Posted April 17, 2018, 1:40 p.m.
Nothing adds space and depth to your recordings like delay and echo effects. Ever since musicians figured out how to bounce audio between reels of tape, delay has shaped the sound of modern music.
Reason 10 features powerful delay and echo processors, including The Echo, a feature-rich delay unit that combines elements from digital delays, analog delays, tape delays, glitch, and loop effects. In this article, you’ll learn how to use The Echo to dial in the perfect delay effects for your tracks.
Mini Tutorial: Reason The Echo
In this tutorial, you’ll discover how to use echo to spice-up synthesizer patches, add depth and character to vocals, and write spaced-out guitar lines in the style of U2 or Pink Floyd.
- See how to use Triggered Mode to control exactly which moments get repeated.
- Learn how to slice beats and phrases using a DJ-style crossfader with Roll Mode.
- Add analog saturation with tape-limiting, overdrive, distortion, and tube warmth using the Color Section.
- Emulate old-school tape delays like the Echoplex or the Space Echo using the Modulation Section.
- Glitch drum loops, instruments, and even vocals for far-out effects.
Delay Ducking: Reason QuickTips
Delay can bring a lush sonic quality to vocals, but it can be difficult to balance wet and dry signals, which can lead to washed out tracks. Check out this quick tip tutorial to learn how to use The Echo’s ducking feature to ensure the perfect balance of delay on your vocal mixes.
Reason comes with several delay effects; from the bare-bones DDL-1 that does digital delay in its most basic form, via the RV7000 MkII Advanced Reverb that features some very lush echo programs to the multi-talented Echo that’s covered in the tutorial video above.
Now that you know how to use delay in Reason 10, it’s time to get creative! Start your free trial of Reason 10 today.
Posted March 15, 2018, 9:09 a.m.
Creating a mix without reverb? That’s like baking a pizza without cheese, or eating a cupcake without frosting (maybe we’re hungry, but you get the point). Regardless of what style or genre of music you create, reverb is an essential tool in mixing. It brings a tangible sense of space and texture to your mixes, and even a small amount of verb can make a huge difference in the overall sound of your tracks.
Reason 10 is packed with powerful reverb processors that offer exceptional sonic flexibility and versatility. To help you get started, we’ve created a fast and easy-to-follow reverb tutorial that will teach you how to use reverbs in Reason—so you can dial in the perfect sound for your mixes.
RV7000 Advanced Reverb Tutorial
In this tutorial, you’ll learn how to use RV7000—Reason’s most advanced reverb processor, and the go-to tool for adding space to your tracks.
- Explore a range of reverb sounds, including concert hall, retro spring reverb, or even a cramped closet
- See how to set up an effects bus for reverb, and send channels to the effect directly from the mixer
- Learn how to create a room reverb sound from scratch
Getting Started with Convolution Reverb
Watch this video to learn how to use convolution reverb to add the sound of a real-world physical space to an instrument, and make it feel more live.
- Explore patches and impulse responses included with the free RV7000 MKII Refill
- Learn how to use impulse responses to shape the tonal characteristics of your reverb sounds
- See how to record your own impulse responses and apply them to your tracks
Quick Tips for Using Gated Reverb
Check out this video for a series of quick tips on how to dial up gated reverb sounds on drums and other instruments.
- See how to add synthetic, industrial, or retro (1980s) reverb to your snare or hand claps
- Discover how to create different types of gated reverb sounds
- Learn how to use different Gate parameters like Release, Hold, and Threshold
Now that you’ve learned all about reverb, it’s time to start making music and adding it to your tracks—start your free trial of Reason 10 today!
Posted March 14, 2018, 10:50 a.m.
Today Propellerhead are launching the third installment of the hugely successful Rigs. Simply put – it’s difficult to find a better deal in the music industry today.
The new devices that are included in this version are tremendous, top-of-the-line products that have been the best-selling instruments and effects for the past couple of years. Parsec, Expanse, Nostromo, ReSpire are all new additions to the Synthetic Rig. We’ve boosted the Backline Rig to the brink with three new A-List “musicians” as well as the GForce complete catalog. Mix & Mastering have all of McDSP REs included – even the creative FutzBox that provides endless hours of fun with creative impulse responses.
Also, not to forget when you buy a Rig you do not only get the devices and Refills included, you also get a complete video tutorial course from the people of AskVideo as well as a tailor-made patch-refill that utilizes the devices in the Rig with new and fresh patches from some of the best in the industry.
And it’s all package in a very attractive price – 349 USD/EUR.
“What!? What about us loyal customers that have been supporting you from the start?”, you might ask. Well, we thought about you too. You can upgrade to the new version of the Rigs you already own by depositing a small token of gratitude in form of 99 USD/EUR.
Hurry and buy before it runs out. Get Rigs 3 here!
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 Jan. 16, 2017, 9:53 a.m.
If you've ever had the unfortunate experience of taking a mix you've done outside your studio only to find out it doesn't sound nearly the same or nearly as good on other playback systems and devices, it's time to take your stereo mixes into the mono realm.
If mixing in mono for better stereo results sounds counter-intuitive right now, watch as Ryan takes you through some of the benefits on a huge multi-track production by songwriter Matt Tinsley.
Learn more about Reason:
Hear Matt's song, The Hardest Part: