Reason 7 brings tons of new improvements for the mixer, the rack and the sequencer. Integrate your instruments into Reason with MIDI out, audio slicing and audio quantize. Turn your recordings into REX loops. For mixing, we’re introducing a spectrum analyzer with visual EQ, group and parallel channels and workflow improvements. To inspire, Reason 7 imports audio from your music library and web formats. The enhanced Factory Sound Bank comes fully loaded with tons of new loops and drum kits. The new Audiomatic Retro Transformer effect adds a futuristic-vintage sound to any tracks.
SYNTHiC4TE | Jan 09 2013 | 387 MB
Over the next 12 videos our beginners guide to making music takes you step by step through Propellerheads groundbreaking software Reason 6.
Designed for beginners, this course is the perfect for those of you who want to get stuck into making dance music in Reason 6.
Tutorial 1 – Session Set Up
Tutorial 2 – Kong Drum Beat
Tutorial 3 – Dr. Rex Percussion
Tutorial 4 – Thor Bassline
Tutorial 5 – Pads
Tutorial 6 – FX
Tutorial 7 – Send & Return FX
Tutorial 8 – Basic Arangement Tools
Tutorial 9 – Audio Editing
Tutorial 10 – Automation
Tutorial 11 – Basic Mixing & Mastering
Tutorial 12 – Exporting
Watch entire series @ http://www.pyramindonline.com
Pyramind’s Chief Engineer, Steve Heithecker unlocks the classic but cool possibilities of CV control using various devices in Reason 5. In this part, Steve introduces CV control using the LFO and Filter Envelope in Reason’s Subtractor to modulate different synth parameters.
This tutorial covers more of the THEORY behind Reverb. In 15 minutes, you’ll fully understand what everything is and does.
Music Vlog http://www.youtube.com/user/bigSkapinsky
The Song is Called “Nice Droids” and is a collaboration between my brother, Vig Skapinsky and myself. (Together, we are the Skapinsky Brothers). Be Sure to follow him on his soundcloud:
So I’ve decided to make one huge tutorial to cover ALL of thor at ONCE. I’ve divided it up into three parts: Oscillators, Filters, and Everything Else. Hope this tutorial is helpful!
Learn how to use the Thor, in 45 Minutes!
Evolusic – Big Skapinsky: http://soundcloud.com/big-skapinsky/evolusic
Deal with it – Kill the Noise
Music Vlog http://www.youtube.com/user/bigSkapinsky
Users want more: that much is clear. But for years, Reason has famously (or infamously, depending on your point of view) resisted plug-in formats as a way of extending its production environment. At the moment, plug-ins have been dominate largely by Avid (RTAS), Apple (AU), and Steinberg (VST), as open source alternatives have failed to gain wide commercial traction. Those formats apparently didn’t make the cut with Reason.
That changed officially tonight. Reason’s rack is open to third parties, via something called Rack Extensions, previewed and available by summer for all Reason users. What you’re getting is not so much a new plug-in format as a new set of ideas about what a plug-in should be, in the form of a way of making add-ons for Reason alone.
The ability to get more out of Reason’s rack will clearly mean more for lovers of Reason, who at last will get some favorite sonic toys and tools without switching hosts. But how exactly do the specifics work? I spent some time with Ernst Nathorst-Böös, CEO of Propellerhead, as well as other developers working on the program to try to understand what it’s all about, and trying strange new green sauces known in Frankfurt. (Non mood-altering substances, mind. Just stuff you put on potatoes; don’t read too much into it. German cuisine.)
Before we get to that, though, here are two obvious take-aways for other plug-ins. To me, the benefit for the Reason community is pretty clear. But I think even for Propellerhead, the best thing that could happen here is if other plug-in formats follow the lead. Plug-in formats in general could work better than they do. It’s frustrating that they’ve made little progress since their introduction in regards to some obvious shortcomings, over a range of years. (Don’t believe me? Ask almost any plug-in developer, anywhere.) There are two obvious elements of the Propellerhead announcement that could mean something to competing plug-in formats (AU and VST in particular). Propellerhead aren’t the only ones complaining about them.
Note that given the nature of this being a fresh announcement, we haven’t yet fact-checked this with Propellerhead, and some statements here are interpretive or speculative. And, of course, some stuff is still in the works as this is developed. We’ll cover it as it evolves.
1. Plug-ins shouldn’t bring down hosts. One of the most important point Propellerhead made was widely misunderstood. The idea is this: when a plug-in crashes, the host shouldn’t crash with it. Now, the developers of Reason are obviously very proud of the stability of Reason, but that isn’t the issue here. However stable or instable your host is, the notion is that a plug-in shouldn’t be the reason that host crashes. Some effect you downloaded shouldn’t send your whole session toppling to the ground. Various forms of sandboxing can prevent this. We’ll have to test the Reason solution in practice, but in principal, I know of no reason every plug-in couldn’t support this basic notion. And even if you’ve seen Reason crash, as some commenters have said, the idea here is that a plug-in won’t be the cause.
