Artist stories

Artist Feature: Key Wane

Posted July 17, 2017, 8:02 a.m.

Artist Feature: Key Wane - Beyoncé, Drake, Big Sean

It would be easy to forget when looking at his album credits that Key Wane is just 27 years old. He has the producer/artist roster some work decades to rack up. In fact Key Wane seems to have a knack for not just working with A-List artists at the top of their game, but providing them with hit single after hit single.

But with all that success and more platinum records than he even has time to hang on his walls right now, Key Wane is staying humble, hungry and active. We caught up with him to talk shop and hear his story.

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Artist stories

Music Talk: ZETA

Posted July 7, 2017, 8:38 a.m.

ZETA is a collaboration between Paul Ortiz (Chimp Spanner), Daniel Tompkins (TesseracT) and Katie Jackson. The UK artists seek to push their own creative boundaries by exploring epic soundscapes that intertwine with stunning visuals.

This unique project fuses the retro synth heavy decade of the 80s with futuristic and breathtaking imagery, bringing past and future together in a Cyberpunk-esque package. With a huge span of influences ranging from metal, future garage, retrowave, prog, classical and various game and film soundtracks, their music embraces the sounds of electronica, but with textures and layers inspired by the whole musical spectrum.

We had a chat with Paul about creating music for ZETA and how Reason plays a big role in the creative process.

Tell us a bit about how ZETA came about and what your intention was when launching the project!

I guess it kinda formed by accident! So I'd known our singer Dan for a while through the Progressive Metal scene - I was busy with my project Chimp Spanner and he sings for TesseracT. We'd always planned on working together but just never got around to it. It wasn't until I shared a song of my partner Katie's that he approached me, thinking it was a song of mine. After I explained the mixup we decided that it'd be awesome to all work together and, here we are! Originally we'd intended to make a futuristic/chill kind of album, and then for a while it was all-out Synthwave, and then it naturally settled somewhere in the middle. I think it works because we all have a shared love of influences old and new, ranging from Tears for Fears, George Michael and Vangelis to Ghost in the Shell, Future Garage, sci-fi games and all of that.


Being an (almost all) electronic album, what was your approach on producing the album, as opposed to any guitar centered albums you've done previously?

Well the workflow was very different for me. I'm used to just writing on my own, instrumentally. With Zeta what'd usually happen is Katie would give me a MIDI file and a demo mixdown from Cubase. I'd listen a couple of times for reference and then dump the MIDI in Reason and basically start from scratch, then embellish with guitars or add new sections, chord changes, etc. So I guess it was more like re-mixing than anything. Then we'd send it off to Dan to do his thing, get the stems back and edit them in Reason, then figure out what needed to stay or go in the mix to make them fit. So yeah; for someone who's used to doing everything all at once it was a very different experience to bounce the songs around between three people. But it seems to have worked well. Of course some songs I wrote directly in Reason from start to finish but in either case the focus was on drums and bass. I found that once I nailed the rhythm section everything else fell into place, which really isn't too dissimilar to how I approach guitar music.

I've accumulated so many REs over the years that I had a device for just about every job, and where I didn't, I just made one myself in the Combinator.


How did Reason help you creatively when writing music for the album?

It's just fun! We tried Cubase at first; Silent Waves is actually the only track not made in Reason, and it would've been if I had been able to find the project. But I just wasn't happy with the sounds I was getting. Everything was kind of "cold", and I found the environment kinda taxing to work in, especially when it comes to automation. So we made the decision early on to switch. With Reason it felt like I was playing with a bunch of cool toys rather than working. I've accumulated so many REs over the years that I had a device for just about every job, and where I didn't, I just made one myself in the Combinator. But yeah more than anything it's just that fun factor. And then of course on a technical level the clip based automation is just such a time-saver. You can go really crazy with it and not have to worry about setting things back to the right position afterwards. In Cubase I'd normally just leave stuff as it is because I can't be dealing with my parameters being left at the wrong value after MIDI or host automation.

OK, synth nerd alert: what was the most used synth on the album?

Tough one! I'd say Antidote, just because it's so versatile. It's great for those dark unison Future Garage style basslines, as well as pads and leads. But beyond that, I used a lot of The Legend and Viking (wanted that authentic Moog kinda feel). And I'm pretty sure Quadelectra's Jackboxes are on every track (707, 808, Linn Drum). The Kings of Kong ReFill is also fantastic if you want even more retro drum machines. That features a lot also.

Any special, secret Reason production trick used in the process?

Well there's a tonne of side-chaining haha. Kinda comes with the synthwave/future territory. Typically what I'd do is take all my melodic elements (except for lead instruments and vocals) and put them in a group channel called "SC". Then I'd either key the compressor using audio from the kick, or more often than not I'd just use Pump RE and trigger it via MIDI. Having certain instruments outside of the side-chain group keeps the mix from sounding too ducked and keeps those elements more in focus. Also Audiomatic's Tape and Bottom presets got a lot of use on the album. I have no idea what they do, but they make the mixes sound kinda warm and fuzzy, and I like that. Scream's Tape setting is also great for warming up basses and kick drums. Distortion isn't necessarily a destructive tool. It can be really musical.

Scream's Tape setting is also great for warming up basses and kick drums. Distortion isn't necessarily a destructive tool. It can be really musical.


Any tips and tricks for mixing vocals in Reason?

Hmm, considering this was my first time mixing vocals, I think it might be me who needs a few tips and tricks! But I mean, it was a learning
experience. I'd say automate. Lots. I'm kind of a set-and-forget guy normally, but for vocals it just doesn't work. You have to really ride the faders and "play" the mix. Also try using ducking on your reverbs. So you could send a lead vocal to a nice long reverb with a compressor after it. Then use the Spider to take a copy of that dry vocal and send it to the sidechain input of the compressor. Kinda like lazy-man's automation. When there's singing there's less reverb. When there's no singing, there's more reverb. Works pretty well most of the time.

Could you share any synth patches used on the album?

Well a lot of the patches are really not that complicated; most of the basses and pads are really sort of "naked", in that they're not dressed up with a lot of effects or complex routing. It's mostly sawtooth oscillators (either dual detuned or something with a rich/wide unison section like Korg MonoPoly or Antidote) and then a suitable amp/filter envelope depending on whether it's a bass or a pad or whatever. I've included a few patches here, although they're not much to look at!

DownloadDownload Zeta's Reason presets here!
(Please note that some of the patches requires Rack Extensions)


A few people have asked about the snare on The Distance. And I can tell you it's a layered 707 snare, 707 low tom, and the BBGunSnare_BSQ sample from the Reason FSB, all running into a gated reverb! Ohhh and guitars are almost entirely presets from Kuassa's excellent amp REs!

Follow ZETA on YouTube, Facebook, Spotify, Bandcamp.

LIsten to ZETA's new album here:

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Tutorials

#ReasonQuickTip

Posted June 20, 2017, 9 a.m.

Over the last months we've been posting these #ReasonQuickTip videos on our social media channels and due to popular demand, we've now compiled them in one space. This YouTube playlist will be updated whenever a new #ReasonQuickTip gets posted so be sure to bookmark this page!

If you want to share your best tip with us, just tweet us or write to us on Facebook or Instagram! Maybe your tip will be our next video?

Crew

When hell froze over – Ernst Nathorst-Böös on VST in Reason

Posted May 16, 2017, 8:28 a.m.

”VST support in Reason? When hell freezes over.” That seems to have been the common way to express it. Now that you’ve all recovered from the shock I thought I’d give you some background to this decision of ours, and how we’re thinking about it going forward. But first I need to thank you all for the ridiculous amounts of positive feedback that we’ve received on the announcement of 9.5. I’ve been reading the comments in all the social media channels to get a feeling for how the news landed, and I must say that I blushed. We are seriously humbled and extremely grateful for your amazing support!

