Sound Design and Mixing in Reason

SOUND DESIGN AND MIXING IN REASON

Copyright © 2012 by Andrew Eisele

All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review.

Published in 2012 by Hal Leonard Books

An Imprint of Hal Leonard Corporation

7777 West Bluemound Road

Milwaukee, WI 53213

Trade Book Division Editorial Offices

33 Plymouth St., Montclair, NJ 07042

Book design by Adam Fulrath

Book composition by Kristina Rolander

Library of Congress Cataloging-in-Publication Data

Eisele, Andrew.

Sound design and mixing in Reason / Andrew Eisele.

p. cm.

1. Reason (Computer file) 2. Software synthesizers. 3. Software samplers. 4. Software sequencers. I. Title.

ML74.4.R43E38 2012

781.3’4536—dc23

2011047989

eISBN 978-1-4584-7133-8

www.halleonardbooks.com

CONTENTS

Chapter 1: Sound Design and the Synthesizer

What Is a Synthesizer?

Understanding Sound

Basic Elements of Sound

The Basic Components of Synthesis

Voltage-Controlled Oscillator (VCO)

Voltage-Controlled Filter (VCF)

Types of Filters

Filter Slope

Filter Controls

Voltage-Controlled Amplifier (VCA)

Low-Frequency Oscillator (LFO)

LFO Controls

LFO Effects

Envelope Generator (ADSR)

Exploring the Subtractor

Signal Flow

Dissecting the Subtractor

Subtractor Oscillators 1 and 2

Waveforms

Oscillator Tune Controls

Noise Generator

Oscillator Mix

FM (Frequency Modulation)

Ring Modulator

Subtractor Filters

Filter 1

Filter Types

Freq

Res

Kbd

Filter 2

Level (Amplifier)

LFO 1

Waveforms

LFO 1 Destinations

Rate

Sync

Amount

LFO 2

LFO 2 Destinations

Rate

Amount

Delay

Kbd

Envelopes Generators

Amp Env

Filter Env

Mod Env

Velocity

Pitch Bend and Modulation Wheel

Bend

Mod

Ext. Mod

Common MIDI Messages

External Modulation Destinations

Play Parameters

Note On

Legato

Retrig

Portamento

Polyphony

Low BW

Programming Custom Patches with the Subtractor

Standard Effects

PWM

Lead

Bass Drop

Final Thoughts

Chapter 2: Reason Instruments

Thor Polysonic Synthesizer

The Controller Panel

Keyboard Modes

Polyphony

Polyphony Release

Mono Legato

Mono Retrigger

Portamento

Trigger Section

Assignable Controls

The Programmer

Voice Section

Oscillator 1, 2, and 3

Analog

Wavetable

Phase Modulation

FM Pair

Multi Oscillator

Noise

Filters 1 and 2

Low-Pass Ladder Filter

State Variable Filter

Comb Filter

Formant Filter

Shaper

Amp

LFO 1

Envelopes

Global Section

The Modulation Routing Section

The Step Sequencer

Run Mode

Direction

Rate

Edit

Steps

Note Transposing Sequence

Malstrom Graintable Synthesizer

Osc A and B

Index

Motion

Shift

Routing Oscillators

Filters A and B

Modulation (Mod A and B)

Mod A

Mod B

Performance Control

Velocity

Pitch Bend and Mod Wheel

Wobble Bass Patch

Chapter 3: Sampling

What Is a Sampler?

