Saying "Drum n' Bass" is practically as vague as saying Rock n' Roll. There's a world of difference between Jerry Lee Lewis and Gwar - even if they share some common heritage. Similarly, Liquid Drum n' Bass is a popular variant of the original Drum n' Bass styles coming out of the UK in the 90s. Liquid DnB fuses modern EDM production with the essence of classic DnB for an increasingly popular result.
Here, Ryan shows you how you can put together your own Liquid DnB drum sounds and perhaps most importantly, how you can tap into the Pro potential of Reason's mixer to get some seriously punchy drum sounds.
I own LOTS of hardware. I like hardware. But when you're programming patterns and loops in hardware, you generally find you're looking at a XOXOX style row of 16 triggers. If you stick to laying out triggers in groups of 16, it's fairly easy for things to get pretty stale and repetitive. I use a number of tricks to try and avoid this, and I wanted to see if they could be replicated in Reason. The first of these is using repeated patterns of differing lengths to create polyrhythms.
Let's start with a fairly simple pattern using the kick, clap and hihat:
The kick and clap here are playing a pattern that repeats itself every bar - that is every 16 steps (where a step is a 16th note).
Let's add another voice to the pattern, but instead of a pattern that repeats every 16 steps, lets add a shorter pattern that begins again after only 6 steps. We can create a clip on the sequencer track that's just 6 steps (six 16th notes) long.
Hear how - even though it's at the same tempo - it slides out of sync with the original kick and clap pattern?
So now we have two patterns running alongside each other; one that's a bar long and one that's just a little under half a bar. It'll be three bars before these two patterns catch up with each other and start in sync again.
Now let's add another voice. This time I'm using a pattern that's 15 steps long.
Now my pattern won't start to repeat itself until after an entire 15 bars.
Let's add a last voice, this time using a pattern that repeats itself every eighteen steps.
Lay this on top of the original pattern, and now we have a lilting, rolling pattern that, while still being perfectly in time, is varied in such a way that it will only repeat itself after 45 bars!
Try creating polyrhythms yourself by building patterns for Kong or the ReDrum using clips that don't all start and end in the same place. Experiment with different lengths, and then go back and edit the parts if you want - perhaps you want to delete two voices that are triggered at the same time, for example.
And by all means, take the piece I've been using for an example here and add your ideas in Reason or Take. Here it is in its entirety - all 45 bars of it!
By request, here's a picture of the grid for this pattern - I've coloured the different voices in using their clip colours, and added boxes at the beginning of the pattern to show where each clip starts and ends.
Paul Ortiz is a multi-instrumentalist, composer and producer from the UK. His solo instrumental project Chimp Spanner is widely considered to be at the core of the new wave of technical and progressive Metal, and has seen him tour Europe and North America. More recently his attention has turned to commercial sound design and library music composition for various clients across the world.
When you load up a brand new Reason song, what’s the very first thing you do?
I usually head straight for the device I've been using the least! There are so many great sound sources, it's easy to over-look them. Even with the stock devices there's still stuff to learn or new ways of using them to find. And that's not even counting all the third party ones I have. So yeah, I pick the instrument that needs the most love.
How do you use Reason in your music making? Do you have any examples of where you've used it?
Virtually all of my library music and sound design work at the moment is Reason, including a series of Kontakt instruments for trailer composers I'm working on. And it appears throughout my Chimp Spanner material; generally wherever I need some kind of soundscape or ambience, or super modulated/evolving sounds, I go straight to Reason. But fingers crossed, you'll be hearing Reason in a few adverts and trailers in the near future!
What’s the hardest thing about making music, what do you struggle with the most?
Over-thinking things, whether it's the actual music or the mix; you can spend hours working on a song but without really writing/creating. Lately I'm trying to work faster and more spontaneously. If I have an idea I just get it down, save it, catalogue it. The moment I start to dwell on the idea and over-complicate it, the "spark" is gone. I've been finding Blocks to be super helpful in that regard because once a section is done I just move on, and work on the next without constantly going back and fiddling.
Being a guitar player, do you have any go-to guitar rig presets in Reason or special tricks on nailing "that" sound?
Pre-tone shaping is where it's at, especially for low tuned or heavy guitar tones. I like to cut the lower frequencies and boost the high mids to really tighten things up. Scream 4 is good for this, or Blamsoft's DC-9.
What's the best music making tip you ever got?
Many years ago, a guy on a forum whose name I completely forgot gave me some feedback on a song, and was talking about the concept of the uncanny in music; making the listener feel like they know the song, even if they're not sure why/how. It's about leaving little signposts and recurring motifs, rhythms and phrases throughout. That's how I try to approach my writing. I guess it makes it more accessible, but it also naturally leads to more depth because you're constantly finding ways to reference the song within itself through mimicry, variation, all sorts!
You do a bit of sound design as well. Tell us a bit about your process there!
I'm a very "visual" kind of person, so when I'm making a sound effect I try to imagine what's making the sound; what space it occupies, how big it is, how it's moving or what it's doing. I find it helps me make decisions as to where to place emphasis, what kind of effects to use, etc. Sometimes it's a cool idea to just browse through concept art or watch trailers with the sound off and see what sound comes to mind. Or just coming up with a cool, descriptive or evocative name for the sound first can work too. I also try and keep things really clean/minimal. Not just for the sake of the mix but because large projects scare, confuse and frustrate me.
