Tutorial Reason 3

make music now Reason 3’s new features

COMBINATOR As its name suggests, Combinator combines existing Devices into logical blocks

MCLASS EQUALIZER A new parametric equaliser that fits in nicely alongside the existing PEQ-2 equaliser MCLASS STEREO IMAGER Although aimed squarely at the mastering process, this Device is useful for other tasks too…

MCLASS COMPRESSOR Reason finally has a compressor to match the quality of its other Devices

MCLASS MAXIMISER Use this Device to raise the overall level of your track during the mastering process

LINE MIXER A new smaller, simplified mixer that’s particularly useful for mixing signals within a Combinator

SEQUENCER IMPROVEMENTS Tracks can now be armed for recording, muted or soloed with a single click of the mouse

On the DVD VIDEO TUTORIALS To see Reason 3 in all its glory, load up the cover DVDROM, on which you'll find four videos to accompany our walkthroughs.

Reason 3: the new stuff! We lift the tutorial lid off Propellerhead’s latest update and find out what it can do for you and your music…

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t first glance, the list of new features in Reason 3 may seem a little sparse for a major new software version. However, there’s actually an impressive amount of depth to several of the additions, and over the course of this tutorial we’re going to illustrate and unlock some of the software’s freshly added potential. We’ll start off by taking a detailed look at the new Combinator Device and

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showing you how to make a tape delay emulation that can be dropped straight into an existing project with just a couple of mouse clicks. Then we’ll zoom in on the powerful new Mastering Suite – actually a Combinator patch itself, as it happens. Some of Reason’s new MClass effects units are useful outside of the Mastering Suite as well. The EQ and Compressor are two prime examples: we’ll spend some time finding out how

they can be used to treat and enhance drum sounds for maximum impact. Probably the most significant user interface improvement is the new browser window, which is used for selecting files and loading patches. We’ll show you how to use it most effectively. Finally, we’ll look at the much improved control surface support and show you how to properly set up your hardware in Reason. So, without further ado, let's get crackin'… cm

LEVEL METERS Basic input and output level meters for the Combinator unit are provided here

Reason 3’s new features make music Q&A focus now PATCH CONTROLS Combinator patches can be selected, opened and saved using these standard patch buttons

The Combinator

ASSIGNABLE ROTARIES These rotary knobs can be assigned to any Device control within a Combinator patch, providing easy access at all times

VIEW BUTTONS These two buttons are used to show and hide the Device and Programmer areas to save screen space ASSIGNABLE BUTTONS These buttons can be used to control any on/off Device control within a Combinator patch, for easy bypassing

PROGRAMMER KEY MAPPING Key and velocity ranges can be set for individual instruments within a Combinator patch

PROGRAMMER MODULATION ROUTING The four rotaries and buttons are assigned functions using this matrix. Each button or knob can control several Device parameters

DEVICE AREA Devices are added to a Combinator in the same way as they’re added to the Rack. Added Devices appear in this area

STEP BY STEP Building a tape delay Combinator patch

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Start Reason and empty the Rack of all Devices, then add a Mixer 14:2. We’ll need a test sound source while building our tape delay, so select the Mixer and then add a Redrum to the Rack (Redrum should be auto-routed to the first mixer inputs). >>

Connect the Combinator input to the Send 1 output. Then set the Combinator’s output to the Send 1 return on the mixer (as shown). We’re creating a mono delay unit, so only the left channel needs connecting. Select the Combinator, then right-click within the Combinator Device area and select Create»Spider Audio Merger & Splitter. >>

Load an existing Redrum patch using the patch controls at the bottom left hand corner of the Redrum interface (or load a selection of your own samples). Use the builtin step sequencer to program a single snare hit at the beginning of each bar. >>

Connect the Combinator’s internal left input (labelled To Devices) to the Spider Audio Merger’s first input. Likewise, connect the Combinator’s internal left output to the Audio Splitter’s first output. Again, only the left channels need connecting. >>

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Hold down Shift to disable auto-routing and select Create»Combinator to add an empty Combinator to the Rack. Press the Show Devices button on the front panel (it should light up red) to make sure the Device area is visible. Collapse the Redrum interface to save space before switching to the back of the Rack by hitting the Tab key. >>

