User manual PROPELLERHEAD REASON 1.0.1

[. . . ] Operation Manual TABLE OF CONTENTS 5 6 10 12 13 16 19 28 29 31 The Sequencer Recording Copying REX loops and Patterns to Sequencer Tracks Editing - About Snap Editing in the Arrange View Using Groups The Edit View Quantizing The Change Events Dialog Importing and Exporting MIDI Files 45 46 46 46 47 47 48 50 51 52 52 52 52 Using Reason as a ReWire Slave About this Chapter Why use Reason with ReWire?Preparations for Using ReWire - Macintosh only Launching and Quitting Steinberg Cubase VST Emagic Logic Audio Mark of the Unicorn Digital Performer Using the Transport and Tempo Controls MIDI Control With ReWire Converting ReWire Channels to Audio Tracks Synchronization 33 34 34 35 36 37 Routing Audio and CV About the various signals that can be routed About Cables Automatic Routing Manual Routing Using CV and Gate 53 54 54 57 58 MIDI and Keyboard Remote Control Introduction MIDI Remote Mapping Keyboard Remote Saving Remote Setups 39 40 41 43 Routing MIDI to Reason About the Various MIDI Inputs Sending MIDI Data to Reason Controlling Devices directly via MIDI 59 60 60 60 61 62 63 Synchronization ReWire users ­ Read This!Slaving Reason to an External Device Slaving Reason to Another Program on the Same Computer MacOS: Slaving Reason to a non-OMS Program Synchronization Considerations 2 TABLE OF CONTENTS 65 66 66 67 67 69 Optimizing Performance Introduction Optimization and Output Latency Optimizing Your Computer System Optimizing Songs Songs and Memory Requirements 99 100 100 106 110 112 114 116 117 Subtractor Synthesizer Introduction The Oscillator Section The Filter Section Envelopes - General LFO Section Play Parameters External Modulation Connections 71 72 Transport Panel Overview 77 78 78 79 Reason Hardware Interface Introduction MIDI In Device Audio Out 119 NN-19 Digital Sampler 120 120 121 122 125 126 129 132 Introduction General Sampling Principles About Audio File Formats About Key Zones and Samples Automap Samples NN-19 Synth Parameters Play Parameters Connections 81 82 82 84 84 84 85 86 The Mixer Introduction The Channel Strip The Mixer Signal Flow The Auxiliary Return Section The Master Fader Connections Chaining Mixers 133 Dr. Rex Loop Player 134 134 135 136 137 138 143 Introduction About File Formats Adding a Loop Creating Sequencer Notes Slice Handling Dr. Rex Synth Parameters Connections 87 88 88 89 90 93 96 97 Redrum Introduction About File Formats Using Patches Programming Patterns Redrum Parameters Using Redrum as a Sound Module Connections 145 Matrix Pattern Sequencer 146 Introduction 147 Programming Patterns 152 Example Usage TABLE OF CONTENTS 3 155 ReBirth Input Machine 156 Introduction 156 Preparations 156 Routing 199 Index 157 The Effect Devices 158 159 160 161 161 164 165 166 167 Common Device Features RV-7 Digital Reverb DDL-1 Digital Delay Line D-11 Foldback Distortion ECF-42 Envelope Controlled Filter CF-101 Chorus/Flanger PH-90 Phaser COMP-01 Auto Make-up Gain Compressor PEQ-2 Two Band Parametric EQ 169 Menu and Dialog Reference 170 175 188 188 190 191 191 File Menu Edit Menu Create Menu Options Menu Windows Menu (Windows Version) Windows Menu (MacOS Version) Help/Contacts Menu 193 About Audio on Computers 194 General Information 195 PC Specific Information 196 Macintosh Specific Information 197 MIDI Implementation 198 About This Chapter 198 How various MIDI messages are Implemented 4 TABLE OF CONTENTS THE SEQUENCER 1 Recording Recording and Playback Basics The basic procedures for recording and playback are described in the Getting Started book. [. . . ] On some vintage synths, this is called "sample & hold". Soft Random The same as above, but with smooth modulation. 112 SUBTRACTOR SYNTHESIZER LFO 2 Parameters LFO 2 is polyphonic. This means that for every note you play, an independent LFO cycle is generated, whereas LFO 1 always modulates the destination parameter using the same "cycle". This can be used to produce subtle cross-modulation effects, with several LFO cycles that "beat" against each other. This also enables LFO 2 to produce modulation rates that vary across the keyboard (see the "Keyboard Tracking" parameter below). Rate The Rate knob controls the LFO's frequency. Turn clockwise for a faster modulation rate. Amount This parameter determines to what degree the selected parameter destination will be affected by LFO 2. Raising this knob's value creates more drastic results. Destination The available LFO 2 Destinations are as follows: | Destination | Description Osc 1&2 Phase Selecting this makes LFO 2 modulate the pitch (frequency) of Osc 1 and Osc 2. Selecting this makes the LFO 2 modulate the Phase Offset parameter for both Osc 1 and 2. Note that Phase Offset Modulation (Subtraction or Multiplication) must be activated for this to have any effect (see page 103). Filter Freq 2 Selecting this makes the LFO 2 modulate the filter frequency for Filter 2. Amp Selecting this makes the LFO 2 modulate the overall volume. , to create tremolo-effects. LFO 2 Delay This parameter is used to set a delay between when a note is played and when the LFO modulation "kicks in". For example, if Osc 1 & 2 is selected as the destination parameter and Delay was set to a moderate value, the sound would start out unmodulated, with the vibrato only setting in if you hold the note(s) long enough. Delayed LFO modulation can be very useful, especially if you are playing musical instrument-like sounds like violin or flute. Naturally it could also be used to control more extreme modulation effects and still retain the "playability" of the sound. LFO 2 Keyboard Tracking If LFO keyboard tracking is activated, the LFO rate will progressively increase the higher up on the keyboard you play. If the LFO is set to modulate the phase offset, LFO keyboard tracking can produce good results. For example, synth string pads and other sounds that use PWM (see page 103) can benefit from this. SUBTRACTOR SYNTHESIZER 113 Play Parameters This section deals with two things: Parameters that are affected by how you play, and modulation that can be applied manually with standard MIDI keyboard controls. These are: · · · · · Velocity Control Pitch Bend and Modulation Wheel Legato Portamento Polyphony The following parameters can be velocity controlled: | Destination | Description Amp This let's you velocity control the overall volume of the sound. If a positive value is set, the volume will increase the harder you strike a key. A negative value inverts this relationship, so that the volume decreases if you play harder, and increases if you play softer. If set to zero, the sound will play at a constant volume, regardless of how hard or soft you play. A positive value will increase the envelope amount the harder you play. This applies to both Osc 1 & 2, but the relative offset values are retained. A positive value will increase the filter frequency the harder you play. A positive value will increase the envelope amount the harder you play. [. . . ] Some other lower priced processor have taken shortcuts which reduce their performance in this particular aspect. Our advice is: If you plan to buy a computer specifically for Reason, you can play it safe and choose an Intel processor. Alternatively, make sure you select a processor that is renowned for high floating point arithmetic performance! Mac Audio Cards that play back via the Sound Manager There are a few rare Mac audio cards that play back via the Sound Manager. ! If you have an audio card for your Macintosh, we strongly recommend you to try and find an ASIO driver for it instead of using a Sound Manager driver. This will give you higher reliability and performance. Mac Audio Cards with an ASIO Driver An audio card with an ASIO driver is your best option if it is available. [. . . ]