Create your Master DAW Template in Reason | Mikael Baggström | Skillshare
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10 Lessons (40m)
    • 1. Welcome

      2:32
    • 2. Step 1: Group Channels

      6:45
    • 3. Step 2: Send Effects

      4:40
    • 4. Step 3: Color Coding

      2:58
    • 5. Step 4: Rack and Channel Organization

      5:11
    • 6. Step 5: Channel Naming

      3:50
    • 7. Step 6: Instruments

      3:57
    • 8. Step 7: Sidechain Compression

      4:59
    • 9. Step 8: Master Bus

      3:10
    • 10. Congratulations + BONUS GIFT

      1:36
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About This Class

Create your own Master Template Today
- Now is your chance to take action to create your own Master Template in Reason. And not just any template btw, your grand master template. A template to rule them all. A template that you can use for all your future music projects.

Special Bonus Gift
- After you finished this class I have a special bonus gift for you. I will share with you, my own grand master template for Reason, completely for free. You can use it as inspiration when you create your own master template, as a guide to see how everything is set up, or even use it as it is, to make your music with, if it suits your personal workflow.

Get Ready to Level Up in Reason
- You will learn my Top Tips, Tricks and even Secrets from my experience as a Music Composer and Sound Designer since 1998, and running my own business since 2004. I have condensed all my years of experience into a compact learning experience for you. Basically, this is your shortcut to Kickstart your Music Career.

Examples of things you will Learn

  • Group Channel Optimization using the POS model
  • Rack and Mix Channel Organization for Maximum Clarity
  • Sidechain Compression Implementation + Mastering Chain
  • Send Effect Channels Setup
  • Color Coding and Naming Structure for Optimal Workflow

Start Today
- Don't wait for a better time, because time always runs out in the end. Invest in yourself today, and thank yourself tomorrow. So enroll now! =)


Friendly regards,
Mikael "Mike" Baggström
Music Composer | Sound Designer

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Meet Your Teacher

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Mikael Baggström

Music Composer | Sound Designer | Video Producer

Teacher

Hey Friends and Creative People!

My name is Mike, and I am a Music Composer, Sound Designer and Artist. I Share my Story, Journey, Experience and Knowledge, to Inspire and Empower Creative People like you. =)

MY PASSION

I believe that learning should be fun. I love to bring my personality into my teaching style. I also try to make my courses dynamic, to be more interesting to you. =)

You are more than welcome to visit my website to learn more about who I am.