The reason is actually pretty simple: Because your music now requires it.

I won’t talk about how VSTs in Reason actually work, other people are better at communicating that. I just want to say something about why we did it and what it means going forward. The reason is actually pretty simple: Because your music now requires it. Musicians get inspired by a lot of things, but the instruments and effects themselves are certainly a big part, if not the biggest. There’s been an enormous explosion of cool plugins over the last few years. As a musician it’s wonderful to see so many developers unleashing their creativity in designs of all shapes and forms. And we just didn’t want Reason musicians to miss out on that. It was that simple.

As you may know, we’ve had some reservations on the plugin formats out there, VST included. The technical designs leave the host vulnerable to problems that might affect your song document. The lack of integration standards make basic tasks like finding sounds, automation, setting up remote control etc, harder than it should be. And that takes focus off what is always closest to our heart – your music making. And there are market problems too, finding the perfect EQ for your specific situation takes hours of unnecessary account registration and downloads. And purchasing a plug often means putting in your credit card on one web site and getting the actual product from another.

So, all of the above is what lead us to creating the Rack Extension format. It really does solve all of the above by cutting one giant Gordian knot.

Having said that, the VST world has really evolved too, in a very positive way. Technical quality is much better than it used to be. So is platform compatibility. The VST 2.4 standard has really gelled. And there are now integration conventions that allowed us to do what we think is the coolest VST implementation in any DAW, from a musical perspective, maximizing Reason resources such as cv and gate, the Combinator, players, browsing, etc.

But in the words of Agent Smith, “Why choose”? We now have three classes of devices in Reason, each one with its own merit, and that’s a good thing. There are the devices that come with the program when you buy it. There are the Rack Extensions that you can add after the fact. And now there’s a third category, VSTs. And make no mistake, we are committed to all three “formats” and will keep working on them all. For each one we will keep finding the optimal path forward, the path that supports you as a musician in the best way we can think of.

We are committed to the RE format and will keep working on it from all perspectives

I would also like to take this opportunity to say a word about the Rack Extension format, a word that is maybe more directed to our beloved developers, you who have supplied the Reason community with over three hundred amazing products so far. We have not stopped. As you know, we just did a serious update of the SDK this year, allowing you to create even cooler products. Next up is a serious update to the technology for building sampled based Rack Extensions. I think that shows that we are committed to the RE format and will keep working on it from all perspectives, both where it can go technically and how we can make your products available to Reason musicians all over the world. And if you’re thinking musicians are less interested in RE products, now that we have announced Reason 9.5, I can tell you that I have the data, and nothing could be further from the truth. If you want to check out what other developers have been doing really recently, look at Resonans, Arkana and the new version of ABL3 (specifically how it uses cv out). And yes, we’re all looking forward to ReSpire.

Last, I’ll take this chance to plug our yearly May Madness sales. Never before has there been so many cool Reason devices to choose from, at such amazing prices. Since we made Reason 9.5 a free update, you might just have some cash to spare. Don’t miss out.

Happy music making, and please keep the feedback coming, we couldn’t do our job without it.

Ernst Nathorst-Böös

/CEO

Posted May 16, 2017, 8:28 a.m.

Blog

Mass Effect: Andromeda and Reason

Posted March 28, 2017, 7:44 a.m.

Edmonton based producer Neil Thompson, aka Dr. Perceptron, has been writing and recording electronic music since the early nineties. Initially from the UK, he has been in the arts discipline of the computer games industry since the late eighties, with companies such as Psygnosis, Sony, Bizarre Creations and now BioWare in Canada. He continues to actively pursue his twin passions of art and electronica, submitting music for games as well as releasing his own albums via Soundcloud and Bandcamp.

