Start command. This can be noted as a small glitch in the audio playback, when the program starts. If this is a problem, you need to insert a couple of empty measures at the beginning of the Song. Proceed as follows: 1. Set the Left Locator to “1 1 1” and the right Locator to “3 1 1“. 2.
7 D Optimizing Performance
Introduction Reason is a program of infinite possibilities. You can create as complex songs as you like, using endless racks of devices. While this is one of the most exciting properties of the program it does have a drawback – it means that you must be careful with how you manage your computer processing power. Each device you add to the rack uses up a bit of computer processing power – the more devices the faster the computer has to be.
! If you are making adjustments in the ASIO Control Panel for hardware with an ASIO driver, you should make a note of the current buffer settings before changing them. 4. While the song is playing, listen closely for pops and clicks and try lowering the latency (buffer size/number). Optimizing Songs Below follows things you can check and change to make sure your song uses as little computer processing power as possible: 5. When you get pops and clicks, raise the latency value a bit. Global 6.
Polyphonic Devices – Subtractor, Malström, NN19, NNXT, Dr. Rex and Redrum D Try making the device play fewer voices. This can be done for example by lowering the release and setting the Polyphony setting to exactly the maximum number of notes played simultaneously by this device. ✪ Please note that just lowering the polyphony setting has no effect. Unused voices do not consume processing power. D Where applicable, try the Low Bandwidth (Low BW) setting.
Songs and Memory Requirements Songs not only use up system resources in terms of processing power, they also require RAM (memory) to load at all. The amount of RAM required for loading a song, is directly proportional to the amount of samples used in the song. For example, a song only using Subtractors and effects requires very little RAM. If you are running out of RAM try the following: D Close other song documents. All open songs compete for RAM. D Terminate other applications.
68 OPTIMIZING PERFORMANCE
8 D Transport Panel
Overview The transport panel has standard controls for the sequencer transport, but also features controls for setting tempo, metronome click, locator points etc. The main controls in the central area of the transport panel are as follows: Play Tempo Time Signature Stop Song Position Fast Forward Rewind Record Loop on/off Overdub/Replace switch Left and Right Locator positions Main Transport Controls The main transport controls function just like standard controls on tape recorders etc.
Tempo and Time Signature Overdub/Replace Switch When recording over a previously recorded section, this switch governs the following: The tempo and time signature settings can be adjusted on the transport panel. The left tempo field sets the tempo in bpm, and the tempo field to the right allows you to fine tune the tempo, in steps of 1/1000 bpm. D You can specify any tempo between 1 and 999.999 bpm (beats per minute).
Automation Override Automation override is activated when you manually “grab” a parameter that is being automated. If you change the setting of an automated parameter, the “Punched In” indicator lights up, and the automation data is temporarily overridden, until you either click the “Reset” button or press stop on the transport. As soon as you click Reset, the automation regains control.
9 D Reason Hardware Interface
Introduction D Each output features a meter and a green indicator which will be lit for each channel that is available. ! Remember that the Hardware Interface is where any possible audio clipping will occur in Reason. Keep an eye on the clipping indicator on the transport panel, and also on the individual meters in the Audio Out panel. If a channel pushes the meter into the red, the output level of the device should be reduced.
10 D The Combinator
Introduction Creating Combinator devices Creating an empty Combinator device D Select “Combinator” from the Create menu. This will create an empty Combinator. Empty Combinator devices can be used as a starting point when creating new Combi patches. It also allows you to browse for existing Combi patches.
Combinator elements In the picture below an unfolded Combinator device is shown. About internal and external connections Unlike other devices, the Combinator contains both external and internal audio connections. D External connections are used to connect a Combinator to devices outside the Combi. D Internal connections are how devices within the Combi are connected.
About External Routing If an individual device in the Combi is directly connected to a device outside the Combinator, this is known as an “External Routing” connection, which should generally be avoided. The reason for this is that such connections are not saved with the Combi patch. D When combining several instrument devices, connect them to a mixer device and include this mixer in the Combi.
Showing the Insertion line Any of the following methods will select/show the Insertion line: • By clicking in the empty space at the bottom of the Combinator holder. • When creating a new Combi, the Insertion line is automatically selected. • By using the arrow keys you can step through and select each device currently in the Combi. By selecting the empty space, the Insertion line appears. • Selecting “Initialize Patch” for a Combinator will clear all devices and the Insertion line appears.
Adding devices using copy/paste You can copy devices and paste them into a Combi. 1. Select the devices you wish to copy as usual. 2. Select “Copy Device” from the Edit (or context) menu. 3. Select a device in the Combi or click the empty space to show the insertion line. 4. Select “Paste Device” from the Edit (or context) menu. D When pasting, the devices will be added below the currently selected device or the Insertion line in the Combi. No auto-routing takes place.
D If you select a Combinator and then select “Uncombine” from the Edit menu, the Combinator device will be removed, and all devices contained in the Combi will be connected as a single device to the rack. The devices previously connected to the To/From Devices connectors will now be connected to the rack in the same way the Combinator device was (via the Combinator output and input).
Bypass All FX This button allows you bypass all effect devices in a Combi. It works as follows: • All insert effect devices in the Combi are switched to Bypass mode. • All effects connected as send effects to a mixer device are switched off. • Clicking this button will not affect effect devices that were bypassed or turned off already. Select backdrop...
Key Mapping instrument devices About the keyboard Each instrument device can have its own separate key range, the lowest and the highest key that will trigger the device. This allows you to create splits and layers for instrument devices in a Combi. You can use the keyboard to audition selected instrument devices by pressing [Option] (Mac) or [Alt] (Windows) and clicking on the keys. 1. Make sure the Combinator track has MIDI focus. 2.
About overlapping Velocity Ranges You can set overlapping velocity ranges. Here’s an example of how this can work: D Device 1 has a velocity range from 1-60. D Device 2 has a velocity range of 41-100. D Device 3 has a velocity range of 81-127. 127 100 60 40 Device 3 Velocity 0 D A Button control will switch between two set values like an on/off switch. Worth noting is that there are buttons on several Reason devices that will step through a series of values, for example LFO Waveform buttons.
2. Click in the Target column for the Rotary or Button control you wish to assign a parameter. On the pop-up that appears, all the available parameters for the device are listed. Naming a control When you make modulation routing assignments, you should give the associated control a descriptive name that reflects what it does, for example Vibrato On/Off or the name of the parameter that it controls. This is done by clicking the label on the Controller panel and typing in new name.
86 THE COMBINATOR
11 D The Mixer
Introduction The Channel Strip AUX Sends 1-4 Pre-fader switch for AUX Send 4 EQ On/Off button EQ Treble and Bass controls The Mixer 14:2 allows you to control the level, stereo placement (Pan), tone (EQ) and effect mix (AUX Sends) of each connected audio device. If you have ever used a conventional hardware audio mixer, you will most likely find the Mixer very straightforward to use. It is configured with 14 (stereo) input channels, which are combined and routed to the Left and Right Master outputs.
Channel Strip Controls: |Item Channel Fader |Description |Value Range The channel fader is used to control the output level of each corresponding channel. 0 - 127 By adjusting the faders, you can set the desired mix (balance) between different devices connected to the Mixer. Channel Label Each channel in the mixer that has a device connected to it, displays a read-only label with the name of the device to the N/A left of the fader.
The Mixer signal flow The Auxiliary Return Section The basic signal flow for a channel in the Mixer is as follows: Aux 4 pre-fader mode Input EQ Pan AUX Returns Solo Mute Fader AUX Sends Effects Devices Master L/R Output Note that the Solo function is true “in-place” solo, meaning that if the channel uses Auxiliary sends routed to effect devices, the soloed output signal will also include the Aux Return signals (from the soloed channel(s) only).
Connections Auxiliary (AUX) Returns All input and output connectors are as usual located on the back panel of the Mixer 14:2. Special connectors are used for “chaining” two or more Mixers together. This is described on page 92. Mixer Channel Connections D Each mixer channel features stereo left/right inputs for connecting audio devices. Use the left input when manually connecting a mono signal source.
Chaining Mixers Partially or Non-Chained Mixers You can also have several Mixers that are only partially or not chained at all. D You may for example wish to have different Aux Send effects for one Mixer. Then simply disconnect one or more of the Send Out to Chaining Aux connectors, and assign new Send effects. D You could for example send the Master output of one Mixer to another Input pair on the Audio In Hardware interface, instead of the Chaining Master inputs.
12 D The Line Mixer 6:2
Introduction The Line Mixer 6:2 allows you to control the level, stereo placement (Pan) and effect mix (AUX Send) of each connected audio device. The Line Mixer is configured with 6 (stereo) input channels, which are combined and routed to the Left and Right Master outputs.
Connections All input and output connectors are as usual located on the back panel of the Line Mixer. Mixer Channel Connections D Each mixer channel features stereo left/right inputs for connecting audio devices. Use the left input when manually connecting a mono signal source. D In addition, there is a Control Voltage (CV) input, for voltage controlling channel Pan from other devices. Auxiliary (AUX) Send D The Send connectors are used to connect to the inputs of effect devices.
