Propellerhead's Reason updated to version 7

Propellerhead’s Reason has been the software of choice for many producers ever since version 1.0 came out back in December 2000. However, at the beginning reason wasn't seen as the feature packed music production platform that we know it as today. Unlike most music creation software, Reason lacked the basic support for audio and MIDI that pretty much every other DAW boasted at the time. This wasn't the point of reason though; Reason relied of its unique take on the music creation process and its virtual rack that has inspired many creative minds since its birth.

Over ten years later and Reason has grown into a mature music creation workstation that isn't afraid to take on the big boys of the DAW world. Reason hasn't lost any of that unique charm though, it still relies on the virtual studio rack that made most of us fall in love with it at the moment we set our eyes on it.

Audio input was added in version 6 when Reason was fused with its sister program Record. This was a big step forward for the software as it meant that users who used rewire to link Reason with other DAWs could ditch the other software and work completely within the Reason environment.

Today we saw the release of Reason 7, the update that so many of us have been waiting for since its announcement at the beginning of March. The announcement wasn't really that long ago, but the hype that surrounded the update has made it feel like an eternity for hardcore reason users.

So what’s new?

Reason now has MIDI out! That’s right; the feature that we have been hoping Reason would adopt for years has finally been added to the rack. The MIDI out device is pretty self explanatory; it’s a virtual rack device that allows you to send MIDI data from reason and into your favourite hardware gear. So all that unused gear that’s been lying around your studio can now go to good use.

New audio editing features have also been included in Reason 7, most notable the new audio slicing capabilities. Reason now automatically slices recorded audio so you can easily edit, re-arrange and warp your audio. You can also bounce these slices to a .REX file and import them into the Dr. Octorex or the Nurse rex devices. Once loaded into these devices you can then further manipulate your audio inside the Reason rack. This is essentially like having ReCycle built into Reason.

When Rack Extensions were introduced in Reason 6.5 developers began making all sorts of cool devices that can be purchased in the Propellerhead shop. The most requested Rack Extension device was a spectrum analyser. After a while we began seeing very basic spectrum analysers hit the shop but they went as accurate as some of the VST devices that are available in other software. Propellerhead listened to these requests for a versatile spectrum analyser and built one into its already impressive mixer section. You can even apply EQ straight from the analyzer window.

One thing that Reason’s mixer lacked was the ability to group channels. There was a way of doing this in previous versions of Reason, but it involved lots of wiring around the back of the rack and doing this every time you wanted to group a set of sounds could get a bit tedious. Luckily Propellerhead have included the ability to create bus groups as a new feature in Reason 7.

Another nice addition the mixer is parallel channels, just by right clicking the channel strip and selecting “create parallel channel” you can duplicate the selected mix channel. This is useful especially for parallel processing where you can blend a highly effected signal in with the original.

Along with the release of Reason 7 Propellerhead also released a brand new Rack Extension called the Audiomatic Retro Transformer. The Rack Extension is free to anyone that owns reason 7 and is available in the Propellerhead shop for users of Reason 6.5 and essentials users to buy for € 39.00. The effect is described as a “psycho-acoustic future retro effect, inspired by the photo apps in your phone” which pretty much means that it allows you to apply vintage and futuristic sounding effects to your audio. Audiomatic has a really simple interface that features sixteen mode selection buttons along with dry/wet, transform and volume knobs. It’s a cool idea for an effect but only time will tell if it will prove useful in your productions.

Will reason still run on my computer when I upgrade it?

Unfortunately the answer to this is very hit and miss but if you have a relatively up to date machine then you shouldn't have a problem. The specs and requirements for Reason 7 are a little higher than the previous versions but you can find all the information you need about system requirements on Propellerhead’s website. Alternatively, if you’re a new user then you can download the demo and give it a good test run. The demo is the full version of Reason with the only restriction of not being able to open saved files so this is a good way of seeing if the software will run on your computer before you purchase it.