Friendly regards,
Mike from Sweden
Founder of professionalcomposers.com

See full profile

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Transcripts

1. Welcome: Hey, friends. And welcome to this course You will learn how to make your own master d a w template in reason. I have been using reason since version 1.0, which means a lot of years, and I'm going to share with you all the tricks and secrets I picked up along the way in order to build a great template in reason. And not just any template, by the way, your grand master template a template to rule them all, a template that you can use for all your future projects. After you have finished these close, I also have a gift for you. I will share with you a special bonus, my own grand master template for reason completely for free. You can choose to use it for inspiration when you create your old master template as a guide to see how everything is set up or even use it as it is to make your music with ifit's Your personal work, though, So let's stop and think about this. Do you want to be more efficient when you make music in reason? Do you want to stop wasting time setting up channels, routing cables and setting up all kinds of things in your projects when you could focus on making music instead, then these clothes is perfect for you. My name is Mike, and I am a music composer and sound designer on an epic journey in music. I share all my best tips, tricks and even secrets from all my years of making music since 1998 because I want to empower you with knowledge, skills and motivation to continue your journey as a music maker. All right, don't wait for a better time because time always runs out in the end stores now. And I'm waiting for you in the next video I Mike signing out and you rock my friends. 2. Step 1: Group Channels: the first thing I always want to set up when creating a new master D A w template all the channel groups. So how are you ready for some groupies? Channel groups are used both to speed up your mixing process and to improve your work flow . When recording and arranging your music, for example, let's say you create a channel group for the drums. This way you can compress the drum group as a whole and shape the total sounding character off the drum kit. It's also much easier to mix your final track when you focus on the different groups off sounds you have in your project. So how do you choose what Cheryl groups to create? Most producers group their channels based on the instrument type like, for example, drums, guitars, vocals, etcetera. Andi that can were great if you like this approach. But there is one big drawback. This template will not work for every track and style of music you make, because every track you make might not have strings, brass or choirs, etcetera. That is why I have developed my own method for grouping channels in my master D. A W template, which I call the Post model. It stands for purpose off sound and basically means that I group old tracks into sections based on the purpose off the sound. Let me give you a simple example. If I have an instrument track with a bass guitar, it goes into the based group channel because the sound of purpose is adding the base to the track. Now let's say I have a piano playing chords and harmonies. The purpose off this sound is to fill out the track by adding to the background of the music. So I place it in a group channel called back. Now let's say I have a lead guitar in my track. The purpose is to play the leading melody off the music, so I place it in the front group channel because I found the sound to be in the front off the mix. Now I'm going to show you how I have set up the group channels for my master D. A. W. Template in reason. You can use these as inspiration or even copy my special post method. If it suits your way of producing music, let's jumping to reason to check out my grand master template. All right, so as you can see here in the project, I had chosen thes group channels based on my own custom post model. Let's go through them one by one group channel Run low drums In these groups Channel I place all the low end drums and percussion sounds like bass drums, Tyco's Tom's and epic low percussion group Shuttle to high drums. Here I route all high frequency drum and percussion sounds like high hats, symbols, shakers, etcetera, group Channel three accents. These is where I put claps, snares, stomps, hits and other one shot sounds that will mark the accents off the track. Also sounds like Sabah booms, orchestral hits and big short staccato stabs Group Channel four Base. This is self explanatory here I placed all the bass tracks like bass guitar, based since low strings, deep pads and low breast etcetera, basically every sound that has the purpose to fill up the low end off the track Group Channel five Drive. This is where I put rhythm guitars, driving palaces, ostinato, string patterns, etcetera, basically the driving rhythm off the track group. Channel six. Back here I have all sounds that are meant to be in the background of the music. So this is mainly for the chords and harmonies, but also sounds that simply as an atmosphere like soundscapes, drones and sound effects and other subtle sounds that feels out the track without drawing too much attention to themselves. Group Channel seven Front. This is for the leading parts of the track, the things people mainly focus on when listening to the music basically the ports that most people hum. So this is for the leading melodies the hooks, the reefs, the motives. And, of course, the purpose off these sounds are to be in the front off the stage, with a big spotlight shining on them. Group Channel eight Moke up here is where I add my ideas to quickly write out a simple rough sketch off the track I'm working on. So this group channel is just for sketching, and the sounds will not be used in the final mix. I always include a track for the court progressions in this group channel, but I also often have a track for the leading melody and sometimes also a rhythm track to get the basic groove down as well. All right, So that's how I have my channel group set up in reason. And again, I'm using my own method for channel grouping, which I call the posts method. Purpose. Off sound. Now it's your turn. Decide on how you want to group your tracks. The most important thing is that your master template suits your personal preference and workflow. So open up a note pet f and write down the group channels you will use once you have written them down. Startup reason. Create a new empty project and create the group channels off your master template. I Mike helping you organize your channel groups because you broke my friends. 