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    The Power in Reason
    The Power in Reason
    The Power in Reason
    Ebook250 pages1 hour

    The Power in Reason

    By Andrew Eisele

    ()

    Read preview
    LanguageEnglish
    PublisherRowmanLittlefield
    Release dateDec 1, 2011
    ISBN9781458462602
    The Power in Reason

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      Book preview

      The Power in Reason - Andrew Eisele

      Copyright © 2012 by Andrew Eisele

      All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review.

      Published in 2012 by Hal Leonard Books

      An Imprint of Hal Leonard Corporation

      7777 West Bluemound Road

      Milwaukee, WI 53213

      Trade Book Division Editorial Offices

      33 Plymouth St., Montclair, NJ 07042

      Library of Congress Cataloging-in-Publication Data

      Eisele, Andrew.

      The power in Reason / by Andrew Eisele.

      p. cm. -(QuickPro series)

      1.Reason (Computer file) 2. Software synthesizers. 3. Software samplers. 4. Software sequencers. I. Title.

      ML74.4.R43E37 2011

      781.3’4536-dc23

      2011029767

      ISBN 978-1-45840-228-8

      www.halleonardbooks.com

      Contents

      Chapter 1: Setting Up Your Studio for Reason

      Prerequisites for Running Reason

      Computer

      Audio Interface

      MIDI Interface

      Monitors (Speakers)

      Headphones

      Controllers

      Microphone

      Microphone Accessories

      Other Accessories

      Setting Up Your Studio

      Selecting Your Room

      Room Treatment

      Room Correction

      Setting Up Your Mix Position

      Hooking Up Your Monitors

      Installing Drivers

      Installing Reason

      Setting Up Preferences

      General Preferences

      Built In

      Empty Rack

      Custom

      Open Last Song on Startup

      Audio Preferences

      Other Audio Options to Consider

      Keyboards and Control Surfaces

      Advanced MIDI

      Computer Keyboard

      Chapter 2: Reason Overview

      What Is MIDI?

      What Is Reason?

      Understanding the Layout

      The Rack

      Hardware Interface

      The Mixer

      Instruments and Effects

      The Sequencer

      Track List

      Arrangement/Edit Pane

      Tool Palette Tools

      Snap

      Inspector

      Transport

      Chapter 3: Getting Started

      Setting Preferences

      Create a New Session

      Save Your Session

      Create a Mixer

      Create a Dr. OctoRex Loop Player

      Working with the Dr. OctoRex Loop Player

      Using the Browse Patch Button

      Importing a Loop

      Create a Subtractor

      Browse Subtractor Patches

      Chapter 4: Recording

      Selecting a Track

      The Metronome

      Recording MIDI

      Recording Patterns

      Copy Loop to Track

      Chapter 5: Editing MIDI

      Key Editor

      Sequencer Tools

      Velocity

      Slice Editor

      Chapter 6: The Reason Devices

      Instruments

      Synthesizers

      Digital Samplers

      Drum Machines

      Effects Processors

      Signal Processors

      Time-Based Effects

      Filter Effects

      M-Class Effects

      Utility Devices

      Merger and Splitter

      Pattern Generators

      Reason Rebirth Input Machine

      Mixers

      The Combinator

      Chapter 7: The Combinator

      The Combinator

      Exploring Combinator Presets

      Layers

      Show Devices

      Show Programmer

      Key Mapping

      Note Data

      Receive Notes

      Performance Controllers

      Modulation Routing

      Splits

      Song Starters

      Chapter 8: Pattern Sequencing

      The Concept

      The Matrix Pattern Sequencer

      The Pattern Section

      Types of CV Data

      Matrix Sequencer Programming

      Note CV and Gate Programming

      Curve CV Programming

      Recording Patterns to the Sequencer Window

      Recording in Real Time

      Drawing Patterns

      Convert Pattern Automation to Notes

      The RPG-8 Monophonic Arpeggiator

      The RBG-8 Interface

      MIDI-to-CV Converter

      Velocity

      Hold

      Octave Shift

      Arpeggiator

      Mode

      Octave

      Insert

      Rate

      Gate Length

      Single Note Repeat

      Pattern

      Pattern Editor

      Steps + or –

      Shuffle

      Using the RPG-8

      Edit Menu Options for Pattern Editor

      Shift Pattern Left or Right

      Randomize Pattern

      Alter Pattern

      Invert Pattern

      Arpeggiator Notes to Track

      Conclusion

      Chapter 9: Creating an Arrangement

      Before You Begin

      The Setup

      Setting the Mastering Suite

      Creating a Drum Track

      Copy Pattern to Track

      Recording Bass Line A

      Recording Bass Line B

      Creating Layers

      Using the Tool Window

      Organization

      Arranging

      Intro

      Breakdown

      Adding Percussion

      Outro

      Ear Candy

      Chapter 10: The Art and Science of Mixing

      Before You Begin Mixing

      Understanding the Mixer

      Channel Strip

      Master Section

      Gain Stage

      The Static Mix

      Drums

      Bass

      Synthesizers

      Understanding Sound

      Adding Effects

      EQ

      Compression

      Reverbs, Delays, and Auxiliary Tracks

      Using Sends from the ReDrum

      Sweetening with Aux Sends

      Chapter 11: Automation

      What Is Automation?

      Getting Started with Automation

      Recording Automation

      Editing Automation

      Right-Clicking to Create Automation Lane

      Deleting Automation

      Chapter 12: Finalizing and Exporting

      What Is Mastering?

      Using the M-Class Mastering Suite Combi

      Setting up the M-Class Mastering Suite

      Engaging the Big Meter

      Activating the Components and Setting Levels

      Exporting your Song

      End of Song Marker

      Export Song

      Export

      Appendix: The DVD-ROM

      Chapter 1

      Setting Up Your Studio for Reason

      Before diving into the tutorials that will instruct you on the basics, let’s first have a look at the system requirements for running Reason. I’ve also compiled some information with regard to the kind of equipment you may wish to consider purchasing to get the most out of your computer-based studio. These recommendations are based on my own personal experience, so by all means, do your own research and, if possible, check out the product before purchasing. Most major music retailers will have this type of gear available and often have showrooms in which you can test out products. Also make sure the store from which you are purchasing has a decent return policy in the event you are unsatisfied with your decision.

      Prerequisites for Running Reason

      To effectively run Reason you will need a computer that meets the following minimum requirements.

      Computer

      Mac OS X

      • Intel Mac (multiple cores highly recommended)

      • 1 GB RAM or more

      • DVD drive

      • Mac OS X 10.4 or later

      • 2 GB free hard disk space

      • Monitor with 1024x768 resolution or larger

      • Core Audio compliant audio interface or built-in audio hardware

      • A MIDI interface and a MIDI keyboard recommended

      Windows

      • Intel Pentium 4/AMD Athlon or better

      • 1GB RAM

      • DVD drive

      • Windows XP SP3, Vista, or Windows 7

      • 2 GB free hard disk space

      • Monitor with 1024x768 resolution or larger

      • A 16-bit Windows-compatible audio card, preferably with an ASIO driver

      • A MIDI interface and a MIDI keyboard recommended

      Audio Interface

      It is possible to run Reason with the built-in sound card that comes with your computer; however, it is recommended that you invest in a proper audio interface, as this will allow your computer to perform better when recording and playing back audio. It will also alleviate much of the headaches associated with working with subpar equipment. You are looking for an audio interface that meets the demands of digital audio. Audio interfaces that are designed for gaming are not always adequate. Luckily, there are a number of low-cost options on the market, so with a little effort you should be able to easily find something suitable.

      FireWire

      FireWire is a technology that allows for fast data throughput and greater performance. My favorite low-cost interface is the Apogee Duet. It features two microphone inputs, two line inputs, two line outputs, and MIDI I/O (input and output). It also features two high-quality microphone preamps. This unit usually sells for just under $500 brand new. It’s the best bang for the buck as there’s really nothing else of this quality in this price rage. Apogee has just released the Duet 2, so you could also look for sales on the original.

      Other manufacturers of FireWire interfaces are MOTU, M-Audio, PreSonus, RME Hammerfall, Focusrite, and TC Electronics.

      USB

      USB stands for universal serial bus and is the most popular connection for computers today. There are a number of USB audio interfaces on the market, but I highly recommend using an interface with USB 2 or higher as the data through put is much faster (on par with or faster than FireWire). Specifically I recommend the Apogee Duet 2, as the sound quality is still superior to anything in its price range.

      Other manufacturers of USB interfaces are MOTU, M-Audio, PreSonus, RME Hammerfall, Focusrite, TC Electronics, Native Instruments, Avid/Digidesign, Mackie, and Alesis.

      MIDI Interface

      A MIDI interface is usually a USB device with one or more inputs and outputs, which allows for the connection of MIDI equipment such as keyboards and synthesizers. Fortunately, most audio interfaces have built-in MIDI interfaces. There are also MIDI controllers that have built-in MIDI interfaces and connect directly to your computer via USB.

      MOTU, Cakewalk, Roland, Midisport, and M-Audio are popular manufacturers of MIDI interfaces.

      Monitors (Speakers)

      A studio monitor is designed to give you an accurate representation of your music and is often calibrated to have a flat frequency response. It is possible to use regular hi-fi audio speakers or bookshelf speakers from your home stereo, but more often than not, the consumer speakers are designed to make the music sound better with the use of digital processing. This is fine if you are just listening to music. For example, commercially released CDs should sound great on these systems. However, if you are actively mixing a song, this playback system is not ideal as, due to the calibration, it will fool you and your mixing won’t translate to other playback systems. Your music might sound fine on your home stereo, but listening to it in your car or via a club system, you’ll discover that your mixes often won’t sound the same.

      There are two types of studio monitors, passive and active.

      Passive

      Passive monitors are usually a little cheaper, but they require the use of an audio amplifier, which is

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