Overall I'm very impressed with the updated version of Reason. The new features have been implemented very smoothly and now that it has both audio and MIDI capabilities it feels a lot more professional. If you’re new to music production then I definitely recommend that you give reason a go. 

Creating a trance/electro synth using Reason 4 (Lucky Date)

Watching how the pros work can really spark some inspiration in your own tracks. Lucky Date is one of those producers that prefers to let his fans in on how he creates his sounds, so watching though the tutorials on his YouTube page can be really useful for the novice producer.

I've said it before but I'd like to say it again; learning a bit about sound design and how to create your own sounds is vital to electronic music. It's not really enough to rely solely on presets and sound banks, sure they are good for the odd sound here and there but if you learn to create your own sounds then your tracks will benefit from it. Not only that, but you will quickly learn to replicate sounds from your favourite tracks.

The video that I've embedded below is one of his older tutorials (over two years old at the time of posting this article) but the sound that he's focusing on is still relevant in today's popular music.
Trance and electro synths are still really big in both chart music and the underground scene. In the video Lucky Date shows us how to go about replicating this synth sound using Propellerhead's Reason 4.

How to spice up your drum patterns in Reason (Propellerhead)

When you're programming your drum tracks you might often find your self using the same old patterns. Every track you write doesn't necessarily have to have the same old 'four-to-the-floor' beat going though the whole song. Why not spice things up with some variations and changes.

Having the same drum loop throughout your track can get boring, not just for you but also the listener. Changing the drums every now and then can give your tracks a little more interest and a new breath of life.

In the video below Mattias from Propellerhead Software takes us through a few tricks that he uses when programming drums. He shows us how to use ghost notes to give a basic pattern a little more interest. Using ghost notes can make your electronic drums sound a bit more human especially when you change them up every two bars or so.

Mattias also shows us how he creates a simple top loop using Reason's Dr. Octorex. using the built in highpass filter he removes all of the unwanted low end elements (primarily the kick and snare) from the percussion loop and places it over his existing drum pattern.

Reason's 'alter notes' feature is also mentioned in the video. Personally this is one of my favourite features in Reason as it can be used to instantly change MIDI data (much like a randomizer function). This is a good way to create some alterations to your beats when you're feeling a bit stuck with the creative process.

The final thing that is mentioned in the video is polyrhythms. Polyrhythms might seem confusing at first but they are a great way of giving your beats a more organic or evolving quality. A polyrhythm (or polymeter in the case of this video) is where you take two parts and play them in different time signatures. for example: if you program your kick in a traditional 4/4 measure but your hi-hats in a 5/4 measure then you can get some quite interesting results. If you're still confused about polyrhythms after watching this video then there are plenty of resources online that go a little more in depth on the subject.

One thing that wasn't mentioned in this video is adding groove to your beats. All DAWs have a groove function where you can add some swing or shuffle to your programmed beats. Giving your beats a bit of swing or shuffle is a great way to get them sounding more human. If you combine the groove feature with ghost notes (mentioned earlier) then it is possible to fool the listener into thinking that they're listening to an actual drummer rather than programmed beats.

Even though the video is created for users of Propellerhead's Reason all of the techniques mentioned can be recreated in any DAW. So next time you're working on a track pay a little more attention to your drums, if they're lifeless and uninspired them maybe try a few of these mentioned tricks. They can change a dull track into something a lot more palatable.

Thinking of mastering your own music?

Mastering is one of those things that can really drive people mad. Everyone wants to know how to get their tracks sounding like the pros, but it's just not that simple. You cant just feed the final mix into a limiter and expect good results. Mastering is an art and it's very difficult to explain it, the process can greatly differ between engineers and genres.

Many experts will tell you that it's wrong to master your own tracks; a fresh set of ears and high end tools are essential to get your track sounding its best. So sending your track to a professional mastering engineer is the way to go.