3. Step 2: Send Effects: after I have set out old channel groups. I want to create an vowed all send effects. Which ones do I always used in my template? Well, keep on watching, and I'll show you. Reason has eight channel sends you can use in the mixer. I use seven of them in my template and save one in case I want to add a special send effect on a certain project. There are basically two million types of send effects. I use reverb and delay. I find that it's a good practice to have a several types of rooms for the re verbs to choose from as well as different times. On the delay sense, let me show you my send effect channels one by one, one reverb room. The first send effect is reverb, with a smaller room size to ari subtle ambience to re track. I'm usually using a studio room as the present for this first river to reverb plate. The second send effect is another reverb, and here I add a plate reverb plate, reverb czar, great for vocals, leads and drums. They simply have that kind of character that as depth, without sounding too bushy. Three reverb hole. The third send Effecting my template is my final reverb, which is a big hole reverb. I use this for those big cinematic sounds. Four. Delay half note. The fourth send effect is a delay, with 1/2 note time. It works best on sounds that are not that busy, and that leaves a lot of space for the reverb to add depth in five delay. Quarter Note. The fifth send effect is another delay, with 1/4 note time. In my template, I have it set up as a ping poem delay. This means that it is a stereo delay where every delay bounds is panned to one side and it switches for every bounds. Six. Delay, Slap Echo. This is a very short delay time that is not sink to the temple off the song. It works great to add depth without feeling out too much space off the track. Seven. Side Shane Compression. I have a very special way that I have set upside shin compression in my master template. Basically, I am using the channel compressors in the SSL mixer in reason to do so. I chain compression. I have routed these on all group channels. But I still have to choose what the compressors listen to. And I do this by sending audio to this send effect. The most common case is, of course, the bass drum track. So if I turn on this sand effect here, it sends the audio to the side Shane compression bus, which in turn feeds it into the side chain compression input for all these groups channels . And then I can set up how much side chain compression will be applied right here from the SSL mixer. So I can basically make the base pump like crazy, but only apply a small amount of sightseeing compression to the back and drive group channels. And I can do it all from here and have a good overview of all side chain compression going on in the mix. And that is why I love this method. And as you can see here, I have left the eighth and final send effect empty, just in case I need to add something special to a specific project. All right, now it's your turn. Make a list of what send effects you want to include in your master template for reason and when you feel like you are satisfied gold and set it all up in your template, I might helping you choose your send effects because you broke my friends. 4. Step 3: Color Coding: it is important to have a clear overview of your product as you work on making your amazing music. I am a huge fan of keeping things organized and structured because it will help you compose and produce music much faster and more efficient. The first way of doing this is by categorizing your channels into channel groups like we just have done. What I like to do next is to use coolers to separate the types of shuttles. Visually, there is a color palette in reason, but you can use to add your preferred cooler to any track you like to a recorder to one of your channels. Simply right. Click on it and choose channel color. You will get a pop up window where you can choose the color of your selected track. Another benefit when you add cores is that it is replicated in the interface. So if I open up the sequence or here you can see that the same colors are present for all the tracks. And if I go to the wreck, the coolers are replicated there as well. But before you start adding colors, you should first take a moment to think about how you personally connect colors with specific instruments and sounds. For example, personally, I have always colored my bass tracks red, my leading instruments, yellow and all my drums and percussion tracks intense off green because that is how I see the colors when thinking about these sounds. And now it's your turn. Close your eyes and think about one type of sound at a time. Let's say you created fact for a bass guitar. Now close your eyes and start thinking about the name of this type of sound in this case base, and then think about what cooler you instinctively associate with it. This is different from person to person, and it is very important that your master template is customized for your personal workflow and preference. Your template and organization should feel intuitive for you. All right, now do these association exercise in a step by step. Prose is until you have a full, colder theme off your master template. I might helping you visualize your music with colors because you broke my friends 5. Step 4: Rack and Channel Organization: Now it's time to organize your wreck and mixer channels to get a better overview and more clarity. Having a well organized wreck and mix of journals in reason is often overlooked, but in my experience it actually saves you a lot of time, since you will be able to work more efficiently. So how do I do this? Well, basically, I use my channel groups as a base so that each group has its own space in the wreck. I do put both drum groups together. However, as you can see here. So I start with the low percussion and high percussion in the wreck space here, then going to the right. I have the accents group full load by the based group. Then I have the group for the drive, the back group and finally, the front channel group. What about the mock up channel group? Well, I actually put that here in the first Rackspace together with all mixed group gels, send buses, etcetera. So let's look at the structure off this first Rackspace. Since we're looking at it right now, here we have the master section first, and in it is it the default mastering chain of reason. Then I have placed all send effect channels just off there, the master section, because they are all routed into the master section with cables for the sense and returns. I have chosen to make the send effects into actual mix channels because that way I get more control over them. Since I can use the SSL mixer in reason to shape the sound off them, for example, I can easily fill throughout the low end of river verbs, etcetera. It also makes it easier to add effects in a chain for one single send. So if I open up the insert effects off this first send effect mix channel, you see there's a reverb loaded here now. But I can add to this chain if I feel like being created with a certain scent effect on any project I work on. After all the send effect channels, I have all the group channels here, and, as I said, I