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Hold down Shift (to disable auto-routing) and add an instance of the DDL-1 digital delay line to the Combinator. Hold down Shift and connect the Audio Merger’s left output to the delay unit’s left input. >>

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make music now Reason 3’s new features

STEP BY STEP Building a tape delay Combinator patch (continued)

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Hold down Shift and add a Scream 4 Device to the Combinator. Connect the delay unit’s left output to the Scream 4’s left input. Then hold down Shift and add a Line Mixer to the Combinator patch. >>

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Enable the Scream 4’s EQ section (labelled Cut)) and reduce the Hi band slightly – this will produce the musically useful part of the tape delay’s sound; successive echoes sound more and more dull. >>

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Double-click the Rotary 1 label on Combinator’s front panel and type ‘Feedback’. Moving the knob on the Combinator’s front panel will now control the tape delay feedback amount, even when the delay itself is out of view. >>

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Connect the Scream 4’s left output to the first input channel of the Line Mixer, then connect the Line Mixer’s master output (left channel) to the Splitter’s left input. Connect the Splitter’s second output to the Merger’s second input (ie, within the same Audio Splitter/Merger unit). >>

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Now it’s time to set up the Devices we've cabled together. Flip round to the front of the Rack and turn the Line Mixer master output down to about 10 o’clock (this is the tape delay’s feedback control). Set the Scream 4’s distortion type to Tape and set the P1 and P2 distortion parameters to 12 o’clock. >>

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Reduce the DDL-1’s feedback to 0, since we’ve created our own feedback path to continue the delay effect after the first echo. Now it’s time to hear our tape delay in action: start Redrum playing and raise the mixer’s Channel 1 Aux 1 setting to about 3 o’clock. >>

Now we’ll set up the Combinator’s front panel to do something useful. Click Show Programmer to open the Programmer panel. Select Line Mixer in the list in the Key Mapping section over on the left. Click in the Target column for Rotary 1 in the Modulation Routing section on the right and select Master Level (as shown). >>

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Repeat the assignment process, assigning Rotary 2 to the Scream 4’s P1 parameter (tape speed), Rotary 3 as the Scream 4’s P2 parameter (compression) and Rotary 4 as it’s Hi cut parameter. >>

Finally, click the disk icon on the Combinator’s front panel to save the finished patch.

Reason 3’s new features make music Q&A focus now

The Browser

LOCATIONS Shortcuts to main folders and ReFills

SEARCH CONTROLS Entire folders can now be searched quickly and easily using the new search controls

CURRENT LOCATION Displays the current folder or ReFill in use. History forward/back buttons are provided to aid file system navigation

FILE FILTER Use this to show instrument or effect presets only

FAVOURITES This list can be used to quickly select frequently used folders

FILE DETAILS Provides information on the content and type of the selected file

INFO Provides information on the current ReFill being accessed

AUDITION CONTROLS Sounds can be automatically auditioned, and it’s now possible to step through them one at a time

STEP BY STEP Using the Mastering Suite

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Start Reason – if it’s not already running – and load a song (one of the demo songs will do if you don’t have anything to hand). Disable auto-routing by holding down Shift and insert a Combinator between the Mixer and the Hardware Interface, as shown. Switch to the front of the Rack and load the Mastering Suite Combinator patch. >>

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Make sure the Devices inside the Combinator are visible. Switch all the MClass processors to Bypass, except the equaliser. Play the track and spend some time getting the tonal balance right before moving on. Try a small boost at around 4kHz to add some presence, but keep it subtle and keep the Q factor low. Next, switch in the Stereo Imager and use the Hi band processor to subtly widen the stereo field. >>

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Switch in the compressor and enable the Soft knee option. Setup the Threshold and Ratio to avoid compressing all of the time; if you don’t, you’ll lose clarity and the music will sound squashed. Raise the Attack to prevent the compressor from taking the life out of the drums. Finally, switch in the maximiser and adjust it carefully. Resist the temptation to crank up the input gain!

