make music now Reason 3’s new features

COMBINATOR
As its name suggests,
Combinator combines
existing Devices into
logical blocks

MCLASS EQUALIZER
A new parametric
equaliser that fits in
nicely alongside the
existing PEQ-2 equaliser
MCLASS STEREO IMAGER
Although aimed squarely at
the mastering process, this
Device is useful for other MCLASS COMPRESSOR
tasks too… Reason finally has a
compressor to match the
quality of its other Devices
MCLASS MAXIMISER
Use this Device to raise
the overall level of your
track during the
mastering process
LINE MIXER
A new smaller, simplified
mixer that’s particularly
SEQUENCER useful for mixing signals
IMPROVEMENTS within a Combinator
Tracks can now be armed
for recording, muted or
soloed with a single click
of the mouse

On the DVD
VIDEO TUTORIALS
To see Reason 3 in all its
glory, load up the cover DVD-
Reason 3: the new stuff!
ROM, on which you'll find
four videos to accompany
We lift the tutorial lid off Propellerhead’s latest update
our walkthroughs. and find out what it can do for you and your music…

A
t first glance, the list of new
features in Reason 3 may seem
a little sparse for a major new
software version.
However, there’s actually an
impressive amount of depth to several
of the additions, and over the course of
this tutorial we’re going to illustrate and
unlock some of the software’s freshly
added potential.
We’ll start off by taking a detailed
look at the new Combinator Device and
showing you how to make a tape delay
emulation that can be dropped straight
into an existing project with just a
couple of mouse clicks. Then we’ll
zoom in on the powerful new Mastering
Suite – actually a Combinator patch
itself, as it happens.
Some of Reason’s new MClass
effects units are useful outside of the
Mastering Suite as well. The EQ and
Compressor are two prime examples:
we’ll spend some time finding out how
they can be used to treat and enhance
drum sounds for maximum impact.
Probably the most significant user
interface improvement is the new
browser window, which is used for
selecting files and loading patches.
We’ll show you how to use it most
effectively. Finally, we’ll look at the much
improved control surface support and
show you how to properly set up your
hardware in Reason. So, without further
ado, let's get crackin'… cm

048 | COMPUTER MUSIC MARCH 2005 TUTORIAL

 LEVEL METERS
Basic input and output level
Reason 3’s new features make music
Q&A focus
now
meters for the Combinator
unit are provided here
PATCH CONTROLS

The
Combinator patches can be
selected, opened and saved using
these standard patch buttons

Combinator ASSIGNABLE ROTARIES

These rotary knobs can be
assigned to any Device control
VIEW BUTTONS within a Combinator patch,
These two buttons are used to show providing easy access at all times
and hide the Device and Programmer
areas to save screen space
PROGRAMMER
ASSIGNABLE BUTTONS MODULATION ROUTING
PROGRAMMER KEY MAPPING These buttons can be The four rotaries and buttons are
Key and velocity ranges can be set used to control any on/off assigned functions using this
for individual instruments within a Device control within a matrix. Each button or knob can
Combinator patch Combinator patch, for control several Device parameters
easy bypassing

DEVICE AREA
Devices are added to a Combinator in
the same way as they’re added to the
Rack. Added Devices appear in this area

STEP BY STEP Building a tape delay Combinator patch

1 2 3
Start Reason and empty the Rack of all Devices, then Load an existing Redrum patch using the patch controls Hold down Shift to disable auto-routing and select
add a Mixer 14:2. We’ll need a test sound source while at the bottom left hand corner of the Redrum interface Create»Combinator to add an empty Combinator to
building our tape delay, so select the Mixer and then (or load a selection of your own samples). Use the built- the Rack. Press the Show Devices button on the front
add a Redrum to the Rack (Redrum should be auto-routed to in step sequencer to program a single snare hit at the panel (it should light up red) to make sure the Device area is
the first mixer inputs). >> beginning of each bar. >> visible. Collapse the Redrum interface to save space before
switching to the back of the Rack by hitting the Tab key. >>

4 5 6
Connect the Combinator input to the Send 1 output. Connect the Combinator’s internal left input (labelled To Hold down Shift (to disable auto-routing) and add an
Then set the Combinator’s output to the Send 1 return Devices) to the Spider Audio Merger’s first input. instance of the DDL-1 digital delay line to the
on the mixer (as shown). We’re creating a mono delay Likewise, connect the Combinator’s internal left output Combinator. Hold down Shift and connect the Audio
unit, so only the left channel needs connecting. Select the to the Audio Splitter’s first output. Again, only the left channels Merger’s left output to the delay unit’s left input. >>
Combinator, then right-click within the Combinator Device need connecting. >>
area and select Create»Spider Audio Merger & Splitter. >>

