4 on the Floor

May 1, 2008 12:00 PM, By Jim Aikin

TAKE COMMAND OF THE BEST ADDITIONS TO PROPELLERHEAD REASON 4--THE THOR SYNTHESIZER, REDESIGNED SEQUENCER AND REGROOVE MIXER--WITH THESE TIPS AND TECHNIQUES

SEQUENCER SCOOPS

If you've been using Reason for a while, do yourself a favor and read the manual before you dive into the redesigned sequencer. Many things have changed.

Track-Based Modulation

This is a classic technique, but it's handled a bit differently in Reason 4's new sequencer. The idea is that rather than record a long string of knob moves by hand, you create a two-bar or four-bar clip that contains the modulation data and then copy the clip down to the end of the track. You can use the modulation for 16 or 32 bars and then shut it off — or edit one of the copies to leave room in the mix for a one-shot event on some other track.

To create the clip, you can either draw the automation contour you need or record knob or slider moves in real time using the mouse.

If you record in real time as an overdub after recording notes, there's one slightly tricky thing to watch out for: While you're recording the mouse moves, Reason will also create a new clip on the notes lane for that device. If you immediately grab the right end of the automation clip to resize it to a whole number of bars, you'll also be resizing the clip in the notes lane, which may cause notes to disappear. To prevent that, click on an empty area and then re-select the clip containing the automation.

Drawing the control data is a better choice when you want something like a straight sawtooth or triangle ramp. Right-click in the track and choose Parameter Automation from the Contextual menu, or use the Automation drop-down menu at the top of the sequencer window. (That menu is shown only in Arrange mode.) Select the parameter you want to automate. An empty automation lane will appear within the track.

In Arrange mode, use the pencil tool to click in the new automation lane, which creates a clip, and drag to the right so the clip is the length you want. (Leave the Snap to Grid button switched on while doing that so it will be a whole number of bars in length.) Choose the arrow tool, double-click on the new clip and switch back to the pencil tool. Now you can draw an automation curve in the clip.

Finally, hit Escape to deselect the clip for drawing, select the arrow tool and Ctrl+drag the clip to copy it.

ReGrooving the Matrix

The ReGroove mixer can add almost any kind of feel to a groove. The best way to learn what it can do is probably to program a very steady track, with quantized notes at a consistent velocity and note length. Route this track through a ReGroove channel and then load various ReGroove patches into that channel from the browser to hear what they do. The synth patch you use for auditioning should be set up to respond to velocity data because this is included in many of the ReGroove patches.

The output of the Matrix step sequencer can't be routed through a ReGroove channel, but there's an easy work-around:

• Load or create a Matrix pattern.
• Select the sequence track of the instrument that the Matrix is playing.
• Right-click on the Matrix and use the Copy Pattern to Track command.
• Click on the Matrix's Pattern button to turn it off.
• Assign the instrument's note lane to a ReGroove channel.
• Load a ReGroove patch.

The main limitation of using a Matrix this way is that its curve output won't be copied to the track. If you're using the curve output, then leave the Pattern button switched on and set all of the velocity levels to zero in the Keys display so that the Matrix itself will generate no notes.

Quick Sequencing Tips

Reason 4 has a very welcome new command: Mute/Unmute Clips. Select a few clips and type M. They will be grayed out. This is handy for trying out a complex part both with and without certain notes or controller moves.

If you aren't sure a particular phrase in a track is working, don't erase it. Add a new note lane to the track, mute the original part and try again. You can stack as many alternate takes as you like and then choose the one that works best — or cut and paste bits as needed.

In the Tool window, the Alter Notes option works very effectively with Dr.Rex beats. Load a loop, preferably one that has several different types of drum sounds. Click on the To Track button, select a clip containing the notes, set the Alter Notes amount to 10 percent and then click on Apply. That will randomly shuffle a few of the notes. Keep clicking on the button (with or without Undo in between) until you find a variation that you like. If you've started with several copies of the clip, then you can generate separate variations for a few of them, which will produce a drum track with a few unexpected changes. It may also mess with the feel of the beat, however; it requires you to exercise good musical judgment.

Also in the Tool window, the Scale Tempo option is great for double-timing a drum fill at the end of a phrase. Choose the razor blade tool and separate the last two beats of a Dr.Rex clip into a new clip. Select that clip and click on the Double button. The clip will be compressed to half its former length. (See Fig. 3.) Ctrl+drag to copy it, refilling the now-vacant spot. With the short clip at the end selected, click on the Double button again and repeat the process. This trick doesn't produce great results with every beat, but it's an easy way to generate some raw material for further editing by hand.

A REASON IN THE SUN

Every time I use Reason, I'm amazed anew by how much fun it is to use. Okay, I still wish I could insert a few third-party VST plug-ins in the rack, but that's strictly because I'm a gear-hound, not because of any huge gaps in Reason's sonic palette. With the exception of physical modeling, Thor covers just about every type of sound I can imagine. And I've heard some enticing rumors about what we may be seeing in 4.5. If you're not on the Reason bandwagon already, jump onboard.

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