However, I don't think this is always the case. Sending every track you make to a professional engineer is expensive and counter productive (you want to make a little money from what you've created).  Many of us don't have the money to get everything mastered professionally and we just want a quick fix before sending them out.

If you're sending your tracks to record labels I find that it's best to do a rough final master before you send it out, nothing too complex, just something to give it that shine. A bit of light compression and EQing can make a world of difference. Sending everything through a limiter will also make your track sound louder so that it stands out from other submissions.

If you do choose to do a rough master then you need to be careful. Don't make drastic changes and only apply a small amount of compression and limiting, driving everything on the master bus to the limit can completely destroy your work. Their's tonnes of video tutorials on YouTube that can help you with mastering, so I recommend you familiarise yourself with the process before you attempt it.

If you're not confident enough to master your own stuff then don't. Record labels won't look over you just because it's not been mastered. If your track's good then they'll take it and if they do they'll probably master it for you.

Below I've embedded a video from Future Music, it features mastering engineer Mazen Murad who talks us through the mastering process. This isn't a tutorial though; it's more like an inside look at how the pros do it.

How organised is your studio space?

Music creation should be the sole focus of your studio time but an unorganised approach can be a heavy downfall. Distractions and hindrances are everywhere for the computer musician which means that your studio time can be wasted and your productions will suffer as a result. You might have top end audio gear, and awesome controller and everything that you need to create professional sounding tracks, but if things aren't completely organised then you might not be as productive as you could be.

There are a few things that you should take into consideration when organising your workspace.

How organised is my computer?

Having an unorganised computer can be a nightmare. When your desktop’s cluttered with icons and you have hundreds of unnamed project files it’s more than easy to lose vital data.

Keeping samples, instruments, effects, etc. organised can make your life a lot easier. Knowing where everything is on your computer will increase your productivity and make the process of producing music a lot smoother.

Samples and loops can cause hassle to any computer musician. When you create your own samples it’s easy to give them vague names that you’ll forget and then put them in a random folder on your hard drive. The same goes for purchased sample packs; you've brought it, downloaded it and placed it in a random place within your documents. Weeks (or even months) later you forget where it is and have to download it all over again, causing you to have duplicates on your computer.

Keeping track of everything is important and if you have quite a large sample collection then it’s really easy to let it get out of hand. Having a dedicated folder for these samples and loops is highly recommended. Even if you just take one day off from producing music every now and then and sorting through your system can make a lot of difference. You will find that having an organised computer with everything in one place can make music production more fun.

Is my workspace tidy and clutter free?

The organisation doesn't have to stop with your computer; a clean and tidy workplace will also help. Keeping your desk and surroundings clutter free will keep your mind focused on the music. A messy work area can result in a messy outlook on the projects that you’re working on.

It doesn't take long to have a quick tidy before you start work. It’s not the most glamorous activity but it will help you in the long term and a clean studio with give you a positive approach to any tasks that you are about to undertake.

What am I going to be distracted by?

So far we've talked about keeping things clean and tidy but there are other things that can get in the way of productivity. The Internet is an amazing thing and it has opened up a lot of doors for musicians but it can also take up a lot of your valuable time.

Taking your computer offline during studio sessions can be a real time saver. It’ll take away the temptation to check social networking accounts and stop you from falling into that endless void that we know as YouTube. That time that you spend roaming around the Internet can be put to good use.

 You might justify yourself by saying that the time that you spend on the Internet is used to seek out new sounds or plug-ins that will ultimately benefit your future projects. However, while you’re looking for that new plug-in you could be learning how to use the one’s that you already own. Spending some quality time with the plug-ins that you already have can save you both time and money.

There are other things that are likely to distract you as well. A TV in your studio area can give you that well earned break from working, but it can also draw you away at times when you’re supposed to be knuckling down. The same can be said for books, magazines and pretty much anything else that is likely to draw your attention away from the task at hand. 