A Brief History of the Sampler

How a Sampler Works

Sample Editor

Key Zone

Key Map

Root Note

Multisampling

Sampling in Reason

Preparing to Sample

Setting Up the Recording Formats

Setting Your Inputs

Sampling into the Song Sample Tool Window

Routing the ReDrum

Open the Song Sample Tab from the Tool Window

Assigned Samples

Unassigned Samples

Self-Contained Samples

Sampling the ReDrum

Edit Samples

NN-19 Digital Sampler

Loading Patches

Keyboard Window

Synth Parameters

Osc

Filter

Filter Envelope

Amp

LFO

Play Parameters

Portamento

Polyphony

Spread

Legato

Retrigger

Controller

Pitch Bend

Mod Wheel

Velocity

Creating Custom Patches

Keyboard Display

Sampling into the NN-19

NN-XT

Main Panel

Remote Editor

Key Map Display

Sample Parameters

Root

Tune

Start

End

Loop Start

Loop End

Play Mode

Lo Key

Hi Key

Lo Vel

Hi Vel

Fade In

Fade Out

Alt

Out

Group Parameters

Key Poly

Group Mono

Legato/Retrig

LFO 1 Rate

Portamento

Synth Parameters

Modulation

Velocity

LFO 1

LFO 2

Mod Envelope

Pitch

Filter

Amp Envelope

Velocity Switching

Creating a Custom Patch

Programming Custom High Hats

Chapter 4: Reason Drum and Percussion Instruments

Dr. OctoRex

Dr. OctoRex Instrument Panel

Global Transpose

Trig Next Loop

Show Programmer

Select Loop and Load Slot

Synth Parameters

ReDrum Drum Computer

Global Section

High-Quality Interpolation

Exclusive 8 and 9

Master Volume

Drum Sound Parameters

Common Drum Parameters

S1 and S2, Stereo, and Pan Controls

Level, Length, and Decay

Pitch, Tone, and Sample Start

Channels 1, 2, and 10

Channels 3, 4, 5, 8, and 9

Channels 6 and 7

The Sequencer

Sequence Programming

Using the ReDrum as a Sound Module

Triggering Sounds

Triggering Mutes

Triggering Solos

Kong Drum Designer

Triggering Pads

Loading Sounds

Drums and FX

Drum Modules

FX

Support Generator Effects

Drum Module Panel

Pad Settings

Mute/Solo

Pad Groups

Drum Assignment

Hit Type

Quick Edit

Practical Use of Pad settings

Beat Juggling with Nurse Rex

Chapter 5: Advanced Routing

14:2 Mixer

Auto-Panning

Auto-Leveling

Complex LFO

Tunable Feedback

Sequenced Stutter Vocal Sample

BV512 Digital Vocoder

The Side Chain Bass Line

Analog Drum Sequencer

Chapter 6: Advanced Sequencing

Advanced Sequencing

The Sequence Window

Block View

Block Sequencing

The Rack

Vocode Bass

Analog Drum Sequencer DS

Kik/Snr ReDrum

Sub Bass

UG Pulse 1/8

Banshee

UG Pitch 1/16

UG Strype 3/8

Building the Arrangement

The Breakdown

The Outro

Adding Additional Elements

Chapter 7: Advanced Mixing Techniques

Reference Mix

The Big Meter

VU Meter

PPM Meter

Peak Meter

Peak Hold

VU Offset

Channel Selector

Clip Indicator

The Static Mix

Setting the Mixer

Wrangling the Low End

Add Drums and Percussion

Add the Synthesizers

Add FX

The Dynamic Mix

Adding Automation to Blocks

Adding Automation to Song View

Finalizing the Mix

EQ

Stereo Imager

Compressor

Maximizer

Chapter 8: Performing Live with Reason

Building a Live Set Rack

Locking a Controller to a Device

Remote Override

Edit Remote Override

Programming Remote Overrides

Keyboard Control

Keyboard Control Edit Mode

Additional Overrides

DJing with Reason

Chapter 9: ReWire

Setting Up ReWire

Audio ReWire

MIDI ReWire

Chapter 10: Reason and Record

The Record Interface

The Sequencer

The Rack

The Mixer

Input

Dynamics

EQ

Insert

FX Sends

Fader

Master Section

In Conclusion

Appendix: The DVD-ROM

Chapter 1

SOUND DESIGN AND THE SYNTHESIZER

What Is a Synthesizer?

A synthesizer is an electronic device that generates waveforms. There are a number of different types of synthesizers (e.g., video synthesizers, voice synthesizers, audio synthesizers). In this chapter, we’ll be focusing specifically on synthesizers used for audio applications.