96 THE LINE MIXER 6:2
13 D Redrum
Introduction About File Formats Redrum reads two basic types of files: Redrum Patches A Redrum patch (Windows extension “.drp”) contains all settings for all ten drum sound channels, including file references to the used drum samples (but not the actual drum samples themselves). Switching patches is the same as selecting a new drum kit. Drum Samples At first glance, Redrum looks styled after pattern-based drum machines, like the legendary Roland 808/909 units.
Using Patches Both these methods play back the drum sample for the corresponding drum sound channel, with all settings for the sound applied. When you create a new Redrum device it is empty. Before it can play back any audio you must first load a Redrum patch (or create one from scratch, by loading individual drum samples). A Redrum patch contains settings for the ten drum sound channels, complete with file references to the drum samples used.
Programming Patterns About Pattern Selection 5. Select a Redrum channel, by clicking the “Select” button at the bottom of the channel. The button lights up, indicating that this channel and the drum sound it contains is selected. As described in the Getting Started book, each pattern device (such as the Redrum) has 32 pattern memories, divided into four banks.
About the “Edit Steps” Switch If you set the pattern length to more than 16 steps, the pattern steps following after the 16th won’t be visible, although they will play back. To view and be able to edit the next 16 steps, you have to set the Edit Steps switch to 17-32. To see and edit steps beyond 32 you set the switch to 33-48, and so on. Setting Pattern Resolution ! Note that if you are triggering Redrum via MIDI or from the main sequencer, the sounds will react to velocity like any other audio device.
D Applying flam to several consecutive step entries is a quick way to produce drum rolls. By adjusting the Flam knob you can create 1/32 notes even if the step resolution is 1/16, for example. The Pattern Enable switch |Function Randomize Drum Alter Pattern Alter Drum If you deactivate the “Pattern” button, the pattern playback will be muted, starting at the next downbeat (exactly as if you had selected an empty (silent) pattern).
Redrum Parameters Drum Sound Settings Redrum features ten drum sound channels that can each be loaded with a Wave or AIFF sample or a sample from a SoundFont bank. Although they are basically similar, there are three “types” of drum sound channels, with slightly different features. This makes some channels more suitable for certain types of drum sounds, but you are of course free to configure your drum kits as you like. On the following pages, all parameters will be listed.
Length and the Decay/Gate switch The Length knob determines the length of the drum sound, but the result depends on the setting of the Decay/Gate switch: D In Decay mode (switch down), the sound will decay (gradually fade out) after being triggered. The decay time is determined by the Length setting. In this mode, it doesn’t matter for how long a drum note is held (if played back from the main sequencer or via MIDI) - the sound will play the same length for short notes as for long notes.
Sample Start Global Settings Channel 8 & 9 Exclusive The Start parameter allows you to adjust the start point of the sample. The higher the Start value, the further the start point is moved “into” the sample. If you set the Start Velocity knob to a positive amount, the sample start point is moved forward with higher velocities. A negative Start Velocity amount inverts this relationship. D When Start Velocity is set to any other value than zero, the LED above the knob lights up.
Using Redrum as a Sound Module Connections The drum sounds in Redrum can be played via MIDI notes. Each drum sound is triggered by a specific note number, starting at C1 (MIDI note number 36): C1 C2 2 4 7 9 On the back of the Redrum you will find the following connections: 1 3 5 6 8 10 This allows you to play Redrum live from a MIDI keyboard or a MIDI percussion controller, or to record or draw drum notes in the main sequencer.
14 D Subtractor Synthesizer
Introduction The Oscillator Section Subtractor is an analog-type polyphonic synthesizer based on subtractive synthesis, the method used in analog synthesizers. This chapter will go through all parameters of each section of Subtractor. In addition to the parameter descriptions, the chapter also includes a few tips and tricks to help you get the most out of the Subtractor synthesizer.
Here follows a brief description of the Subtractor waveforms: ! Please note that the descriptions of the waveforms sound or timbre is merely meant to provide a basic guideline, and shouldn’t be taken too literally. Given the myriad ways you can modulate and distort a waveform in Subtractor, you can produce extremely different results from any given waveform. |Waveform 21 22 23 24 25 26 27 |Description This waveform is suitable for saxophone-like sounds.
D When Frequency Modulation (FM - see page 111) or Ring Modulation (see page 112) is used. This produces enharmonic sounds with very varying timbre across the keyboard. D For special effects and non-pitched sounds (like drums or percussion) that should sound the same across the keyboard. Using Oscillator 2 The Noise Generator could be viewed as an oscillator that produces noise instead of a pitched waveform.
A seasoned synth programmer using Subtractor for the first time may wonder why the Subtractor oscillators (seemingly) cannot provide the commonly used pulse waveform and the associated pulse width modulation (PWM). Or oscillator sync, another common feature in analog synthesizers. The simple answer is that Subtractor can easily create pulse waveforms (with PWM) and oscillator sync-sounds, and a lot more besides, partly by the use of phase offset modulation.
✪ Experiment with different oscillator parameters such as phase offset modulation, changing the waveforms etc. and listen to how they affect the sound of frequency modulation. The Filter Section Using the Noise Generator as the Modulator source As explained earlier, the Noise Generator is internally routed to the Osc 2 output. Hence, if you deactivate Osc 2, and activate the Noise Generator while using FM, the noise will be used to frequency modulate Osc 1.
D 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.
However, by combining a notch filter with a lowpass filter (using Filter 2 - see page 115 in this chapter), more musically useful filter characteristics can be created. Such a filter combination can produce soft timbres that still sound “clear”. The effect is especially noticeable with low resonance (see page 114) settings. Filter 1 Frequency The Filter Frequency parameter (often referred to as “cutoff”) determines which area of the frequency spectrum the filter will operate in.
Filter 2 A very useful and unusual feature of the Subtractor Synthesizer is the presence of an additional 12dB/Oct lowpass filter. Using two filters together can produce many interesting filter characteristics, that would be impossible to create using a single filter, for example formant effects. The parameters are identical to Filter 1, except in that the filter type is fixed, and it does not have filter keyboard tracking. D To activate Filter 2, click the button at the top of the Filter 2 section.
Sustain Filter Envelope Amount The Sustain parameter determines the level the envelope should rest at, after the Decay. If you set Sustain to full level, the Decay setting is of no importance since the volume of the sound is never lowered.
LFO Section Destination The available LFO 1 Destinations are as follows: |Destination Osc 1&2 Osc 2 Filter Freq FM LFO stands for Low Frequency Oscillator. LFOs are oscillators, just like Osc 1 & 2, in that they also generate a waveform and a frequency. However, there are two significant differences: • • LFOs only generate waveforms with low frequencies. The output of the two LFOs are never actually heard. Instead they are used for modulating various parameters.
LFO 2 Parameters LFO 2 is polyphonic. This means that for every note you play, an independent LFO cycle is generated, whereas LFO 1 always modulates the destination parameter using the same “cycle”. This can be used to produce subtle cross-modulation effects, with several LFO cycles that “beat” against each other. This also enables LFO 2 to produce modulation rates that vary across the keyboard (see the “Keyboard Tracking” parameter below).
The following parameters can be velocity controlled: |Destination |Description Amp This let’s you velocity control the overall volume of the sound. If a positive value is set, the volume will increase the harder you strike a key. A negative value inverts this relationship, so that the volume decreases if you play harder, and increases if you play softer. If set to zero, the sound will play at a constant volume, regardless of how hard or soft you play.
Legato Legato works best with monophonic sounds. Set Polyphony (see below) to 1 and try the following: External Modulation D Hold down a key and press another key without releasing the previous. Notice that the pitch changes, but the envelopes do not start over. That is, there will be no new “attack”. D If polyphony is set to more voices than 1, Legato will only be applied when all the assigned voices are “used up”.
Connections Modulation Outputs The Modulation outputs can be used to voltage control other devices, or other parameters in the same Subtractor device. The Modulation Outputs are: • Mod Envelope • Filter Envelope • LFO 1 Gate Inputs Flipping the Subtractor around reveals a plethora of connection possibilities, most of which are CV/Gate related. Using CV/Gate is described in the chapter “Routing Audio and CV”. Audio Output This is Subtractor’s main audio output.
122 SUBTRACTOR SYNTHESIZER
15 D Malström Synthesizer
Introduction The Malström is a polyphonic synthesizer with a great number of different routing possibilities. It is based on the concept of what we call “Graintable Synthesis” (see below), and is ideally suited for producing swirling, sharp, distorted, abstract special effect types of synthesizer sounds. In fact, you could go so far as to say that the Malström can produce sounds quite unlike anything you’ve ever heard from a synthesizer.
The Oscillator section The two oscillators (osc:A and osc:B) of the Malström are the actual sound generators, and the rest of the controls are used for modulating and shaping the sound. The oscillators actually do two things; they play a graintable and generate the pitch: • A graintable is several short, contiguous segments of audio (see above). • Pitch is the frequency at which the segments are played back.
Controlling playback of the graintable About motion patterns Each oscillator features three controls that determine how the loaded graintables are played back. These are: The “Index” slider, the “Motion” knob and the “Shift” knob. Each graintable has a predefined motion pattern and a default motion speed. When a graintable is looped (i.e.
The Modulator section The Malström features two Modulators (mod:A and mod:B) These are in fact another type of oscillators, called LFOs (Low Frequency Oscillators). They each generate a waveform and a frequency, much like osc:A and osc:B. However, there are a couple of important differences: • Mod:A and mod:B do not generate sound. They are instead used for modulating various parameters to change the character of the sound. • They only generate waveforms of low frequency.
Mod:A The Filter section Mod:A can modulate the following parameters of either oscillator: D Pitch Use this if you want Mod:A to offset the pitch of osc:A, osc:B, or both (see page 125). D Index Use this if you want Mod:A to offset the index start position of osc:A, osc:B, or both (see page 126). D Shift Use this to have Mod:A affect the harmonic content of osc:A, osc:B, or both (see page 126).
Filter types Filter controls To select a filter type, either click the Mode button in the bottom left corner or click directly on the desired filter name so that it lights up in yellow: Each filter contains the following four controls: D LP 12 (12 dB lowpass) Lowpass filters let low frequencies through and cut off high frequencies. This filter type has a roll-off curve of 12dB/Octave.
The Filter Envelope The Shaper This is a standard ADSR envelope with two additional controls; inv and amt. The filter envelope is common for both filter:A and filter:B, and controls how the filter frequency should change over time. Before filter:A is an optional waveshaper. Waveshaping is a synthesis method for transforming sounds by altering the waveform shape, thereby creating a complex, rich sound.
Routing The Malström puts you in total control of how the signal should be routed from the oscillators, through the filters and on to the outputs. Below is first a general description of the routing options, followed by examples of how to route the signal in order to achieve a certain result. Output Signal D Click on a button so that it is lit, to route the signal correspondingly. See below for descriptions. If this button is lit, the signal from osc:A is routed to filter:A via the shaper.
Routing examples Both oscillators with one filter each One or both oscillators without filters With this configuration, the signals from the oscillators will bypass the filters and the shaper and go directly to the respective output. Using both oscillators allows you to use the Spread parameter to create a true stereo sound. With this configuration, the signals from osc:A and osc:B will go to filter:A and filter:B respectively, and then to the outputs.
One or both oscillators with both filters in series The output controls These two parameters control the output from the Malström in the following way: Volume This knob controls the master volume out from the Malström. Spread Osc:A routed through both filters in series. Osc:B routed through both filters in series. With these configurations, the signal from osc:A and/or osc:B will go to both filter:A and filter:B, with the filters in series (one after the other).
The play controls Legato By clicking this button you activate/deactivate Legato. Legato in Malström is unique in that it allows you to control whether the sound is monophonic or polyphonic by using your playing style: D If you play legato (hold down a key and then press another key without releasing the previous), the sound is monophonic. Also note that the pitch changes, but the envelopes do not start over. That is, there will be no new “attack”.
The Velocity controls Velocity is used for controlling various parameters according to how hard or soft you play notes on your keyboard. A typical use of velocity control is to make sounds brighter and louder if you strike a key harder. By using the knobs in this section, you can control how much the various parameters will be affected by velocity.
Connections Sequencer Control The Sequencer Control CV and Gate inputs allow you to play the Malström from another CV/Gate device (typically a Matrix or a Redrum). The signal to the CV input controls the note pitch, while the signal to the Gate input delivers note on/off along with velocity. ! For best results, you should use the Sequencer Control inputs with monophonic sounds. Gate Input Flipping the Malström around reveals a wide array of connection possibilities. Most of these are CV/Gate related.
Routing external audio to the filters Connecting the signal from the Malström itself The audio inputs on the back of the Malström allows you to connect any audio signal to the filters and Shaper. To use this feature, it’s important to understand the following background: Normally the Malström behaves like any regular polyphonic synthesizer, in that each voice has its own filter. The filter settings are the same, but each filter envelope is triggered individually when you play a note.
138 MALSTRÖM SYNTHESIZER
16 D NN-19 Sampler
Introduction A sampler could be described as a device capable of recording and reproducing audio material, like a tape recorder. Unlike a tape or hard disk based recorder, samplers allows you to “play” the recorded sound via MIDI, using a keyboard for example. This way, any reproducible sound can be integrated into the MIDI environment, and be controlled from sequencers etc. like synthesizers. The NN-19 is a sample player, capable of reproducing, but not recording or editing sound files.
About Audio File Formats The NN-19 can read audio files in the following formats: • • • • • Wave (.wav) AIFF (.aif) SoundFonts (.sf2) REX file slices (.rex2, .rex, .rcy) Any sample rate and practically any bit depth. ! If you want the files to play back with their original bit depth - if higher than 16-bits - make sure to activate “Use High Resolution Samples” on the General page in the Preferences dialog.
About Key Zones and Samples Loading a Sample into an empty NN-19 1. Create a new sampler device. 2. Click on the sample browser button. This is located above the keyboard display to the left. Loading SoundFont samples The SoundFont format was developed by E-mu systems in collaboration with Creative Technologies. It is a standardized data format containing wavetable synthesized audio and information on how it should be played back in wavetable synthesizers - typically on audio cards.
Creating Key Zones Setting the Key Zone Range A “key zone” is a range of keys, that plays a sample. All key zones together make up a “key map”. To create a new key zone, the following methods can be used: ! Key zones cannot overlap. D Select “Split Key Zone” from the Edit or context menus. This splits the currently selected key zone in the middle. The new zone is the upper half of the split, and is empty.
About Key zones, Assigned and Unassigned Samples Removing Sample(s) from a Key Map When you load samples and rearrange your key mapping, you will often end up with samples that are not assigned to any key zone. In the following texts we refer to the samples as follows: • Assigned samples are samples that are currently assigned to one ore more key zones. • Unassigned samples are samples that reside in the sample memory, but that are currently not assigned to any key zone.
Looping Samples A sample, unlike the cycles of an oscillator for example, is a finite quantity. There is a sample start and end. To get samples to play for as long as you press down the keys on your keyboard, they need to be looped. For this to work properly, you have to first set up two loop points which determine the part of the sample that will be looped, and make this a part of the audio file. You cannot set loop points in the NN-19, this has to be done in a sample editor.
Automap Samples If you have a number of samples that belong together, but haven’t mapped them to key zones you can use the “Automap Samples” function on the Edit menu. This is used in the following way: 1. Select all samples that belong together and load them in one go, using the sample browser. One of the samples will be assigned to a key zone spanning the whole range, and the rest will be loaded in to memory but remain unassigned. 2. Select Automap Samples from the Edit menu.
NN-19 Synth Parameters The NN-19 synth parameters are used to shape and modulate samples. These are mostly similar to the parameters used to shape the oscillators in Subtractor - you have envelope generators, a filter, velocity control etc. Again, it is important to remember that these parameters do not alter the audio files in any way, only the way they will play back. ! These parameters are global, in the sense that they will affect all samples in a sample patch.
The Filter Section ! Note that the Filter Frequency parameter is usually controlled by the Filter Envelope (see “Envelope Section” below) as well. Changing the Filter Frequency with the Freq slider may therefore not produce the expected result. Resonance Filters are used for shaping the overall timbre of the sound. The filter in NN-19 is a multimode filter with five filter types. Filter Mode With this selector you can set the filter to operate as one of five different types of filter.
The Amp Envelope is used to adjust how the volume of the sound should change from the time you press a key until the key is released. By setting up a volume envelope you sculpt the sound’s basic shape with the four Amplitude Envelope parameters, Attack, Decay, Sustain and Release. This determines the basic character of the sound (soft, long, short etc.). The Level parameter acts as a general volume control for the sample patch. LFO stands for Low Frequency Oscillator.
Sync By clicking this button you activate/deactivate LFO sync. The frequency of the LFO will then be synchronized to the song tempo, in one of 16 possible time divisions. When sync is activated, the Rate knob (see below) is used for setting the desired time division. Turn the knob and check the tooltip for an indication of the time division.
Pitch Bend and Modulation Wheels Legato The Pitch Bend wheel is used for “bending” notes, like bending the strings on a guitar. The Modulation wheel can be used to apply various modulation while you are playing. Virtually all MIDI keyboards have Pitch Bend and Modulation controls. NN-19 also has two functional wheels that could be used to apply real time modulation and pitch bend should you not have these controllers on your keyboard, or if you aren’t using a keyboard at all.
Voice Spread This parameter can be used to control the stereo (pan) position of voices. The Spread knob determines the intensity of the panning. If this is set to “0”, no panning will take place. The following pan modes can be selected: |Mode Key Key 2 Jump Connections On the back panel of the NN-19 you will find the connectors, which are mostly CV/ Gate related. |Description This will shift the pan position gradually from left to right the higher up on the keyboard you play.
Gate Inputs These inputs can receive a CV signal to trigger the envelopes. Note that connecting to these inputs will override the “normal” triggering of the envelopes. For example, if you connected a LFO output to the Gate Amp input, you would not trigger the amp envelope by playing notes, as this is now controlled by the LFO. In addition you would only hear the LFO triggering the envelope for the notes that you hold down.
154 NN-19 SAMPLER
17 D NN-XT Sampler
Introduction Panel Overview Features The Main Panel The basic functions of the NN-XT are very similar to those of its sampler companion in the Reason rack - the NN-19. Just like the NN-19, NN-XT lets you load samples and create multi-sample patches by mapping samples across the keyboard. The sound can then be modified by a comprehensive set of synth-type parameters. There are however some major differences between the two.
Loading Complete Patches and REX Files As previously alluded, you can load complete sample patches as well as individual samples into the NN-XT. • A patch is a complete “sound package”. It contains information about all the samples used, assigned key zones, associated panel settings etc. Loading a sample patch is done by using the patch browser on the main panel, and works in the same way as with any other Reason device.
Using the Main Panel All of the controls on the main panel are used for globally modifying certain parameters for all of the samples in a patch, by the same amount. ! Movements of the parameters on the main panel can be recorded as automation. However, controls on the remote editor panel (described later) can not! The following is a description of the controls and parameters on the main panel.
All of these knobs change the values of various parameters in the remote editor panel and affect all loaded samples. Thus they can be used for quickly adjusting the overall sound. The knobs are bi-polar, which means that when they are centered, no parameter change is applied. By turning them to the right you increase the corresponding value, and by turning them to the left, you decrease the value. Again, the movements of these parameters can be recorded as automation.
The Tab Bar area Synth Parameters This area gives you a visual indication of the key range of a selected zone. By clicking and dragging the “handles” at the key range boundaries, you can resize the key ranges, and by clicking in between the handles, you can move the key ranges without changing their length. The Key Range area This area in the middle of the key map display is where you keep track of all the zones and the relationship between them.
Selections and Edit Focus Almost all operations in the remote editor are performed on one or more selected zones or on the zone with edit focus. Several zones can be selected at once, but only one zone at a time can have edit focus. This is important since: D Editing operations that can be performed on several zones (like deleting), always apply to the selected zones. D Editing operations that can be performed on one zone only (like adjusting the “Lo key”), always apply to the zone with edit focus.
Selecting zones via MIDI Moving Edit Focus You can also select zones via your MIDI keyboard. By clicking the button marked “Select zones via MIDI” above the key map display so that it lights up, you enable selection via MIDI. Moving Edit Focus A zone can be given edit focus independently of selection: D When you click on an unselected zone, it both gets selected and gets edit focus.
Adjusting Parameters Adjusting Synth Parameters The synth parameters are the ones that occupy the bulk of the remote editor panel (see page 160). Changes you make to synth parameters always apply to all selected zones. D The panel “only” shows the settings for the zone with edit focus. More about this below. About “Conflicting” Parameters Often you will find yourself in a situation where you select multiple zones and parameter settings differ between them. This is quite normal.
Managing Zones and Samples 3. Use “Set Root Notes from Pitch Detection” to automatically set up the root notes (pitches) for the samples. 4. Select “Automap Zones” from the Edit menu. All selected zones are automatically arranged into a basic key map. You can now proceed with adjusting the synth parameters on the front panel to shape the sound! Creating a Key Map When you add an NN-XT sampler to the rack, its key map display is always empty. That is, it contains no samples.
Replacing a Sample Adding Empty Zones To replace the sample in a zone, proceed as follows: You can add empty zones to a key map. Empty zones are treated just like zones containing samples, in that they are automatically selected, gets edit focus and are assigned a five octave key range when they are first created. However, you can only add one zone at a time. It is also possible to resize, move and edit empty zones in the same way as zones containing samples. 1.
Working with Grouping About Groups Grouping has two purposes: Moving a Group to another Position in the List D Click on the group in the Groups column and drag up or down with the mouse button pressed. An outline of the group you move is superimposed upon the display to help you navigate to the desired position. D To allow you to quickly select a number of zones that “belong together.
Working with Key Ranges About Key Ranges Each zone can have its own separate key range, the lowest and the highest key that will trigger the sample. A good example of use for this is when sampling a certain instrument. Sampling of a piano for example is usually performed by making several recordings of different notes at close intervals, and then mapping these samples to separate, contiguous, fairly narrow key ranges. This concept is called multi-sampling.
Moving Zones by Dragging the Zone Boxes You can also move entire zones horizontally, thereby changing their key ranges. 1. Select all the zones you want to move. You can move several zones simultaneously. In the example in the picture above, the zone in the middle has edit focus. Its left handle (the low key) is placed differently from any of the other zones, but all of the zones have the same high key setting. This means that...
About the Solo Sample function The Solo Sample function lets you play a selected sample over the entire keyboard and disregarding any velocity range assigned to the sample. All other loaded samples are temporarily muted. This is useful if you for example want to check how far up and down from its root key a sample can be played on the keyboard before starting to sound “unnatural”. The solo sample function can therefore be useful as a guide for setting up key ranges, as described on page 167.
Setting Root Notes and Tuning Tuning Samples Manually About the Root Key D Use the knob marked “Tune” in the sample parameter area. This allows you to tune each sample in a key map by +/– half a semitone (-50 – 0 – 50). All instrument sounds have an inherent pitch. When playing a sample of such a sound on the keyboard, the keys you play must correspond to that pitch. For example, you may have recorded a piano playing the key “C3”.
Using Automap The automap function can be used as a quick way of creating a key map, or as a good starting point for further adjustments of a key map. Automap works under the assumption that you intend to create a key map for a complete instrument, for example a number of samples of a piano, all at different pitches. 1. Load the samples you want to Automap.
D Zone 1 has a velocity range from 1-40. This means that the sample in it will be triggered by velocity values between 1-40. • Zones with any other velocity range are shown as striped. D Zone 2 has a velocity range of 41-80. The sample in this zone will be played back by velocity values between 41-80. D Zone 3 has a velocity range of 81-127. The sample in this zone will be triggered by all velocity values above 80.
Crossfading Between two Sounds Setting Crossfading for a Zone An example: D Two zones are both set to play in the full velocity range of 1-127. D Zone 1 has a fade out value of 40. This means that this zone will play at full level with velocity values below 40, With higher velocity values, it will gradually fade out. D Zone 2 has a fade in value of 80. This has the effect that as you play velocity values up to 80, this zone will gradually fade in. With velocity values above 80, it will play at full level.
Using Alternate Sample Parameters About the Alternate function At the bottom right in the sample parameters area is a knob marked “Alt”. It only has two states - On and Off. This is used for semi-randomly alternating between zones during playback. There are several practical uses for this. Here follows two examples: • • Layering several recordings of the same snare drum. By alternating between them you get a more natural repetition. Layering string up- and down strokes.
Play Mode By using this knob you can select one of the following loop modes for each zone: D FW The sample in the zone will play only once, without looping. D FW-LOOP The sample will play from the sample start point to the loop end point, jump back to the loop start point and then loop infinitely between the start and end loop points. This is the most common loop mode.
Group Parameters Retrig Retrig is the “normal” setting for playing polyphonic patches. That is, when you press a key without releasing the previous, the envelopes are triggered, like when you release all keys and then press a new one. In monophonic mode, Retrig has an additional function; if you press a key, hold it, press a new key and then release that, the first note is also retriggered. LFO 1 Rate The group parameters are located at the top left on the remote editor panel.
Synth parameters The Modulation controls LFO 1 Amt This determines how much the amount of modulation from LFO 1 is affected by the Modulation wheel and/or the External Controller wheel. It does this by “scaling” the amounts set with the three destination knobs in the LFO 1 section (Pitch, Filter and Level, see page 182). We’ll explain this with an example: To use the Modulation Wheel to increase pitch modulation (vibrato), proceed as follows: 1.
The Velocity controls The Pitch section Velocity is used for controlling various parameters according to how hard or soft you play notes on your keyboard. A typical use of velocity control is to make sounds brighter and louder if you strike a key harder. By using the knobs in this section, you can control if and how much the various parameters will be affected by velocity. This section contains various parameters related to controlling the pitch, or frequency, of the zones.
The Filter Section D Freq This is used for setting the filter cutoff frequency. The cutoff frequency determines the limit above or below which frequencies will be cut off depending on the selected filter type. In the case of a lowpass filter for example, frequencies below the cutoff frequency will be allowed to pass through, while frequencies above it will be cut off. The farther to the right you turn the knob, the higher the cutoff frequency will be.
The Modulation Envelope D Sustain The Sustain parameter determines the value the envelope should drop back to after the Decay. If you set Sustain to full level however, the Decay setting doesn’t matter since the value will never decrease. A combination of Decay and Sustain can be used for creating envelopes that rise up to the maximum value, then gradually decrease to, and stay on a level somewhere in-between zero and maximum.
The Amplitude Envelope |Mode Key Key 2 Jump The Amplitude Envelope parameters let you control how the volume of a sound should change over time - from the moment a note is struck to the moment it is released again. Parameters Most of the Amplitude Envelope parameters are identical to those of the Modulation Envelope.
The LFOs Mode (LFO 1 only) This lets you set the “operation mode” for the LFO. Click the button to switch between the available modes: D Group Rate In this mode, the LFO will run at the rate set for it’s group in the group section, rather than at the rate set here (see page 176). This way, all zones in the group will have the exact same modulation rate. D Tempo Sync In this mode, the LFO will be synchronized to the song tempo, in one of 16 possible time divisions.
