Posted June 5, 2018, 9:26 a.m.
Andrew Huang is a Toronto-based music and video producer with a penchant for working within absurd, self-imposed limitations.
A versatile and prolific musician, he has released over 2,000 songs in a massive range of genres. He is perhaps best known for the strange feats of musicianship which have earned him over 1.3 million subscribers and 170 million views on his YouTube channel: He has rapped 300 words in a minute, and maybe you know him from his Glorious MIDI unicorn video?
In this video, Andrew tries our latest creation Europa by Reason (VST / AU plugin available for any DAW) and boldly sets out to "turn any sound into a WAY COOLER SOUND". Watch the video to learn more about our new wavetable synthesizer's powerful sonic possibilites and maybe learn a new trick or two?
Andrew also created 20 custom patches for Europa which you can download from the link below and load up in Europa (the patches are already included in the VST / AU version).
Download Andrew Huang's Europa patches!
Learn more about Europa by Reason and try it out directly in your browser!
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Posted April 17, 2018, 2:53 p.m.
Layers Wave Edition comes supercharged with the nostalgic, funk-induced sounds of Vaporwave - In this brief tutorial we will show you how to make the most of these kitsch and classic 80s inspired presets to create the much loved sound of Vaporwave in Reason.
This is what we're making today:
Download the Reason song file and get started making Vaporwave with Layers Wave Edition!
Step 1. Create an harmonic bed
Central to the Vaporwave sound is a dense textural bed created from either the down-sampling effect of the original music, tape noise or aliasing of audio recordings. Layers Wave Edition has a trusty folder of Texture presets ideal for dense harmonic to build you instrumental on top of.
I’ve selected the patch ‘Inside A Rainbow’ which modulates gracefully over 9 bars adding so intriguing background noise.
Notice the heavy use of Flanger across all three four layers, heavy effects processing especially with era specific processing such as Chorus, Flanger and Phasers taken to the extreme are a hallmark of the vaporwave sound.
Step 2. Lockdown a funky bassline
Don’t be afraid to get extra funky on this one, as with a lot of 80s electronic music that Vaporwave samples, we want to incorporate a generous amount of vibrato.
For this sound I’ve chosen the Ultimate Peaks Bass patch which at its core uses a DX-7 style sound that couldn’t be more recognisable when it comes to Retro, Synth or Vaporwave inspired music.
Vaporwave is notorious for its abuse of distortion, tape-generated or otherwise, so I’ve gone full throttle on the fuzz distortion layer to really give it a crunchy character.
Step 3. Deep pads are a must
Synthetic bell sounds are a hallmark of the period and we’ve chosen the huge bell pad as the harmonic bass in the track. A repeating chord figure in C-minor is traditional Vaporwave territory – again don’t be afraid to go to town with the flanging and distortion here as it brings out the right character of the pads.
Step 4. Build a syncopated Rhythm.
The Sequencer & Arpeggio presets are ideal for driving syncopated rhythms, a definitive drive of Vaporwave rhythmic structure.
The trig sequencer pattern of DataMiner pushes the rhythm along, compliments the bass and harmony without overriding the general feel of the track.
Step 6. Go full cheese with your melodies
I’ve combined the talents of Titanium Piano, Chiptune MW and Gigawave to add trills, lead melody and synthetic texture to the topline here. Three different timbral bases and MIDI programming using velocity variation works really well here to add depth and movement to your melody – cheesy or not!
Now that you’ve learned to how to make Vaporwave with Layers Wave Edition, get Layers Wave Edition here and try it free for 30 days!
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!
Download 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:
Try Reason 9.5 free for 30 days here!
Posted Aug. 3, 2016, 8:51 a.m.
Jordi Moonen and Laurens Van Steenbergen, also known as Aerotronic, met each other at the age of seven and discovered at this very young age to share the same taste of music. A couple of years later, they decided to start experimenting with dj-ing and producing, leading to developing a passion that has been growing ever since.
Aerotronic has released their music on labels such as Teenage Riot Records, Sex Cult and Boxon Records, and gained support from many artists including Mr Oizo, Zombie Nation, Fake Blood and Mixhell.
We had the pleasure of chatting with Jordi and Laurens about their relation to Reason and their thoughts on our latest release, Reason 9. Be sure to download and check out their top 5 custom Combinator patches below!
What's your favorite new Reason 9 feature?
The Dual Arpeggio is definitely a game changer. It’s so easy to program polyphonic sequences now. I like it that you can make it as simple or complex as you want. It feels like a fusion of the Matrix Pattern Sequencer and the RPG-8, but even bigger. And you can perfect your loops with the ease of clicking the send to track button, which transfers the arpeggio sequence into midi data. Super useful. I also found myself to be using the ‘Bounce in place’ function quite a lot. It allows for quick loop creations. Overall, R9 is a superb update, from the players to the pitch edit. It’s all really solid.