2. Plug-in developers ought to be able to sell their stuff right in the host. This is a no-brainer. Set aside the obvious success story of Apple’s App Store on iOS and Mac. Plug-in developers have an impossible time these days just selling their work (or, indeed, even giving it away). It’s kind of bizarre that in the Internet age, no other host makes it easy to find and try out the work of other developers. (I was going to give an exception, but … there isn’t one. Seriously. What the heck?)
It’s pretty easy to make an extended argument for either of these ideas without talking about the Reason announcement. And I’m not trying to sell Reason here: believe me, I’d like to see other plug-in formats advance, too. Reason might want that, as well, since they rely on that same developer ecosystem. (Translation: they need devs making enough money to spend the time to keep making plug-ins … for anyone, not just Reason.)
As for Reason, here are some answers to frequent questions and comments from readers.
What will it cost? When can I get it? It’ll be free for existing Reason users, available by end of Q2 (beginning of summer, more or less).
Which add-ons will be available? So far, all we know is the developer list: KORG, SonicCharge (of uTonic and Synplant fame), Peff (Kurt Kurasaki), Softube, and Urs Heckmann (u-he). I also saw iZotope in the crowd, but make of that what you will. Props aren’t saying much more than that; other developers may be involved but aren’t yet public.
Will there be an SDK for any developer? I got a clear answer from Ernst on this: yes. Anyone will be able to download the SDK and make add-ons. There are a couple of caveats. First, you have to have an established business entity (in the EU, with a VAT ID / outside Europe, just some legal entity). Second, it’s just not ready yet. What we saw today was a technology preview, but Propellerhead says they’re eager to open this up to other developers; they’re just not quite prepared to handle that process yet. We don’t yet know to what extent the store you see in Reason will be curated or how, and I wonder if free add-ons might get around the need for a publishing business. What I can say is, there won’t be a developer fee.
Will hardware DSP be supported? Not at this time, or evidently in the forseeable future. Ernst emphasized that Propellerhead feels the current multi-core engine is sufficient. So, no Universal Audio add-ons — but remember, if you really want that, you can just ReWire Reason into a host.
Will you be able to make open-source plug-ins? This seems possible, given you can run DSP code. Your code is your own. I didn’t have time to get an official answer on this; I think it’ll be easier to look at once we can see the SDK.
Can you have UI elements? This came up in the press conference. There are some limitations in the “first release,” say Propellerhead. But there was an impressive demo from SonicCharge with a nice, animated visual display for Bitspeak; suffice to say, you won’t directly port VST UI code, but plug-in devs can work with what Propellerhead is giving them. It’s not so much having to deal with having a new plug-in format as having to work with some new UI requirements – and, quite frankly, that’s a potential issue with any plug-in that has any UI at all. On the upside:
Can you use Reason back-panel routing tools and the like? Yes. You can do all the CV routing and automation and other good stuff a conventional Reason device would have.
These are just more Combinator skins, yeah? No. We’re talking low-level DSP – which also means the DSP portion can be ported really fast. Propellerhead said Softube compiled in 15 minutes – for both Mac and Windows. Most of the time you’ll now wind up investing in UI. (That chuckling sound you hear from developers is because this is generally the case with plug-ins.)
But I can do this with existing plug-in formats. Not quite. There are several elements missing. First, Reason will have an integrated store for this stuff, which also means the ability to move between users, computers, and operating systems more seamlessly. Second, existing plug-ins don’t do things like true host-integrated undo. (Ernst gave the ugly example of tweaking a knob in a plug-in, hitting undo, and undoing the last step – inserting the plug-in – making the whole thing disappear.) Third, and perhaps most importantly, you don’t get sandboxing features in any current plug-in format, meaning a misbehaved plug-in can theoretically crash your whole host.
What’s in it for developers? A 70/30 split — developer/Props — just like Apple’s iOS and Mac stores. And it’s free to join the developer program, so there’s nothing to lose but, uh, time.
But this is just proprietary tech. What experience does Propellerhead have with third-party developers? Oh, just these little things called ReWire and (loop format) REX – which, along with Steinberg’s VST really led the way as far as third-party, cross-platform formats. (REX arguably had a lot to do with the rise of looping software.) Each of these have been used in multiple operating systems and hosts, and require dealing with developers. This is much bigger, of course.
How does this help me collaborate? Propellerhead brought this up with a selling point, so I followed up. Basically, the scenario is this: you’re sharing a track with another Reason user. They don’t have the Squidoodlidoo plug-in you purchased. They can use a 30-day demo, and try it for free. (Otherwise, they have to buy the plug-in, too, naturally.) Also, Ernst tells CDM that the store will maintain every back version of every plug-in. So if you need a previous version, you can revert to that on a set. Reason itself can still open, in version 6, files created in version 1.