Do you have any production trick that you always use?
I love tape saturation effects, especially on low end stuff. Scream or Audiomatic is really good at this. I also like using ducking on my sends, so you'd send a bass to a reverb, but also to a compressor after the reverb so the effect stays subdued until the bass is silent. Stops things from getting too muddy.
What do you do when inspiration just isn't there?
I stop trying. Seriously there's nothing so frustrating as being surrounded by all the gear and software you could ever want and not being able to make a note with it. So I just do something else, which usually involves drinking tea and watching Star Trek, or sometimes just disconnecting completely and giving myself some silence to re-think what it is I'm trying to do.
What’s your three all-time favorite albums?
Ah! I don't know about all-time but Meshuggah "Nothing", Burial "Untrue" and In Flames "Reroute to Remain" - those albums will never get old!
The three most used devices in your Reason rack?
Thor, Antidote and Kong for sure. If I only had those three devices I think I'd be okay!
What motivates your creative ideas and creative activity?
An over-active imagination and the ability to enjoy my own company haha. But more than anything I just love to tinker and experiment and try new things out. I think I'd be doing it even if it wasn't my job. It's a great feeling to be able to take something from my mind and turn it into something that other people can enjoy!
Ever since those Portishead folks in Bristol found the magic that happens when you pitch a drum sample down and bath it in gloomy reverb, Trip Hop has been one of the most popular genres for people learning to make beats. When we got requests to cover Trip Hop in this tutorial series, we wondered what people were really asking for. Trip Hop is a sample-loop based genre that doesn't require too much production wizardry, if you don't' want it to... In this tutorial, however, we'll cover those basics but we'll also delve further into the sound design theory that lies behind those loops so that you can create your own custom Trip Hop sounds and beats.
At its most basic, a shimmer reverb is a pitch-shifted reverb tail in a feedback loop. If you’ve listened to much U2 since the mid-80s, then you’ll have heard it. While it does work particularly well on guitars, it can also be used to great effect on other instruments. Brian Eno, who is generally credited with inventing the effect, had been using it on pianos long before it was popularised by U2’s Edge.
Here's a simple piece, played using a tweaked Radical Pianos preset, played through a shimmer reverb patch I created in Reason:
I built the shimmer effect in the Reason rack with an RV7000 Reverb and a Polar Dual Pitch Shifter. Hold down the shift key when you add these two devices to your rack though, because we don't want to use the default routing here - we're going to do things a little differently.
Connect an FX Send from the Master Section to the input of the RV7000, but instead of sending the RV7000's output back to the FX Return on the Master Section, connect it to a Spider Audio Merger & Splitter. Send one pair of outputs from the Spider to the FX Return on the Master Section, and send another to the input of the Polar Pitch Shifter. Send the output from the Polar its own channel in the mixer.
Now that we've got the routing sorted out, let's start dialling in some settings. You're going to want a pretty evident reverb. I've used the Arena algorithm, and selected the largest size available. Crank up the diffusion to make everything as fuzzy as possible. Turn the decay *nearly* all the way up, but not quite. Do not be overly concerned with subtlety here, people. Really: go big or go bigger. If you want to start with a preset, then the EFX Kick Bomb patch is as good a place as any. Add a little pre-delay to stagger the beginning of the reverb tail.
For the Pitch shift part of the sound, set both shifters to a shift of a single octave (by all means experiment with different intervals, but an interval of an octave is your safest bet). Play with the feedback level of and delay of each shifter to suit. Dial back on the delay and feedback if you find things are sounding a little seasick. I've detuned the second shifter, panned it to one side, and delayed it slightly.
Because you're adding higher frequencies to the signal, then it doesn't hurt to engage the Polar's LPF - you can select the frequency to match your material.
The final step is feeding the pitch shifted reverb tail back on itself. This shifts the reverb tail in pitch again and again, making for the characteristic sound of the effect.
Because you have the pitch shifted reverb tail in its own mixer channel, you can feed it back through the reverb by activating the same FX return that is connected to the reverb inputs.
In the screenshot here, I'm using FX Send 5 to send the Distant Piano instrument to my RV7000 reverb. The pitch-shifted reverb tail from the Polar is routed to the Shimmer Return channel in the mixer. This channel in turn has FX Send 5 activated, which feeds the pitch-shifted reverb tail back into the RV7000.
It's a good idea to lower the fader for this channel before you hit play! The channel fader can be used to blend the amount of pitch-shifted reverb against the normal reverb, and you can use the mixer channel's filters, EQ and compressor to control and reign in the signal and keep things under control
Here's the same piece without the shimmer effect:
Download the attached Reason song file and try it out! Try your own material through the shimmer effect. Try different intervals of pitch shift. What's important to bear in mind is that the material you’re running through the effect has space to breathe, allowing the sound to develop and flex. If your material is too dense, you're going to end up with some kind of sparkly celestial soup.