TUTORIAL MARCH 2005 COMPUTER MUSIC | 049

make music now Reason 3’s new features
STEP BY STEP Building a tape delay Combinator patch (continued)
7 8
Hold down Shift and add a Scream 4 Device to the
Combinator. Connect the delay unit’s left output to the
Scream 4’s left input. Then hold down Shift and add a
Line Mixer to the Combinator patch. >>
10
Enable the Scream 4’s EQ section (labelled Cut))
and reduce the Hi band slightly – this will produce
the musically useful part of the tape delay’s
sound; successive echoes sound more and more dull. >>
13
Double-click the Rotary 1 label on Combinator’s
front panel and type ‘Feedback’. Moving the knob
on the Combinator’s front panel will now control
the tape delay feedback amount, even when the delay itself is
out of view. >>
050 | COMPUTER MUSIC MARCH 2005 TUTORIAL
Connect the Scream 4’s left output to the first input
channel of the Line Mixer, then connect the Line Mixer’s
master output (left channel) to the Splitter’s left input.
Connect the Splitter’s second output to the Merger’s second
input (ie, within the same Audio Splitter/Merger unit). >>
11
Reduce the DDL-1’s feedback to 0, since we’ve
created our own feedback path to continue the
delay effect after the first echo. Now it’s time to
hear our tape delay in action: start Redrum playing and raise
the mixer’s Channel 1 Aux 1 setting to about 3 o’clock. >>
14
Repeat the assignment process, assigning Rotary
2 to the Scream 4’s P1 parameter (tape speed),
Rotary 3 as the Scream 4’s P2 parameter
(compression) and Rotary 4 as it’s Hi cut parameter. >>
9
Now it’s time to set up the Devices we've cabled
together. Flip round to the front of the Rack and turn the
Line Mixer master output down to about 10 o’clock (this
is the tape delay’s feedback control). Set the Scream 4’s
distortion type to Tape and set the P1 and P2 distortion
parameters to 12 o’clock. >>
12
Now we’ll set up the Combinator’s front panel to
do something useful. Click Show Programmer to
open the Programmer panel. Select Line Mixer in
the list in the Key Mapping section over on the left. Click in
the Target column for Rotary 1 in the Modulation Routing
section on the right and select Master Level (as shown). >>
15
Finally, click the disk icon on the Combinator’s
front panel to save the finished patch.
 Reason 3’s new features make music
Q&A focus
now

The Browser SEARCH CONTROLS

Entire folders can now
be searched quickly
and easily using the
new search controls

CURRENT LOCATION
Displays the current
folder or ReFill in use.
History forward/back FILE FILTER
buttons are provided to Use this to show
aid file system navigation instrument or effect
LOCATIONS
Shortcuts to presets only
main folders
and ReFills

FAVOURITES
This list can be
used to quickly
select frequently
used folders

FILE DETAILS
INFO Provides
Provides information on
information the content and
on the current type of the AUDITION CONTROLS
ReFill being selected file Sounds can be
accessed automatically auditioned,
and it’s now possible to
step through them one
at a time

STEP BY STEP Using the Mastering Suite

1 2 3
Start Reason – if it’s not already running – and load a Make sure the Devices inside the Combinator are visible. Switch in the compressor and enable the Soft knee
song (one of the demo songs will do if you don’t have Switch all the MClass processors to Bypass, except the option. Setup the Threshold and Ratio to avoid
anything to hand). Disable auto-routing by holding down equaliser. Play the track and spend some time getting compressing all of the time; if you don’t, you’ll lose
Shift and insert a Combinator between the Mixer and the the tonal balance right before moving on. Try a small boost at clarity and the music will sound squashed. Raise the Attack
Hardware Interface, as shown. Switch to the front of the Rack around 4kHz to add some presence, but keep it subtle and to prevent the compressor from taking the life out of the
and load the Mastering Suite Combinator patch. >> keep the Q factor low. Next, switch in the Stereo Imager and drums. Finally, switch in the maximiser and adjust it carefully.
use the Hi band processor to subtly widen the stereo field. >> Resist the temptation to crank up the input gain!

