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.
Posted April 19, 2017, 10:54 a.m.
Here’s a thought experiment… how many musicians can you name that invented an entire musical genre from a single song which the genre even takes its name from? Is there a song called Jazz? Did someone write a track called Blues? No. That unique honor is reserved for Phuture and their song Acid Tracks, from which the global cultural movement of Acid House was born.
DJ Pierre sat down to tell us the stories of his early days, show us around his latest work, and share some of the new talent and artistry he's nurturing in his creative incubator space at Afro Acid Digital in Atlanta.
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Posted April 3, 2017, 11:11 a.m.
Welcome to Part 2 of our two-part deep dive into trap-style 808 basses. In part one we looked at the origins of the style and some basic ways you can quickly create 808 bass sounds and 808 bass lines in your music.
In part 2 we're going deeper into sculpting the sound, including a look at Thor's advanced sound design capabilities. If you've used Thor but find yourself sticking to presets because you don't understand it, this tutorial should leave you feeling much better about experimenting yourself with signal routing and modulation inside Thor.
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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.
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Posted March 17, 2017, 10:25 a.m.
Take a listen to Hip Hop, Trap, Pop, EDM, or just about any other genre these days and you'll hear the distinct tones of the "808 Bass" - a term used to describe tuned and pitched sub-bass lines whose origins come from a classic drum machine, not a bass synth. But as standard as the 808 Bass is, the way everyone makes them these days is not quite as standard. That's one reason why 808 Bass sounds and bass lines are something of a mystery for aspiring producers and beat makers.
In part one of a two part series, we take a look at the origins of the 808 Bass and the philosophy that goes into creating custom patches and writing 808 bass lines.
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