Key Sync (LFO 1 only) By activating key sync, you “force” the LFO to restart its modulation cycle each time a key is pressed. ! Note that LFO 2 always uses Key Sync. Connections On the back panel of NN-XT are a number of connectors. Many of these are CV/Gate related. Using CV/Gate is described in the chapter “Routing Audio and CV”. Destinations for LFO 1 The following parameters can be modulated by LFO 1: D Pitch This will make the LFO modulate the pitch, for vibrato, trills, etc.
The other output pairs are never automatically routed. If you wish to use any of the other output pairs, you have to manually connect them to the desired device - typically a mixer channel. The basics on Routing is described in the chapter “Managing the Rack” in the Getting Started book. ! Note that when you use any other output pair than the first, you also have to route one or more zones to it if you want it to actually output sound, since all zones by default are routed to outputs 1 & 2.
18 D Dr.
Introduction About File Formats Dr.Rex can read files in the following formats: D REX (.rex) This is the file format generated by previous versions of ReCycle (Mac platform). D RCY (.rcy) This is the file format generated by previous versions of ReCycle (PC platform). The Dr.Rex Loop Player is capable of playing back and editing files created in ReCycle, another product created by Propellerhead Software. ReCycle is a program designed especially for working with sampled loops.
Adding a Loop To add a loop into the Dr.Rex Loop Player, proceed as follows: 1. Open the browser by selecting “Browse ReCycle/REX Files” from the Edit menu or the device context menu, or click on the folder button beside the Loop name display. Loading Loops “On the Fly” Another practical method for checking out loops, is to load them “on the fly”, i.e. during playback. This is especially useful if you want to check out a number of loops against other sequencer data and patterns previously recorded.
Creating Sequencer Notes To be able to make your REX loop start at the same time as other sequencer or pattern data, you first have to create sequencer notes from the slices: 1. Select a sequencer track connected to the Dr.Rex device. 2. Set the left and right locators to encompass the section you want to fill with REX notes. You may want to make sure that this area doesn’t contain any notes already, to avoid confusion. 3. Click the To Track button on the Dr.Rex panel.
Slice Handling Editing in the Waveform Display Selecting Slices A selected slice is indicated by being highlighted in the waveform display. To select a slice, use one of the following methods: Here you are able to edit several parameters for each slice, by first selecting it, and then using the knobs below the waveform display. The following slice parameters can be set: D By clicking in the waveform display.
Dr.Rex Synth Parameters The Filter Section The Dr.Rex synth parameters are used for shaping and modulating the sound of the REX loops. These parameters are familiar synth parameters, similar to the ones in the synthesizers; The Subtractor and the Malström, and in the samplers; the NN-19 and the NN-XT. It is important to remember that these parameters do not alter the REX files in any way, only the way they will play back.
! Note that the Filter Frequency parameter is usually controlled by the Filter Envelope (see page 191) as well. Changing the Filter Frequency with the Freq slider may therefore not produce the expected result. Resonance The filter resonance parameter affects the character of the filter sound. For lowpass filters, raising the resonance will emphasize the frequencies around the set filter frequency. This produces a generally thinner sound, but with a sharper, more pronounced filter frequency “sweep”.
LFO Section Sync By clicking this button you activate/deactivate LFO sync. The frequency of the LFO will then be synchronized to the song tempo, in one of 16 possible time divisions. When sync is activated, the Rate knob (see below) is used for setting the desired time division. Turn the knob and check the tooltip for an indication of the time division. LFO stands for Low Frequency Oscillator. LFOs are oscillators in the sense that they generate a waveform and a frequency.
Velocity Control Velocity is usually used to control various parameters according to how hard or soft you play notes on your keyboard. A REX file does not contain velocity values on its own. And when you create sequencer track data by applying the “To Track” function, all velocities are set to a default value of “64”. As velocity information is meant to reflect variation, having them all set to the same value is not meaningful if you wish to velocity control Dr.Rex parameters.
Setting Number of Voices - Polyphony Connections On the back panel of Dr.Rex you will find the connectors, which are mostly CV/Gate related. Using CV/Gate is described in the chapter “Routing Audio and CV”. Audio Outputs This determines the polyphony, i.e. the number of voices, or slices, Dr.Rex can play simultaneously. For normal loop playback, it is worth noting that slices sometimes “overlap”. Therefore, it is recommended that you use a polyphony setting of about 3-4 voices when playing REX files.
19 D Matrix Pattern Sequencer
Introduction D Curve CV is a separate pattern, programmed separately from the Note/ Key and Gate CV. The Matrix is a pattern-based device. Matrix doesn’t generate sound on its own, but has to be connected to another instrument device. It basically works by sending pattern data in the form of Note CV (pitch) and Gate CV (note on/off plus velocity) or Curve CV (for general CV parameter control) signals to a device or device parameter.
Programming Patterns ! Pattern programming basics is covered in “Programming Pattern Devices”. As you can see, there are two rows of red rectangles. The one with horizontal rectangles at the bottom of the upper field in the pattern window represent note pitch, for each step in a pattern. At the moment they are all set to the same note pitch. The row of vertical rectangles in the lower field represent Gate velocity values currently these are all set to a velocity value of 100 for all steps.
D If you drag some of the vertical rectangles down so that they disappear from view, the corresponding steps of the pattern are completely silenced. D By using the 5-way switch below the “Keys/Curve” switch you can input notes in other octave ranges (over five octaves). Note that there can only be one note for each step in the pattern. Using Curve Patterns Curve patterns are independent patterns that can be applied separately to the note pattern programmed in “Keys” mode.
About Unipolar and Bipolar Curves Setting Pattern Length On the back panel of the Matrix you will find a switch, allowing you to select between “Unipolar” or “Bipolar” Curves. The difference is as follows: D A unipolar curve has values starting from “0” and up. “0” is the value produced by all steps when they are “empty” (not visible). Unipolar is the default setting of this switch when a new Matrix is created. You may want to make settings for Pattern length, i.e.
Pattern Shuffle Pattern Functions Shuffle is a rhythmic feature, that gives the music a more or less pronounced swing feel. It works by delaying all sixteenth notes that fall in between the eighth notes. When a pattern device is selected, you will find some specific pattern functions on the Edit menu (and on the device context menu). Shift Pattern Left/Right Straight sixteenth note pattern (viewed in the sequencer).
Converting Pattern Data to Notes ! Curve patterns cannot be converted to sequencer data! Only the note pattern and the gate values will be converted. You can convert Matrix Pattern data to note data, that can be edited and played back from the main sequencer. Proceed as follows: 1. Select the sequencer track connected to the Matrix. 2. Set the left and right locators to the desired range or length. If the range set is longer than the pattern(s), the data will be repeated to fit the range. 3.
Programming “Acid Style” lead lines By “acid style” lead lines we mean patterns that use a combination of Legato and slide (or portamento) effects to produce the widely used hypnotic “wavy” sound produced by the original Roland TB-303, and recreated in the Propellerhead Software product ReBirth. To approximate this typical sound using Reason, proceed as follows: 1. Create a Synthesizer (Subtractor or Malström). 2. Create a Matrix Pattern Sequencer, or if one already exists, set it to an empty pattern. 3.
20 D ReBirth Input Machine
Introduction Preparations For the ReBirth Input Machine to correctly operate together with ReBirth, the launch and quit order is very important. Proceed as follows: The ReBirth Input Machine is a device dedicated to receiving audio from the Propellerhead program “ReBirth RB-338” (version 2.01 and later). This is achieved by using ReWire technology (see page 52), where Reason will act as master and ReBirth as a slave device. If you don’t have ReBirth installed, you cannot use this device.
Routing When the two programs are synced, you can route any of the eighteen available outputs in ReBirth, to separate channels in a Reason Mixer, or to the Hardware Interface for direct connection to a physical output on your audio card. If you flip the rack around, a row of 18 audio outputs is shown, with the L/R Mix outputs auto-routed to your mixer or to the hardware interface. What Signals are on the Outputs? Mix-L and Mix-R This is the regular master output in ReBirth RB-338.
206 REBIRTH INPUT MACHINE
21 D BV512 Vocoder
Introduction ✪ Even if a high number of bands will make the sound more precise and intelligible, this isn’t always what’s desired! Vocoding with a lower number of bands can give results that sound different, fit better in a musical context, etc. FFT vocoding The BV512 is an advanced vocoder device with a variable number of filter bands. It also has a unique 1024-point FFT vocoding mode (equivalent of 512-band vocoding) for very precise and high quality vocoded speech.
Setting up for basic vocoding This tutorial describes how to connect and use a typical vocoder setup. We assume here that you have a MIDI keyboard connected. For details on the parameters, see page 212. 5. Press [Shift] and create the instrument device you want to use for the modulator signal. Pressing [Shift] will add the device without auto-routing it to a mixer - this makes sense since we want to route it to the Vocoder in this case.
12.Try the different filter band options and note the difference in sound. Vocoded vocals The most common usage for a vocoder is probably the typical “singing” or “talking synth” sound, using vocals or speech as modulator. Since Reason doesn’t support live audio input you cannot sing and play in real time - instead you need to use sampled speech or vocals (with e.g. an NN-19 or NN-XT as the modulator device).
Using the BV512 as an equalizer FFT (512) mode The BV512 has a unique equalizer mode, in which the device works purely as an insert effect (the modulator input isn’t used). This allows you to use the processing filters of the vocoder as a kind of graphic equalizer. D In FFT (512) mode, setting all bands to ±0 dB is the same as bypassing the equalizer - the sound will not be affected.
BV512 parameters |Parameter Decay On the front panel of the BV512 Vocoder, you will find the following parameters and displays: |Parameter Bypass/On/Off switch |Description In Bypass mode, the carrier signal passes through the device unaffected and the modulator signal is disregarded. In On mode, the device outputs the vocoded or equalized signal. Off mode cuts the output, silencing the device. Level meters Show the signal level of the carrier and modulator signals, respectively.
Connections Other CV connections |Connection Shift (CV in) Hold (Gate in) |Description This allows you to control the Shift parameter from an external CV source. A sensitivity knob determines how much the Shift setting is affected by the CV signal. When a gate signal is sent to this input, the Hold function is activated (see page 212). Hold remains on until the gate signal “goes low” (falls to zero). By connecting e.g.
Automation Tips and tricks Choosing a carrier sound As always, which carrier sound to choose is a matter of taste and musical context. However, here are a few guidelines to help you get a good result: • The carrier sound should preferably have a lot of harmonic content (brightness) dark or muffled sounds will not “give the vocoder much to work with”. • Often, you want the carrier sound to sustain at an even level (i.e. it shouldn’t “die out” when you hold a chord).
D For a more distinct and precise sound, try using a narrow pulse waveform. You get this by selecting e.g. a sawtooth wave on the Subtractor, setting the Phase Mode selector to “–” and turning the Phase knob to the left until you get the desired sound. This type of carrier sound lends itself well to monophonic vocoder lines in the lower registers. D Use noise as a carrier. Try using pure noise (possibly filtered down a bit) for robotic voices, whispering and special effects.
Controlling the Hold function Extracting CV from the vocoder As described see page 212, pressing the Hold button on the front panel “freezes” the current filter spectrum until you deactivate it again. This can be used for creating sample & hold-like effects, stuttering or garbled vocoder sounds: • Connect e.g. the Gate output on a Matrix device to the Hold input on the back of the BV512.
D Connect the gate outputs on a Redrum to individual band level inputs. With this connection (and no device connected to the Modulator input), the Redrum will serve as a pattern sequencer, opening and closing different filter bands. To adjust the gate times, set the drum sounds to Gate mode and use the Length parameter. The result is totally different from using the audio signal of the Redrum as modulator.
Using the BV512 as a reverb This is a very special trick which can be quite cool. Proceed as follows: 1. Create a Redrum device. The “vocoder-reverb” is best suited for drums, even though nothing stops you from using it on other sounds. 6. On the Subtractor, set up a noise sound as follows: Turn the Oscillator Mix knob fully to the right. Turn on the Noise section (but make sure Osc 2 is off). In the Noise section, turn Color to around twelve o’clock.
Creating a stereo reverb What you’ve got above is a mono reverb. Here’s how to make it stereo: 1. Select the Subtractor and create a Spider Audio Merger & Splitter device. 2. Create a DDL-1 delay. 3. Connect the devices in the following way: The Subtractor output should be routed to a Splitter input on the Spider. One split output should be routed to one of the carrier inputs on the vocoder, the other split output should be routed to the delay.
220 BV512 VOCODER
22 D The Effect Devices
Common Device Features While the specific parameters for each device are described below, some features and procedures are common to all effect devices: The Input meter This shows the level of the incoming audio signal, giving you an indication of which devices are active, connected and playing. However, you don’t need to worry about clipping in effect devices, even if the meter goes into the red.
The MClass effects The MClass package consists of four effect devices, which are available separately or grouped together in the “MClass Mastering Suite Combi”. As the name implies, the effects are suitable for mastering purposes, i.e. to process the final mixed output, but can of course be used to process individual devices as well. The individual MClass effects are as follows: • The MClass Equalizer - this has low and high shelving bands, two fully parametric bands and a low cut “anti-rumble” switch.
Parametric 1-2 parameters This is most often used as an insert effect in stereo. A parametric equalizer will boost or cut frequencies around the selected frequency. The following parameters are available for both the parametric bands: ! The MClass Stereo Imager does not create stereo from mono input! For |Parameter Frequency Gain Q |Description This determines the center frequency of the EQ, i.e. at which frequency the level should be decreased or increased. The range is 39 Hz to 20 kHz.
The MClass Compressor |Parameter Adapt Release Output Gain This is a single-band compressor capable of everything from subtle compression to aggressive pumping effects. Like all dynamics processors it is best used as an insert effect. The features include “soft-knee” compression for more musical and unobtrusive compression, program-adaptive release time and a sidechain input for de-essing and other dynamics processing.
5. If you now start playback of both devices, the level of Device A will be lowered whenever Device B sounds, and be raised again when Device B stops. The amount of gain reduction, how quickly it lowers the level, and the time it take for the level to return to normal again is determined by the corresponding Gain/ Threshold/Ratio and Attack/Release parameters. 8. Route another pair of the split outputs of the Spider to the MClass Compressor.
The MClass Maximizer Scream 4 Sound Destruction Unit This is a loudness maximizer, a special type of limiter which can significantly raise the perceived loudness of a mix without risk of hard clipping distortion. Features include a 4 ms look ahead function for “brick wall” limiting and a Soft Clip function. The MClass Maximizer should be used as an insert effect, and is designed to be placed at the end of the signal chain between the mixed final output and the Hardware Interface.
Parameters Description of the various Damage Type algorithms Scream 4 contains three main sections; Damage (distortion and other types of sound destruction), Cut (EQ) and Body (places the sound in a resonant environment - can serve as anything from a cabinet emulator to a wah-wah to completely new special effects) which can be switched on or off independently.
|Type Feedback Modulate Warp Digital Scream |Description This effect combines distortion in a feedback loop which can produce many interesting and sometimes unpredictable results. Feedback is basically when a sound source is fed back to itself. An open microphone picking up sound from a nearby loudspeaker that is also being used to amplify sound from the microphone will produce a feedback loop with the associated typical howling.
About the envelope follower The Body section features an envelope follower for dynamic control of the Scale parameter. The envelope follower analyzes the amplitude of the incoming signal and changes the Scale setting accordingly - the louder the incoming signal the higher the value of the Scale parameter. The operating frequency (or size) range is set with the Scale parameter, and the envelope follower amount is set with the Auto parameter.
Tips and tricks Using the Body section as a sound enhancer/phaser/wah Don’t restrict yourself to using Scream 4 as a basic distortion stompbox, but try it in as many ways as possible - you may be surprised to find how often Scream 4 can add power, warmth and color to your sounds. Here are some examples: Nothing stops you from using the Body section on its own, without Damage. Try this: Creating a heavy drum sound 1. Create a sampler device (e.g. an NN-19) and select an electric piano patch. 2.
Creating a real dynamic wah effect with the envelope follower As we have shown, you can get auto-wah-like effects with the Body section in Scream 4 (by using the Auto parameter). You could also use the ECF-42 envelope controlled filter and trigger this with a gate signal - this is after all a “real” filter and sounds even more like a wah effect. However, to get a “real” auto-wah effect that responds to the signal level, you need to combine both these devices: RV7000 Advanced Reverb 1.
The main panel Reverb algorithms and parameters About the main panel parameters The RV7000 main panel. When you create an RV7000, only the main panel will be shown. This contains a section for handling patches, on/off buttons for the EQ and Gate sections, the most important reverb parameters and a dry/wet mix control. To select a reverb patch and make coarse adjustments, this is all you need.
Here’s a quick overview of the nine algorithms - for details and parameter descriptions, see below. |Algorithm Small Space Room Hall Arena Plate Spring Echo Multi Tap Reverse |Description Emulates a small enclosed space (a small room or a resonant body). Emulates a room with adjustable shape and wall character. Emulates a hall. Emulates a large arena, with separate pre-delay for the left, right and center reverbs. Emulates a classic plate reverb. Emulates a spring reverb, as used in e.g. guitar amplifiers.
Plate Echo A classic plate reverb, excellent for vocals for example. The parameters are: This is an advanced echo effect, with diffusion controls and tempo sync. When Echo is selected, the Decay control on the main panel controls the echo feedback (the number of echo repeats). The parameters are: |Parameter LF Damp Predelay |Description Controls how quickly the low frequencies should decay in the reverb. Raise it to gradually remove low frequencies, making the reverb sound “thinner” and less boomy.
• You can also set Edit Select to “Repeat Tap” - this is where you specify the repeat time for the whole multi tap “package”. With short Repeat times, the first tap may be repeated before the last tap has sounded. This can be used to create very complex multiple delay effects. Reverse The Reverse reverb algorithm in RV7000 is special in that it actually “moves” the source audio as well.
The EQ section The Gate section The equalizer in RV7000 affects the wet reverb sound only and is used for shaping the character of the reverb. There are two EQ bands, one for low frequencies (shelving) and one full-range parametric EQ. The Gate section allows you to create gated reverb effects with a lot of options and possibilities. You can either trigger the gate from the source audio signal or via MIDI or CV.