The advent of the synthesizer, and its subsequent popularity in the late 1960s and throughout the ’70s, changed forever the landscape of music and sound design. The concept of imitative synthesis, whereby a device is used to emulate a particular acoustic instrument, has been a huge boon for the advancement of the technology of synthesis. For instance, if you want to add the sound of a violin or oboe to a musical piece, but neither play said instrument nor have the ability to hire someone who can, a synthesizer would prove an invaluable tool for re-creating the appropriate sounding part. However, synthesizers have gone well beyond the mere synthesizing of acoustic instruments. And with the vast variety of types of synthesis available today, you can now even create sounds unheard in the natural world.

Developing a solid understanding how synthesis works will help you to fully unlock the true potential of not only Reason’s instruments, but also of its effects and utility devices. So let’s get started with an overview of sound.

Understanding Sound

Before you can understand the components of a synthesizer, you must first learn the basic elements that compose sound.

Basic Elements of Sound

The basic elements of sound are identified as frequency, timbre, and amplitude.

Frequency

As discussed in the first book, QuickPro Series: Power in Reason, sound waves travel in a consecutive series of peaks and troughs. Their frequency is the number of cycles per second measured in units called hertz.

For example, a waveform that has three cycles per second would be translated into written form as 3 hertz or, abbreviated, 3 Hz. A waveform of 1,200 cycles would be written at 1,200 Hz, or 1.2 kilohertz or 1.2 kHz. Human hearing is generally thought to be in the range between 20 Hz and 20 kHz.

Timbre

Most sounds can be broken up to reveal a composite of sine waves at different frequencies. Depending on the frequencies of the waveforms present, the resulting sound can be described as sounding overly bright, buzzlike, clangorous, smooth, round, or any number of similar descriptions. These terms are indicative of the quality of the sound. Often referred to as timbre (pronounced tam-ber), this is also known as the character of the sound.

Amplitude

Amplitude is the distance between the high point of a peak and the low point of a trough within the waveform. The unit of measurement used to describe amplitude in the audio realm is called decibels or dB, and is commonly referred to as loudness. Because human hearing is logarithmic, meaning we don’t hear all frequencies at the same dB, we are most sensitive to frequencies between the ranges of 250 Hz and 2 kHz. However, note that lower frequencies are required to have higher amplitude, for our ears to perceive them at the same loudness as we do higher frequencies.

The Basic Components of Synthesis

Most synthesizers use the same terminology and design to both create and shape sounds. We’ll be focusing on analog subtractive synthesis as the basis for understanding the components and how they reflect the three basic elements of sound. The following circuits are used to create, shape, and even modify sounds. In addition, all the circuits are voltage controlled (CV), which allow for multiple differing circuits to manipulate audio signals.

Don’t worry if you find these descriptions even the least bit confusing, as examples of each circuit in the following chapters will provide further amplification.

Voltage-Controlled Oscillator (VCO)

If you were to zoom in on a guitar string after it’s been struck or plucked, you’d find the string oscillates, or visibly vibrates. The oscillation of the string forces the air molecules around it to move generating the waves that you perceive aurally as sound. The mass or thickness of the string will determine at what frequency the oscillator vibrates. Thicker strings have a lower frequency of oscillation, whereas thinner strings oscillate at a faster rate.

All synthesizers use an oscillator circuit to generate sound waves. The voltage-control aspect is what determines the frequency or pitch of the oscillator, the higher-voltage settings resulting in higher frequencies. Most synthesizers are capable of generating at least four basic waveforms: sawtooth, square, triangle, and sine waves. Furthermore, some or all of these waveforms are available simultaneously.

Sawtooth Wave

The sawtooth waveform is one that is rich in overtones and harmonics and is generally perceived and described as buzzy and/or bright. It is arguably the most popular of the basic waveforms and is sometimes considered the all-purpose waveform, rendering it most applicable.

Figure 1.1

Square Wave

The square waveform is often described as having a hollow quality. Like the sawtooth waveform, it contains a lot of harmonic content, yet it sounds quite different in comparison.

Triangle Wave

The triangle waveform has less harmonics and overtones when compared to the sawtooth and square waveforms. It’s an ideal waveform for re-creating bass sounds as well as flute tones.

Sine Wave

The sine waveform has no harmonics or overtones and is described as soft in comparison