So, why would I use an existing plug-in format, if this is The Future? Probably because there’s a host you like better than Reason, or you have one of the many plug-ins that won’t yet support this new thing. But you knew that, right? The payoff here is clearly if you like working in Reason and want more flexibility.
Why a new format? Actually, I’ll editorialize on this one. The kind of integration with Reason here just wouldn’t work with any plug-in format – we’re talking routing control voltage in and out via the back of the rack, integrated automation, and a UI that seamlessly blends with Reason. It’s not a question of formats; you have to write a plug-in for Reason or none of that is possible. As for why existing plug-in formats don’t do some of the things Reason’s tech here does, that’s easy. No one has actually proposed a plug-in format that does that, a handful of vendors control existing formats in wide commercial use (Apple, Steinberg, Avid), and efforts to build a new standard haven’t gotten traction. So, in the meantime, if you want these ideas in practice, you have to build them in your own software, which is what Reason has done. If you want these ideas elsewhere, let’s see it.
Got more questions? I’ll append answers here if I can find them. Expect more once we hear more on what’s actually available to add onto your rack (for users) and once we’re closer to having stuff ready for a wider audience of developers (for you coders). No images or video yet – I know we still owe you a look at the new iOS app – but that’ll get posted when ready.
More details, and ugly speculation about whether or not I was wearing pants, in the live event coverage:
Propellerhead’s product specialist James Bernard shows you how to use the Combinator to control multiple parameters on a Reason synth to give you quick access to complex sound manipulation. Assign a few knobs and buttons and you’ll be able to quickly morph your sounds on the fly in your music!
Download linke of James’ Combinators:
Balance and Reason Essentials: the music production package that has everything you need to create anything you want.
Sounds as good as it looks. Works as great as it feels. We’ve taken care of all the tedious stuff — calibration, setup, the works. You can concentrate on having fun instead: making music. With two channels of pristine audio recording, and with inputs for all your gear, your instruments are always connected and you are always ready to record.
Balance is perfectly integrated with Reason and Reason Essentials. With Clip Safe you’ll never lose a good take to distortion again. Big Meter lets you tune your guitar and set the levels from across the room. Use it with our software, other pro audio apps, or even iTunes – Balance works with everything.
* This video features music by Olivia Broadfield. To download “Like Snow” free, head over to Olivia’s website at www.oliviabroadfield.com
Kong Drum Patch Creation A to Z (Part 1)
Kong Drum Patch Creation A to Z (Part 2)
Kong Drum Patch Creation A to Z (Part 3)
Kong Drum Patch Creation A to Z (Part 4)
Kong Drum Patch Creation A to Z (Part 5)
The final installment of how to create a complete Kong Drum patch in Reason 5 / Record 1.5. In this chapter, I’ll go over Combinator programming and adding a few global effects for your drum sounds. Enjoy!
An introduction to Propellerhead ReCycle. ReCycle is a creative tool that helps you make the most of your grooves. In simple terms, ReCycle lets you do with sampled loops what you can do with beats programmed from individual drum sounds — like alter the tempo, or replace sounds and process them individually. A tool for quickly editing sampled parts, chopping up riffs, remixing and doing mash ups.
In this new video, Dubspot instructor and course designer Chris Petti offers a preview into Dubspot’s revamped Reason curriculum, and shows you how to create a Wavetable based synth lead sound from scratch using Propellerhead Reason’s powerful polysonic synthesizer Thor. In a step by step process, he explains and demonstrates how you can design unique bass sounds while exploring the creative possibilities of Reason’s versatile Thor; from a basic explanation of Wavetable synthesis and adding oscillators and combining wave sounds and effects to adding real-time controls and engaging Thor’s WaveShaper, which is usually used to alter and twist sounds for dramatic results. For further exploration of Propellerhead Reason’s Thor and Wavetable synthesis, be sure to check out our Reason & Record Certificate Program.
Dubspot instructor and Dubstep producer Chris Petti shows you how to make the infamous ‘dubstep whomp bass’ in Propellerhead Reason & Record. The sound which has been described by many as a processed voice or croaking sound, can be created using synthesizers and effects processors. Starting with a basic analog saw wave, which you can get by creating a Thor synthesizer with blank patches in the rack window, set the Keyboard Modes to mono and polyphony and release polyphony to 1. Go into the Show Programmer and set the Analog Osc octave knob to 3. Create a second Noise Osc and route it to Filter 1. With these two oscillators combine, you hear mixture of white noise and saw wave. Set the Low Pass Ladder Filter mode to 24 type 1, the frequency to 184 Hz, and the resonance to 93, and also zero-out the envelop amount (set to 0.) After these initial steps, create two Scream 4 Distortion units which should autoroute to Thor, follow Chris’ instruction on setting the Damage Control and Damage Type to get to fatten and warm up the sound, as well as shave off some harsh frequencies from the