The parameters for the Gate section are: |Parameter Threshold Decay Mod Trig Source High Pass Attack Hold Release 238 |Description When Trig Source is set to “Audio”, this determines the audio signal level at which the gate opens. If you raise this setting, only very loud sounds will open the gate. This modulates the reverb Decay parameter so that the decay time is lowered when the gate closes.
RV-7 Digital Reverb The selected reverb algorithm can be tweaked using the parameters on the device panel: |Parameter Size Reverb adds ambience and creates a space effect. Normally, reverb simulates some kind of acoustic environment such as a room or a hall, but you could also use it as a special effect. D The Reverb device can be used as a send effect or an insert effect. If several devices uses the same type of reverb, you should connect the reverb as a send effect, to conserve computer power.
DDL-1 Digital Delay Line CV Inputs The following CV inputs are available on the back panel of the device: D Pan CV. This allows you to control the panning of the delay signal. Connect an LFO to this for moving delay effects, or use a Matrix pattern to simulate random delay panning. This is a mono delay (where the output can be panned in stereo) that can be synchronized to the song tempo. The delay can be used as a send effect or an insert effect. D Feedback CV.
D-11 Foldback Distortion The D-11 is a simple but effective distortion effect, capable of producing anything from just a whisper soft touch of distortion, to complete thrashing. This effect is most often used as an insert effect. Parameters The distortion has the following parameters: |Parameter Amount Foldback |Description This controls the amount of distortion. The higher the value, the more distortion.
The ECF-42 filter section has the following parameters: |Parameter Mode Freq Res Env Amt Velocity |Description This button sets the desired filter mode. Three modes are available: 24dB/octave lowpass, 12dB/octave lowpass and 12dB/octave bandpass. This is the filter cutoff frequency. When using the ECF-42 in “static” mode (without triggering the envelope), this parameter adjusts the frequency content of the sound.
Pattern Controlled Filter - An Example This example shows how to use the ECF-42 and the Matrix to create pattern controlled filter effects. Proceed as follows: 1. Start with an empty Song. D By increasing the Vel. parameter, you determine how much the gate velocity should affect the filter frequency. ✪ If the filter effect isn’t very noticeable, try lowering the filter frequency, and raising the Res value. 2. Create a Mixer. 11.Set both the Env.Amt and Vel knobs on the ECF-42 to “0”. 3.
CF-101 Chorus/Flanger D Delay CV. Allows you to control the delay time from another device. This may give best results if you turn off the LFO modulation in the device (turn LFO Mod Amount to zero). For example, by controlling the delay parameter from a Matrix, you can create “stepped flanger” effects, in sync with the tempo. ✪ If you use the Delay CV input for “playing” the feedback tone, note that a higher delay value gives a lower pitch. D Rate CV.
PH-90 Phaser The PH-90 Phaser is a classic phaser effect with some special features for fine-tuning the sound. It can create the classic sweeping phaser sounds suitable for pads or guitars, but also more extreme effects if you like. The phaser is best used as an insert effect. Theory A phaser works by shifting portions of the audio signal out of phase, and then adding the processed signal back to the original one. This way, narrow bands of the frequency range (“notches”) are filtered out.
UN-16 Unison The UN-16 simulates the sound of several detuned voices playing the same notes simultaneously. The voices are individually slightly delayed and also pitch modulated by low frequency noise. This produces a rich chorus effect with the voices spread across the stereo field (given that stereo outputs are used). The UN-16 can be used as an insert effect or a send effect. Parameters |Parameter Voice Count Detune Dry/Wet |Description This switch sets the number of voices for the effect; 4. 8 or 16.
PEQ-2 Two Band Parametric EQ CV Inputs The following CV inputs are available on the back panel of the device: D Freq 1 CV. Allows you to control the frequency of EQ A from another device, creating subtle or dramatic EQ sweeps depending on the Q and Gain settings. D Freq 2 CV. Allows you to control the frequency of EQ B in the same way. While there is a simple two-band shelving equalizer available for each channel in the mixer, the PEQ-2 gives you much more precise control over the tone color.
Spider Audio Merger & Splitter Practical uses of merging audio There are many practical uses of merging audio signals together, for example: D Process several audio signals with the same insert effect(s). Perhaps you want to process certain channels in a mix with the same compressor, or use one ECF-42 to filter a group of instruments in a mix. You can also set up a chain of insert effects and process the merged signals. D Sub-grouping signals.
Spider CV Merger & Splitter For instance, merging Note CV and Gate CV from a Matrix does not make much sense if you want to use Matrix to play melodic patterns via the Sequencer Control inputs of an instrument device. There would only be one merged output whereas the instrument device would need a separate Gate and Note CV signal to work properly. Practical uses of merging CV The practical applications of merging CV are perhaps less obvious compared to splitting CV.
3. Now create a Spider CV and a second Matrix device and connect them as in the picture below. 6. Set the Curve type switch to “Bipolar” on the back of the second Matrix (Matrix 2). 7. Flip the rack around so that the front panels are showing, and make the following settings for the “Matrix 2”: • Set the number of steps to “1”. • Set the Curve/Keys switch to “Curve”. 8. Adjust the Matrix 2 curve for step 1 (the only step used) so that it is in the middle of the bipolar curve as the picture shows.
Splitting CV Two CV Split Inputs (A & B). Each of the two Split inputs provide four Split outputs. The lower right Split outputs will produce an inverted CV signal. On the right half of the back panel you will find two split inputs “A” and “B”, each with four output connectors. The signal connected to a Split input will be output by all four corresponding outputs, where one is inverted.
252 THE EFFECT DEVICES
23 D Menu and Dialog Reference
Reason Menu (Mac OS X) File Menu About Reason New This menu item opens up a dialog that informs you about the version of the program and the people behind it. When you select this, a new, empty song appears. The exact contents of this song is determined by your Preferences settings (see page 268). Preferences Open... This menu item opens up the Preferences dialog. See page 268 for detailed descriptions of the options in this dialog.
Song Information... To remove the splash picture from the song, click the cross button. Author’s Web Page Allows you to specify your web site. The user can go directly to your site by clicking the Browser button to the right (provided there is a working Internet connection). Author’s Email This is where you specify your E-mail address, if you want other Reason users to send you their comments, etc. Publish Song... If you want to make your songs available to the public, e.g.
Song Self-contain Settings... “Un-self-containing” a Song If you have opened a song that is more or less self-contained (i.e. contains one or several sounds embedded in the song file), you may want to extract these sounds and make the song refer to them on disk as usual. 1. Locate the sounds you want to extract from the song file, and deactivate their checkboxes (or click Uncheck All). 2. Click OK to close the dialog.
Export MIDI File... Reason can export standard MIDI files (SMF). This allows you to transfer MIDI data from Reason to other applications. 1. Set the End (E) marker at where you want the MIDI file to end. The MIDI file will contain all events on all tracks from the start of the song to the End marker. 2. Select “Export MIDI File” from the File menu. 3. In the file dialog that appears, specify a name and location for the file. Under Windows, the file will automatically get the extension “.mid”.
Export REX as MIDI File... If you have imported a REX file into a Dr. Rex device and wish to play back the loop via MIDI (typically from another sequencer), proceed as follows: 1. Select the Dr. Rex device in the rack. 2. Select “Export REX as MIDI File...” from the File menu. 3. Save the MIDI File to disk. Edit Menu Undo Virtually all actions in Reason can be undone.
Sequencer events and groups Initialize Patch D When you Paste sequencer events and groups, they appear at the song position, on their original track(s). If you have deleted the original tracks, or if you Paste into another Reason song document, new tracks will be created as needed. Sometimes it is useful to start with a “clean slate” when creating a synth sound, a drum kit or a sampler patch. This is done by selecting Initialize Patch from the device context menu or Edit menu.
Browse ReCycle/REX Files... NN-XT This menu item is used to add a loop to the selected Dr.Rex device. Files to be imported can be in REX, RCY or REX2 file format. This menu item is used for adding one or more sample(s) to a key map in the NN-XT: Loading a new REX file will replace any currently loaded file. Browse Samples... 1. Make sure the Remote Editor panel is folded out, by clicking the small arrow in the bottom left corner.
Mapping Samples Without Root Key or Tuning Information Split Key Zone Some samples may not have any information about root key or tuning stored in the file (nor indicated in the file name). If this is the case, you can still make use of the Automap function: This menu item is used for the NN-19 Sampler. It splits the currently selected key zone in the middle. The new zone is the upper half of the split, and is empty. The dividing point has a “handle” above it. 1.
Copy Pattern to Track Randomize Pattern This menu item is used for the Redrum drum machine and Matrix pattern sequencer. It converts the selected pattern to notes on a sequencer track. Proceed as follows: This menu item is used for the Redrum and Matrix. 1. Select a sequencer track connected to the Redrum/Matrix. 2. Set the left and right locators to the desired range or length. If the range set is longer than the pattern(s), the data will be repeated to fit the range. 3.
Group Convert Pattern Track to Notes This puts a selection of events in the Arrange view into a Group: If you have recorded or drawn pattern changes on a Redrum or Matrix track, you can have the whole track converted to notes, in the following way: 1. Select the events that you want to Group. It doesn’t matter which lanes you select - all notes, pattern changes and controllers within the area will be included in the Group.