How do you get started with a new song? What usually sparks your creativity?
We just listen to a lot of different music. It does help a lot that we have a very similar taste in music, that makes it easy for us to agree on production decisions. Then, when we start to make music, it all really depends on what new sound design we come up with. Sometimes it’s a melody hook. Sometimes it’s some percussion loops we’ve made. Then we try to build a theme around it. Sound design is a big part of what we do. Mostly we come up with some new sounds in seperate sessions, later we record the results and manipulate them. Building the full track happens later. Once we’ve established a couple of decent loops, we try building them up and down into a structure that makes the most sense to us.
What do you do if writer's block hits? Any tips to break out of it?
When we don’t have any ideas with the material we made, we just let it sit in our computer folder for a couple of weeks. So you fully forget about the progress you made. When you come back later with a fresh mind, you can easily spot what you like or dislike. We recently finished a project that was over 3 years old (see the song ZYX below!). So anything can happen really. I also noticed that once you run out of ideas, the best thing is to go do something completely different. Otherwise you’re wasting time. It also helps to take risks, do things to your track that you wouldn’t normally do, if you’re lucky, that kind of experimentation can pay off.
Do you have any special Reason production trick that you always use?
It’s standard for us to cut the frequency of our kick drums below 60hz with the Main Mixer EQ. The spectrum analyzer has a highpass filter which you can move to cut some of that useless low end. Another one, is to use Thor’s low pass filer on other audio sources. It’s simply a great filter, and our songs have a lot of filter automations going on. The new bounce in place feature from Reason 9 is also a clever trick to save some DSP on your overall project.
The three most used devices in your Reason rack?
Tough question. Malström is definitely among the most imporatant three. It has been a vital part of the Aerotronic sound. Especially the very glitchy synths. The RV7000 is also very important to us. Amazing sounding reverb/delay unit. It’s so easy to make it sound good too, adding a bit of wetness to the overall mix. Our last choice would be a tie between Redrum and Kong. We both used these so much. Redrum handles our sample-based drum sections and with Kong you can create some stellar drums from scratch with the built in drum synths.
Download Aerotronic's Combinator patches
This is the arpeggio you can hear throughout the song ‘ZYX’. It sounds best when you layer it with other analog sounding synths. Gives drive to the track.
The lead stab to our song ‘Revelation’. It’s so simple it works. The song has one of our favorite buildups from the entire Aerotronic discography.
There are numerous acid style synths you can spot in our songs. This is one of them. Build with a Malström, and it sounds so dope.
By automating the pitch and the free rate of the RPG-8, you get that glitchy type of sound that we made in the song “Gearshift”. Also build with a Malström.
Night Tales Bass
In one of the darker cuts of our album, we have this huge bassline going on that drives the track from beginning to end. The more you chop your notes the better it sounds. Listen here!
Update December 15, 2016!
Aerotronic made 50 patches for Parsec 2 that they want to share with the Reason community! All free! :)
Download Aerotronic's 50 free Parsec2 patches!
Posted Feb. 25, 2015, 2:01 p.m.
Samuel Aneheim Ulvenäs AKA Sam Heim is a Swedish producer who lives and breathes Reason. He just produced Fredrik Jean Venard's debut single 'Business' and when we heard it here at PropellerHQ, we absolutely loved it. Sam is also a really nice guy and when we met him at Dreamhill Studios, we talked him into sharing a Combinator patch from the song! Read what Sam had to say and grab the distorted piano patch below:
"My name is Samuel and I started out as what you call a "bedroom producer", hanging around EDM forums a lot and speaking to other producers where we all exchanged experience with each other and just had fun. Some of them very successful today; Dj Deamon (Madeon) and Ekowraith (Porter Robinson). I've been producing in Reason since version 2.5 and it's still my go-to DAW. One of the many reasons that I love Reason is because of its great audio processing and its creatively humble workflow that lets me jump in to an idea as quick as I need to. Today I'm located at Dreamhill Studios in Stockholm, founded by producer and songwriter Anders Bagge.
When I produced this particular song, I wanted to create an ambient atmosphere that would sit well with the hip hop beat and Fredriks voice, but I still wanted it to be a bit edgy. With all my love for distortion and reverb I came up with this idea of a sound that I wanted to share with you guys."
Download the patch (Please note: the patch uses the Synapse DR-1 Deep Reverb, but it can be opened without it)