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Devvyn's Achievements


Newbie (1/14)

  1. I might be stating the obvious, but it might help to say this anyway: About not hearing anything from the ReDrum: This may seem ridiculously obvious, but it has happened to me--if you have not loaded samples or a kit, it will not produce sound. About the sequencer: The sequencer will play all tracks from left to right simultaneously. The tracks in the sequencer are not like individual patterns. So, if you want one part to come in later than another, you'll have to highlight it and drag it to the appropriate place. Another reason for too much sound: Also, things like the Matrix and the ReDrum will play continuously when you hit play regardless of what is in the sequencer if the "Pattern" button is lit on the device in question. I used to have a problem remembering that from time to time and then I would wonder why there was more sound than there was supposed to be.
  2. I listened to Protricity's example, and the tremolo is present continuously, but it does become more pronounced as the note decays. I think this could actually work, but it would sound best with the use of a compressor with the proper release setting. If you really want to get around having to duplicate a track then I guess this may be the best approach. I personally believe that although my approach is slightly more complex to set up, it is ultimately cleaner and more flexible. There are advantas to each, it seems.
  3. The reason I didn't suggest the Matrix approach, as I said in my original response, is because it doesn't synch up properly to notes of all lengths without using some sort of automation to change the pattern or it's rate of play...which defeats the purpose of avoiding mod amount or mod wheel automation. Suppose you have a note which is one bar long, and another note which is one half-bar long. Now, if you want the mod effect to come in, say, half-way through the note, you'd need to create a CV, Curve, or Note pattern which rises after one-quarter of a bar for the half note, and one half of a bar for that whole note. Since the Matrix repeats, the modulation would either rise and fall twice on the whole note, or not at all for the half note, depending on which note you were trying to set it up for. Am I not right on this? It gets even worse if you have a long note which isn't placed at the start of a bar. Of course, as has been said, the mod wheel can be used instead of the Mod A/B. I would wire the output of the mod from the controlling Malstrom to the Mod Wheel input on the sounding Malstrom. Again, I refer everyone to the demo Reason Module. http://www.waterwave.org/Malstrom%20Delay%20Example.rns
  4. I'm not giving this thread priority, I'm trying to be helpful. If you've got a Reason question, you can ask it here. If you're trying to feel better than someone else, you are not contributing. Mark7 wrote that automating the Mod Wheel for each note felt like too much work, and therefor that is NOT the answer he wanted to hear. I don't know what a "syn issue" is, but if you read my tutorial or even just download the demo, it should be pretty clear that my solution fits. Of course, if anyone has a better idea, I'm not going to be one to say mine should still be used. Don't criticize if you aren't even paying attention and can't provide anything better. That's just rude. Thanks for trying, anyway. Next QUESTION?
  5. I just want to keep this near the top so nobody misses it and starts a new topic about Reason. I wish I could make this a sticky...
  6. No need to feel embarrassed. I will gladly attempt to answer any question, no matter how dumb it may seem. I'm here to help as much as possible.
  7. The answer to this is simple: put the ReFills wherever you please! Go to Edit | Preferences, Sound Locations page. Select up to four folders besides the Reason program folder where you would like Reason to check for sound samples, refills, patches, and anything else your song file might require. Happy remixing!
  8. For something as general as this, I'm going to have to point you to the "Getting Started" section of the Reason help file. I also suggest you make sure you have the most recent version. One tip I will give for an absolute beginner is to use the little button on the far left at the top of the bottom pane. When you press it, it will switch between an overall view (which won't let you edit notes) to a track view for whichever track you select. Draw notes with the pencil, move them with the pointer. If you're using the demo and you want to copy and paste, select what you need to copy, and drag it to it's second location while holding Ctrl. (I'm not sure what the equivelent key is for the Mac, sorry). If you have a keyboard and want to record, make sure the little circular "plug" icon is beside the track you want to record into. Also set up MIDI in the Options panel before you attempt to record. If anyone is in a situation where they feel they need a lot of help and don't want to post here, feel free to add my email address to your MSN Messenger Contact List, if you have one, and speak to me online. Emails or PMs are accepted too, of course, any time.
  9. The problem with using the Matrix is that is doesn't sync up to the notes, just to the beat. So, you might end up with modulation at the wrong times. Okay, well, I played around myself, because I have run into this problem before. I have come up with a solution. The explaination makes it look more complicated than it really is, so I recommend simply downloading the simple example here: http://www.waterwave.org/Malstrom%20Delay%20Example.rns What you do is create two Malstroms. One to make the sound, and one to control the mod. The reason for this is because the Malstrom is the only device that can make a nicely shaped CV for this job. Wire them up so that Mod A Output on Malstrom 2 routes directly to Mod Amount Input on Malstrom 1. Wiring is complete. Now, flip it over and set Mastrom 2 like so: Turn off the audio oscillators. (Click the orange square above the words "OSCILLATOR A"). You don't want this one producing extra sounds. Next, go to the Mod A section and turn on "1-shot". Set the modulation curve to curve 5. It's shaped like this: _|¯ Finally, copy the note data from Malstom 1's track to Malstrom 2's track, so they will be triggered together. Set your rate the way you like it, and you're done. By the way, if you turn sync on for the Mod A on Malstrom 2, you may not get the results you want. I hope this helps.
  10. I have been using Reason on its own from version 1.00 to 2.50. If anyone needs any advice, help, or suggestions, ask away.
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