Clear Automation Change Events... To remove all automation for a controller, select “Clear Automation” from the Edit menu. This requires that the controller subtrack has focus. Click in the subtrack if you are uncertain. Selecting “Clear Automation” will remove all controller values from the subtrack, and the text “Not Automated” will be shown. Quantize Notes In Reason, you use the Quantize function in the following way: 1. Select the notes you want to quantize.
Velocity Adjusts the velocity of the selected notes. D The Add field lets you add a fixed amount to the velocity values. To subtract, enter a negative amount. Note that the possible velocity range is 0127. Adding an amount to a note with velocity 127 will not make any difference. D The Scale field allows you to scale velocities by a percentage factor. Scaling with a factor above 100% will increase the velocity values, but also make the difference between soft and hard notes bigger.
Delete Zones Group Selected Zones This menu item is used with the NN-XT sampler. Selecting this option will remove both the selected zones, and any samples they may contain. This menu item is used with the NN-XT sampler. It lets you put any number of selected zones together in a group. Grouping zones is good for two things: Select All Zones This menu item is used with the NN-XT sampler. This option will automatically select all zones in a key map.
Automap Zones Note the following important points: This menu item is used with the NN-XT sampler. The automap function can be used as a quick way of creating a key map, or as a good starting point for further adjustments of a key map. Automap works under the assumption that you intend to create a key map for a complete instrument, for example a number of samples of a piano, all at different pitches. D This operation will not work if both zones have full velocity ranges.
Copy/Paste Remote Override Mappings Show Parameter Value Tool Tip These menu commands are available when Remote Override Edit Mode has been activated on the Options menu. You can use them to copy override mappings from one device and paste them into a device of the same type. If the device you paste into is in the same song as the device you copied from, the operation will replace the existing overrides.
CPU Usage Limit Preferences – Audio Reason is a powerful program but also demanding in terms of processing power. The more devices you add to your rack, the more of your computer’s resources it will use. Furthermore, as you use more and more of your computer resources for creating audio, less will be available for the user interface, resulting in slower performance in terms of graphics and overall responsiveness.
D If there is no specific ASIO driver, you should select the Direct Sound driver for the audio hardware. This makes Reason communicate with the hardware via Direct Sound (a part of the Microsoft DirectX package). For this to be possible, you need to have DirectX installed on your computer, and there must be a Direct Sound driver for the audio hardware. Clock Source (ASIO Only) D If the audio hardware doesn’t support Direct Sound (i.e.
D If you are running Reason under Windows using a Direct Sound or MME driver, or Mac OS X using a Built-in audio driver, you can adjust the latency value by using the Buffer Size slider or the up/down arrow buttons. The highest and lowest possible values depend on the driver. D If you are using an ASIO driver specifically written for the audio hardware, you can in most cases make settings for the hardware by clicking the Control Panel button.
Preferences – Control Surfaces and Keyboards Adding a Control Surface device To add a control surface device, click the “Add” button in the dialog to open the Control Surfaces dialog, and proceed as follows: 1. Select the manufacturer of your control surface from the Manufacturer popup menu. If you can’t find it on the menu, see below. 2. Select the model of your control surface from the Model pop-up menu. If you can’t find it on the menu, see below. 3.
D Depending on the surface model, alerts may appear, reminding you to select a specific preset etc. In some cases, Reason can restore a preset in the control surface to factory settings for you - you are then informed of this. Finally you return to the Control Surfaces Preferences page, where your added surface is now listed. About the master keyboard One of the control surfaces can be the master keyboard.
Create Menu Options Menu Sequencer Track Internal Sync/MIDI Clock Sync/ReWire Sync Tracks are automatically created when you create instrument devices in the rack. Still, you may need to create additional tracks (e.g. for recording effect device automation): These three options are used to specify which type of tempo synchronization you prefer: D To create a new sequencer track, pull down the Create menu and select Sequencer Track.
D A rotating yellow rectangle appears, indicating Learn mode. Press the key (or key combination) you wish to use to remote control the parameter. The rotating stops and the rectangle will now display the key or key combination you used. 5. Click “OK” to exit the dialog. The selected parameter is now tagged with a lightning bolt symbol, indicating Remote Override mapping. 6. To exit Remote Override Edit mode, deselect it from the Options menu. You do not always have to use this method - see below.
D Locked devices can use remote overrides, just like unlocked devices. In other words, even if a device is locked to a control surface, some parameters could be overridden so they are controlled by another control surface, or some controls on the locked surface could be override-mapped to another device. ! See the Remote Control chapter for more details. Toggle Rack Front/Rear This switches the rack between the front and rear views. A quicker way to do this is to press [Tab].
Help/Contacts Menu Contents (Windows only) About Reason (Windows only) This menu item opens up a dialog that informs you about the version of the program and the people behind it. This menu item opens up the Help system with the Contents tab selected. Index (Windows only) This menu item opens up the Help system with the Index tab selected. Search (Windows only) This menu item opens up the Help system with the Search tab selected.
278 MENU AND DIALOG REFERENCE
24 D About Audio on Computers
General Information Audio Quality The general audio quality in a computer based synthesizer system depends on two things: D The quality of the software calculating the audio. About Latency On any personal computer system, there is a delay between the moment you “ask” the hardware to play a sound and when you actually hear it. This delay is referred to as the “latency” of the design. This imposes a problem for any system where you want real time user input to affect the sound.
ReWire and Latency When you run Reason as a ReWire slave, it is the other program, the Rewire master that is responsible for actually creating the audio and playing it back via the audio card. This means that it is the master program’s latency you will get as a final result.
Via an ASIO Driver Most audio cards designed for serious music and audio use come with ASIO drivers. • Using a card via an ASIO driver can give latency figures as low as 3ms. • When you use ASIO, only one program at a time can access the card. ✪ More information about ASIO can be found on Steinberg Media Technologies’ web pages, www.steinberg.net. Intel vs.
25 D MIDI Implementation
About This Chapter This chapter briefly describes the way various MIDI messages are implemented in Reason. It is mainly intended for those who control the rack directly via MIDI, but direct MIDI input can also be put to good use when recording into the sequencer. • The basics on how to send MIDI to Reason is described on page 40. • How to use control surfaces to remote control Reason devices and functions is described in Remote chapter. This chapter only deals with the details on various MIDI messages.
D Index
A ADSR 115 Alter Notes 30, 265 Pattern (Matrix) 200 Pattern (Redrum) 102 Arrange View 12 ASIO Control Panel 64 ASIO Driver 282 Attach Sequencer Window 19, 276 Audio Out Clipping 72 Audio Outputs (Hardware Interface) 74 Audio Quality 280 Automap Samples 146, 260 Automap Zones 171, 267 Automatic Quantize 29 Automation Clearing 24 Editing 22 Pattern Changes 8 Recording 7 Recording on multiple tracks 8 Resetting during recording 7 Showing and Hiding 22 Showing in Device Panels 268 Static Controller Value 6 AUX
Delete Unused Samples 144 Detach Sequencer Window 19, 276 DirectX Driver 281 Disconnect (Routing) 37 Distortion D-11 241 Scream 4 227 Dr.
Internet Options 277 K Key Lane 19 Key Maps NN-19 144 NN-XT 164 Key Zones NN-19 143 NN-XT 156 Keyboard Remote 48 Keys (Matrix) 196 L Lane buttons 18 Latency 64, 280 Latency Compensation 61 LFO Sync Dr.
O Open 254 Outputs (Hardware Interface) 74 Overdub/Replace 6 P P button 89 Parametric EQ 247 Paste 258 Paste Zones 165 Patch Cables 36 Patches Browsing 259 Exporting 257 Malström 124 Missing Sounds 259 NN-19 141 NN-XT 157 Redrum 99 RV7000 232 Scream 4 227 Subtractor 108 Pattern Changes Clearing 27 Converting patterns to notes 10 Editing 26 Recording 8 Pattern Controlled Filter 243 Pattern Shuffle 101 Patterns Matrix 197 Muting 102 Redrum 100 Transferring between songs 259 Pencil tool Controllers 23 Groups
Resizing Groups in the sequencer 16 Lanes in Edit View 18 Notes 20 Resolution (Audio) 257 Resolution (Redrum Pattern) 101 Reverb RV-7 239 RV7000 232 ReWire Latency 281 Setting Up 53 With ReBirth 204 REX files Loading in Dr.
Stereo Considerations 65 In Effect Devices 222 Subtractor About 108 External Modulation 120 Filter 112 Oscillators 108 Waveforms 109 Surface Locking 43 Sync About 60 Internal/MIDI Clock/ReWire 274 Latency 61 Setting Up 60 W Web Site 255 Windows MME Driver 281 T Tempo 71 Tie switch 199 Time Signature 71 To Track 9, 188 Toggle Rack Front/Rear 276 Tool Tips 268 Tracks Creating 7, 274 Cut, Copy and Paste 13 Duplicating 12 Viewing 12 Transport Panel 70 Transpose 30, 264 Trigger buttons (Redrum) 99 Trim knobs 3
292 INDEX