TUTORIAL MARCH 2005 COMPUTER MUSIC | 051

make music now Reason 3’s new features

STEP BY STEP A touch of MClass

1 2 3
Let’s check out the capabilities of the new MClass Load one of the preset drum kits (we recommend Use Redrum to program a basic drum pattern; it doesn’t
processors outside of a mastering context. Start by Groovemasters Rock Kit 2) or a set of your own need to be anything fancy, just enough to help you get
creating a new project and clearing the Rack. Add a individual samples – obviously you’ll need to experiment a feel for compression and EQ adjustments in their
Mixer to the Rack, followed by a Redrum. >> with the suggested compression and EQ settings given later correct context. >>
on if you choose to do the latter. >>

4 5 6
Flip round to the back of the Rack and add an Set up the compressor to bring out the attack of the The bass drum should sound quite a bit fatter now, but
instance of the MClass Compressor. Since we want to bass drum and thicken the body. Try the following some adjustments may be necessary to make it fit
process the bass drum separately (rather than all of values and then experiment on your own: Input Gain – properly in the wider context of a mix. Insert an MClass
the drums together) connect it between the Redrum’s bass 4dB; Threshold – -27.5dB; Compression Ratio – 4:1; Attack Equalizer between the compressor and the mixer. We’re
drum output and a spare mixer channel. >> Time – 25ms; Release Time – 200ms (low enough to let the going to compress first and apply EQ afterwards – otherwise,
body come through). >> the compressor could partially undo our adjustments. >>

7 8
Again, here are some starting values, but be sure to
experiment – especially if you’re using your own drum
samples. Lo Shelf Frequency – 30Hz (cutting below
30Hz will free up some headroom and help to prevent a
muddy or ‘boomy’ mix); Gain – -18.3dB; Q – 0.5. >>
9
Likewise, set up either of the two parametric EQ Now for the snare drum. Wire a new MClass
sections (Param 1 or Param 2) as follows: Frequency – compressor between the the Redrum’s snare drum
2.3kHz; Gain – 1.7dB; Q – 4.1. >> output (Channel 2 in the case of the Groovemasters kit)
and a spare Mixer channel. Note that connecting individual
drum outputs in this way will remove them from Redrum’s
master output. >>

052 | COMPUTER MUSIC MARCH 2005 TUTORIAL

 Reason 3’s new features make music
Q&A focus
now

STEP BY STEP A touch of MClass (Continued)

10
Bring out the attack in the snare drum and
add some ‘snap’ with the following
compressor settings: Input Gain – 2.4dB;
Threshold – -20.7dB; Ratio – 4:1; Attack-Time – 70ms;
Release Time – 50ms. >>
11
Next, insert an MClass Equalizer between the
output of the snare drum compressor and the next
available Mixer channel. >>
12
To increase the body and overall impact of the
snare drum, try setting up one of the parametric
EQ sections as follows: Frequency – 300Hz; Gain
– 2.3dB; Q – 2. Unless you're going for an extreme effect,
keep Q values low to give natural sounding adjustments.

STEP BY STEP Setting up a MIDI control surface

1 2 3
In Reason 3, control surface support has radically Click the Auto-detect Surfaces button. Your control Select the keyboard manufacturer and model. If your
changed for the better. Your controller should be set up surface should be detected automatically and enabled model's not listed, choose <Other>. Type a name into
during installation, but in case it isn’t – or you’ve added for use with Reason. If you have a MIDI keyboard that the Name field and click the MIDI Input Find… button.
one since – here’s how to do it. Make sure the control you'd like to use as well, click Add. >> Press a note on the keyboard to automatically detect the
surface is properly connected up – via USB or MIDI – and correct port. Click OK to dismiss the dialog. Your keyboard
start Reason. Open the Preferences screen and switch to and control surface are now ready to rock.
Control Surfaces and Keyboards page. >>

Hands-on Control 7The Behringer

Back in cm78, we reviewed the new B-Control controllers lock each B-control to a B-Control units
from Behringer and gave them a healthy 9/10 rating. Since separate Device in the Rack and Reason
then, Behringer have released a number of firmware upgrades if you have more than one. 3 are truly a
match made
which improve the unit’s functionality and integration with
in heaven
various applications. • Step through presets for
The B-Control units are fully compatible with Reason 3, instruments and effects Devices
including support for the motorised faders found on the (the faders and indicators move
BCF2000. In fact, the level of integration within Reason is so to reflect new preset values).
impressive that we’ve decided to run a ‘hands-on’ QuickTime
video (on the DVD-ROM) to show it off. Here’s a quick • Enable, disable or bypass any
summary of what you can do with the BCF2000 control Device on-the-fly.
surface once you’ve got it set up (and you can expect similar
results from other ‘full feedback’ surfaces too): • Control the main parameters of each
instrument without having to do any
• Control transport operations, including play, stop, return to programming or setup at all.
start, record, fast forward and rewind.
• Hands-on control of the mixer, with level
• Switch the control surface between units in the Rack, or meters on the rotary indicator LEDs

TUTORIAL MARCH 2005 COMPUTER MUSIC | 053