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make music now Reason 3’s new features

STEP BY STEP A touch of MClass

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Let’s check out the capabilities of the new MClass processors outside of a mastering context. Start by creating a new project and clearing the Rack. Add a Mixer to the Rack, followed by a Redrum. >>

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Load one of the preset drum kits (we recommend Groovemasters Rock Kit 2) or a set of your own individual samples – obviously you’ll need to experiment with the suggested compression and EQ settings given later on if you choose to do the latter. >>

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Use Redrum to program a basic drum pattern; it doesn’t need to be anything fancy, just enough to help you get a feel for compression and EQ adjustments in their correct context. >>

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Flip round to the back of the Rack and add an instance of the MClass Compressor. Since we want to process the bass drum separately (rather than all of the drums together) connect it between the Redrum’s bass drum output and a spare mixer channel. >>

Set up the compressor to bring out the attack of the bass drum and thicken the body. Try the following values and then experiment on your own: Input Gain – 4dB; Threshold – -27.5dB; Compression Ratio – 4:1; Attack Time – 25ms; Release Time – 200ms (low enough to let the body come through). >>

The bass drum should sound quite a bit fatter now, but some adjustments may be necessary to make it fit properly in the wider context of a mix. Insert an MClass Equalizer between the compressor and the mixer. We’re going to compress first and apply EQ afterwards – otherwise, the compressor could partially undo our adjustments. >>

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Again, here are some starting values, but be sure to experiment – especially if you’re using your own drum samples. Lo Shelf Frequency – 30Hz (cutting below 30Hz will free up some headroom and help to prevent a muddy or ‘boomy’ mix); Gain – -18.3dB; Q – 0.5. >>

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Likewise, set up either of the two parametric EQ sections (Param 1 or Param 2) as follows: Frequency – 2.3kHz; Gain – 1.7dB; Q – 4.1. >>

Now for the snare drum. Wire a new MClass compressor between the the Redrum’s snare drum output (Channel 2 in the case of the Groovemasters kit) and a spare Mixer channel. Note that connecting individual drum outputs in this way will remove them from Redrum’s master output. >>

Reason 3’s new features make music Q&A focus now

STEP BY STEP A touch of MClass (Continued)

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Bring out the attack in the snare drum and add some ‘snap’ with the following compressor settings: Input Gain – 2.4dB; Threshold – -20.7dB; Ratio – 4:1; Attack-Time – 70ms; Release Time – 50ms. >>

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Next, insert an MClass Equalizer between the output of the snare drum compressor and the next available Mixer channel. >>

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To increase the body and overall impact of the snare drum, try setting up one of the parametric EQ sections as follows: Frequency – 300Hz; Gain – 2.3dB; Q – 2. Unless you're going for an extreme effect, keep Q values low to give natural sounding adjustments.

STEP BY STEP Setting up a MIDI control surface

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In Reason 3, control surface support has radically changed for the better. Your controller should be set up during installation, but in case it isn’t – or you’ve added one since – here’s how to do it. Make sure the control surface is properly connected up – via USB or MIDI – and start Reason. Open the Preferences screen and switch to Control Surfaces and Keyboards page. >>

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Click the Auto-detect Surfaces button. Your control surface should be detected automatically and enabled for use with Reason. If you have a MIDI keyboard that you'd like to use as well, click Add. >>

Hands-on Control Back in cm78, we reviewed the new B-Control controllers from Behringer and gave them a healthy 9/10 rating. Since then, Behringer have released a number of firmware upgrades which improve the unit’s functionality and integration with various applications. The B-Control units are fully compatible with Reason 3, including support for the motorised faders found on the BCF2000. In fact, the level of integration within Reason is so impressive that we’ve decided to run a ‘hands-on’ QuickTime video (on the DVD-ROM) to show it off. Here’s a quick summary of what you can do with the BCF2000 control surface once you’ve got it set up (and you can expect similar results from other ‘full feedback’ surfaces too): • Control transport operations, including play, stop, return to start, record, fast forward and rewind. • Switch the control surface between units in the Rack, or

lock each B-control to a separate Device in the Rack if you have more than one. • Step through presets for instruments and effects Devices (the faders and indicators move to reflect new preset values).

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Select the keyboard manufacturer and model. If your model's not listed, choose . Type a name into the Name field and click the MIDI Input Find… button. Press a note on the keyboard to automatically detect the correct port. Click OK to dismiss the dialog. Your keyboard and control surface are now ready to rock.

7The Behringer B-Control units and Reason 3 are truly a match made in heaven

• Enable, disable or bypass any Device on-the-fly. • Control the main parameters of each instrument without having to do any programming or setup at all. • Hands-on control of the mixer, with level meters on the rotary indicator LEDs

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