Keeping your relaxation space and work space separate can highly benefit your productivity.

Is my studio a comfortable environment?

If you work on music for long periods of time it is essential both to your health and morale that you are working in a comfortable environment. The most overlooked thing in any studio is the furniture. A decent chair and desk can ensure that you’re comfortable when you’re hard at work on that new track. It will keep your mind focused on your art without that worrying numb sensation creeping up your back.

And remember: no matter what you’re doing, if you’re working with computers then it is advised that you take a quick break every now and then to make sure that you’re not doing any long term damage to your body.

When you sit down at your desk in your studio there should be one sole focus and that’s music creation. If you haven’t optimised your work area then you might find that you spend more time tidying, searching and even getting-side tracked by something completely irrelevant. Don’t let these tasks get in the way of what truly matters to you: the music.

Using the 'Autotune' effect in your productions

Love it or hate it pitch correction software is everywhere in modern music, software such as Antares Autotune can be heard on thousands of recordings. If you’re not sure what I'm talking about you must have been living in a hole for the past 10 or so years. Autotune has been used religiously by industry professionals to correct the pitch of vocals, making the singer sound better than they actually are. Used subtly it is nearly impossible for the average listener to detect but if you drive the software to its limits and set a high correction speed then you can achieve that instantly recognisable robot voice effect.

The effect that I'm talking about is most commonly associated with that infamous Cher vocal from her 1998 hit ‘Believe’. The robot like vocals created by Autotune has also been adopted by rapper T-Pain who has used it extensively throughout his career.

Although Antares Autotune is the most popular pitch correction software on the market it is not the only one. There are many other options out there for producers that want to touch up their vocals and experiment with pitch correction.

My favourite has to be Neptune, a device that is included with Propellerhead’s Reason. Neptune is the most intuitive pitch correction device that I have come across to date, it sounds fantastic and once you get stuck in it is really easy to use. Neptune isn't just an Autotune knock-off though; it comes with a bunch of extra features that many other pitch correction devises lack.

For me Neptune proves most useful when I'm working with a sample heavy production. Most sample packs come with key and tempo information so that you can easily find the right sample for the job, but this isn't always the case. Neptune can easily tune sampled audio to the key of your track so that you don’t have to worry about it sounding odd or out of place. Yes, it is true that pretty much all pitch correction devices can do this but not all of them can do it as easily as Neptune does.

The one thing that makes Neptune stand out from the competition is its ability to be used as a voice synthesiser. This feature allows you to play in realistic vocal harmonies with your midi keyboard.

The YouTube videos below are from the Propellerhead 52Reason/Record tips series presented by James Bernard. The first video shows you how you can take out of tune vocals and use Neptune to make them sound better. The second one shows you how to use Neptune to make subtle enhancements to fairly decent vocals.

 

Remember; pitch correction devices like Autotune and Neptune can be used for a whole lot more than just vocals. Experiment with different audio sources and have fun with creating music, because really, that’s all that matters.

Sample Manipulation in Ableton Live (Point Blank)

Creative sampling is a really useful technique and can be used to add interest to just about any track. You can take any sample you want and make it sound ten times better by warping, stretching and even completely destroying it using a sampler.

Many DAWs have built-in samplers that allow you to change stuff like pitch, start/end points and the overall texture of a sound. Automating these controls throughout your tracks can give you some nice evolving textures that can really add something special to the project that you’re working on.

Minimal house is a prime example of a genre that heavily relies on creative sample manipulation. As the name suggests the genre is very minimal, so when your working with a minimal track you don’t really have a lot of sounds to work with.

Working with a short sample (such as the vocal sample in the video below) and using automation on certain parameters can take a boring old sound and transform it into something original to you.

In the video below we see Danny Lewis from Point Blank using Ableton Live’s Simpler instrument to create a glitched-out vocal texture to compliment a basic minimal house track.