We got a chance to speak with Neil about how he approached creating music for Mass Effect: Andromeda with Reason.

You are one of a handful of Edmonton producers who’ve gotten track placements in the new Mass Effect game by BioWare. Tell us a little bit about your background and how you got into producing music for Mass Effect.

I've been in the games industry for a long time, but not for as long as I've been a keen amateur musician! I come from a musical family and after brief attempts at learning "traditional" orchestral instruments, I discovered the electric guitar and that was the end of any formal training. The move to electronic music came during the rise of the dance / rave scene in the late 80's and early 90's when my love for the older school of artists like Tangerine Dream, Vangelis and Kraftwerk started to combine with artists like The Orb, DJs like Sasha, John Digweed and CJ Bolland in particular, whose album "Electronic Highway" defined the convergence of European techno and pure electronica. Then Pete Namlook's explorations into electronic sound and his many collaborations (particularly with Klaus Schulze) were a huge inspiration.

When it became easier to self release work through sites like Soundcloud, I started to put stuff out more aggressively and several years ago the then EP of Mass Effect, Casey Hudson, heard a couple of my tracks ("The Sheep Look Up" and "The Jagged Orbit" from "The Brunner Sessions" album) and tweeted how reminiscent they were of the Mass Effect universe. Fast forward a few years and BioWare are working on a new Mass Effect title and I was approached by Jeremie Voillot and Mike Kent (the audio directors) to submit three tracks for the game's soundtrack and I was only too pleased to do it!

At the time of creating your music for Mass Effect, did you already know your songs were going to be in the game, and if you did, did that affect your writing in any way?

Originally, I was considering submitting some existing tracks, but with an opportunity like this I realized that it was a great chance to write some music specifically with the intent of capturing some of the mood of the game.

It's a really interesting story line with a great antagonist that lends itself well to a musical interpretation: anything sci fi is fun to interpret as it lends itself perfectly to the kind of avant garde electronic sounds that I love to make!

Do you have a favorite Reason production trick you can tell us about?

Not much of a trick, but more a rethink of my technique: I got really into modular synthesis a few years ago and now have a pretty large eurorack set up. It made me change the way I thought about using the modules in reason: I now do far more work using standalone LFOs (Pulsar mainly) to drive the oscillators independently of the matrix or the sequencer. It gives an unpredictable and more organic feel to instruments such as Parsec where you can drive the modifiers and filters all independently... Plenty of happy accidents to be had with this approach!

Plenty of happy accidents to be had with this approach!

Top 3 Reason devices?

Thor is fantastic and still a constant source of inspiration: I love huge sweeping tones and Thor has that in abundance.

Synchronous is my go to effect as I like to use a lot of filtering and glitch type effects. The graphical interface makes it a great tool to mess with and see what comes out.

Kong partnered with the Propulsion Drum Sequencer by Lectric Panda I find to be an immensely powerful combination. All my percussion tracks begin with this set up.

What's your favorite new Reason 9 feature?

I do like the new Players, particularly the Dual Arpeggio but the Pitch Edit has proved to be most useful so far. I use it to correct vocal tracks and it's really easy and really fast.

Pitch Edit has proved to be most useful so far. I use it to correct vocal tracks and it's really easy and really fast.

Do you have a favorite game soundtrack?

I've always admired the work of Richard Jacques and it was quite the honour to meet and work with him on a game we did at Bizarre Creations called "James Bond: Bloodstone". Richard's score for that game was tremendous! Very Bond.

If you asked me to name my favourite soundtrack in any medium, it has to be "Blade Runner" by Vangelis... It still gives me chills when I listen to it today and I've spent a lot of time in Reason trying to recreate the sound of his CS-80... with some success :)

Follow Dr. Perceptron: Facebook, Twitter, Bandcamp, Soundcloud.

Check out Mass Effect: Andromeda.

Try Reason free for 30 days!

Posted March 28, 2017, 7:44 a.m.