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Devvyn

REASON - Please Direct Reason questions here

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Hi, i was messing with the Malstrom synthesizer and i was wondering about if i can let the mod kick in after a second or so. At this moment the instrument has mod the whole time, from start to end, but that is not what i want.

Of course i can manually set the mod value of the controller, but that is a lot of work if i have to do it with each note :P

btw. I'm not sure if anyone is interested but I myself had a good idea for making panning delay (from left to right or right to left):

1. Make 2 delay thingies.

2. Connect the left source to one and connect the right source to the other (if you got a mono source, use the spider to split it to 2 channels).

3. Connect the left output to the left input of the mixer and connect the right output to the right input of the mixer (duh).

4. Make sure the settings of the 2 delays are the same. Except for feedback. If you increase feedback of the right channel delay, the delay will move from left to right.

Pretty neat eh?

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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.

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Uh, hi, I have the Reason Demo, and I can't figure out how to make it do stuff other than open files and play them.

:wink: By the way, I'm actually serious, I'm really confused.

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Uh, hi, I have the Reason Demo, and I can't figure out how to make it do stuff other than open files and play them.

:wink: By the way, I'm actually serious, I'm really confused.

Do you have the 1.0 demo? Because, I'm not sure of this, but I think the edit mode of the sequencer might've been disabled in that; at least I never figured out how to do anything with it. If it's the 2.5 demo, which I played around with recently (I've got the full version now, yay!), click on the icon that looks like 3 different colored bars on top of each other to go into edit mode in the sequencer. There you can enter in notes for any instrument devices you've added into your rack.

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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.

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How about...

What location do you place your own ReFills? Every time I boot up a song, I have to manually feed the location of all the Refills every single time... :cry:

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Hmm, it shouldn't make you do that every time. When it says sounds missing, click Search and Proceed, then Search Manually, or something to that effect. After you find the sound, it shouldn't make you look for it again unless, of course, you move the sample/refill in between working on the song.

I usually put ReFills in the Reason prog folder, where the Factory Sound Bank and Orkester bank are.

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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!

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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.

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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...

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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...

I don't think this thread should have priority over all the others.

Hi, i was messing with the Malstrom synthesizer and i was wondering about if i can let the mod kick in after a second or so. At this moment the instrument has mod the whole time, from start to end, but that is not what i want.

Of course i can manually set the mod value of the controller, but that is a lot of work if i have to do it with each note :P

Uhh.. why not just hook up the mod wheel to the modulator effect and turn the wheel off when you start, then push it up when you need the effect to happen?

Isn't this how its supposed to be done?

Wouldn't creating 2 maelstroms create a huge headache with notes playing at the same time, syn issues, and having to update 2 sequencer tracks for every notation change?

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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?

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To expand on Devvyn's idea, couldn't you use a Matrix and a CV Spider to prevent having to copy/paste the note data? Yes, you'd lose some programmability, but for simple stuff you'd avoid the hassle of making sure the notes are identical for both tracks.

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To expand on Devvyn's idea, couldn't you use a Matrix and a CV Spider to prevent having to copy/paste the note data? Yes, you'd lose some programmability, but for simple stuff you'd avoid the hassle of making sure the notes are identical for both tracks.

If you gave me a reason why the mod wheel idea doesn't work ideally for this situation then MAYBE, though its still messy as hell (still need to sync the tracks ex. cant have them both playing at the same time, need to turn one of when the other is on... huge headache)

Use mod wheel. Thats what its for.

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Yeah but the point here was that he wanted a way to do it besides automating the modwheel. And, btw, I meant that you'd be sending the note data, not cv curve data from the Matrix.

EDIT: Curve date? Yes please. However, I meant curve data.

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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?

WTF is with all the insulting? Chill out bud. If you wanna do that stuff, go to unmod.

Anyway, Mark said he didn't want to edit the mod effects themselves. Yes, that would be a lot of work. What I don't think he realizes is that you can link ALL the mod effects to ONE mod wheel and just use that which is far far easier to do than having two tracks.

An even easier solution would be, if you are just dealing with FM and such mods, to turn the velocity modulators on. In other words, when you hae a low velocity note hit, less (or more) modulation is used on that note alone. This is very effective for polyphonic sequences. It also eliminates any need for using modwheels, dual tracks, and the like. Very easy.

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Yeah but the point here was that he wanted a way to do it besides automating the modwheel. And, btw, I meant that you'd be sending the note data, not cv curve date from the Matrix.

Gotcha. Still, at some point you'd have to automate each track to turn their volumes on and off so both tracks aren't playing at once.

So if you use that system, you're creating a headache of dealing with to tracks and syncing them AND you are still modulating volume.

Kinda kills the point eh?

Either way, consider my velocity idea. No modulation required at all! Just change the velocities of each note. Very easy.

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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

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There is no headache involved in syncing two tracks. If you make changes, duplicate the track you changed, point the new track to the 2nd Malstrom, and delete the one you don't need anymore. It's not as easy as the mod wheel, but it's not a headache or hassle at all.

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There is no headache involved in syncing two tracks. If you make changes, duplicate the track you changed, point the new track to the 2nd Malstrom, and delete the one you don't need anymore. It's not as easy as the mod wheel, but it's not a headache or hassle at all.

Not unless you decide to do pitch bends, effect tweaks, rewire automation, matrix automation, and a few other things I cant think of at this moment...

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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.

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