also have the moke up tracks here, which all the tracks are used to sketch out the rough outline off the track I'm working on . You might have noticed another thing in my rack that sticks out because I have actually used my appreciated graphical skills to design my own backdrops for the Combinator czar use . This is great because it instantly shows me visually what type of track it is. So I made special Combinator backdrops to represent the type of sounds for each channel group. A low drums and percussion type of sound which has a backdrop that looks like this. A high drums and percussion sound which looks like this. Then we have one for the hits and accent type sounds here. The drive backdrop, which looks like this followed by the base culminated backdrop, the backing type of sounds and finally, the front. Here you can get all my Combinator backdrops for free. Simply go to my website peak 11 dot com and sign up on my V I p email list. It's completely free and totally awesome. Now, if we jump over to the mixer, you can see that this structure off the channels mimics the organization off the rack but in reverse order. So going from the right here in the mixer is descend effect shuttles, then all the shadow groups here, starting with low drums moving on to hide Rome's exactly like the wreck was laid out. Then comes the three moke up treks and finally, the actual instrument tracks that will be used to make music with Great. Now you have seen exactly how I organize and structure my racking reason as well as the mixer. So now it's your turn. Use these as inspiration and then write down how you personally want to structure your wreck and mix the channels to maximize clarity, overview and, in the end, jewelry efficiency. When making music. I mike teaching you openly by sharing my secrets because you roped my friends. 6. Step 5: Channel Naming: What's your name? My name is Mike. Now let's name your channels in reason. Alright, so I've seen many projects that kind of look like a disaster zone tracks all over the place with non descriptive names like Temp 03 on Audio Track 14. Since I'm a fan off good structure and clean and clear layout, these make me crazy. That's why I really recommend you to give all your tracks a descriptive name, preferably short, so you can easily recognize it super fast in the mixer, as well as your wreck and sequences. Let's take a quick look at the tracks in my mixer here. The first thing you can see is that I only use capital letters for all names. That's because I find it much easier to read the names fast, especially on a monitor with high resolution. Since the text will be really small, then my way of making music, including mixing, is based on the model I developed, which is called Purpose Off Sound Moral. This means everything is focused on the purpose of the sounds and instruments in the track , not specifically what kind of instrument. For example, let's take a look on my group channels here. This group journal is called Dr because the purpose of the sounds and instruments I route to this group is to add the drive rhythm and pals off my track, things like rhythm guitar, driving, pal synth sounds and Austin or to string patterns. For example, this journal group are named back because the purpose of the sounds I route to this group is to fill out the background off the track like chords, harmonies, ambiance, sounds etcetera on the individual instrument tracks. I see the purpose of sound from the routing just above, but I sometimes still like to name the instrument tracks with the specific purpose of sound as well. So let's say I have a guitar track that I want to use for rhythm. Well, then I can, for example, name it guitar rhythm, or vice versa. The key point is to name all your tracks so that you instantly know exactly what they are and also what purpose they have in your project. You can even see that I use this concept on the scent tracks over here. Instead of using names like River 12 and three. I named them for their specific purpose. The 1st 1 is called Room because then I instantly know it is a reverb with a room sound and so on. All right, now it's your turn. Start by writing down a short and quick overview off How you personally would like to name your channels in a way that makes most sense for you. It is different for everyone. So make sure to think through before you implement it into your master template. I might helping you name your channels because you look my friends. 7. Step 6: Instruments: In order to make music, you need instruments and sounds. What a surprise, right? The purpose off a master template is to be able to start any new track in any style or songer off music. This is the reason I use the post model for the group channels, etcetera. It is also the reason why I don't want to add a lot of specific style instruments to the master template. For example, let's say I add a choir. Well, not every fact I produced will have a choir in it. So what do I do instead? Easy. I simply add one placeholder instrument for every group track. On top of that, I add the instruments for the mo cap tracks. The placeholder instruments are just a starting point and can then be easily replaced when producing a new track. I will now show them one by one for you First, I have three more cup tracks, which I used to make the rough sketch off the track I am working on. They represent the three main elements of music, rhythm, harmony and melody. For the rhythm track, I used a simple drum kit for the Harmony Track, a use orchestral strength perch layered with subtle piano to better mark the chord changes . And for the melody track, I most often use a big orchestra patch. Well, let's continue with the real instruments because the mocha tracks or simply a guide I use for sketching out my music. So you might remember that the first group channel in my master template is called though drums. And so the first instrument placeholder I add to the template is a drum kit, which I name, though drums. Then I route this instrument to the group channel called Low Drums. Next is high drums, which is another drum kit as the placeholder instrument. The third instrument I had is yet another drum kit, but this is for the hits and accent sounds. Then it's time for the base, and here I have added my grandmaster bass module. It is a great Combinator patch I have created to be able to dial in the perfect base sound for any track I produce. The next instrument I have added to the template is a placeholder for the drive or the track. Here I have rhythm pulse In next comes an instrument for the back group channel where I use a soft pad sound as a placeholder. And finally I have added a lead synth sound as the placeholder for the Fromme Group channel . All right, those are all the instruments I have added and routed to the specific group channels as a starting point for every new track I will make. It is very easy to replace the sounds and also add new instruments to this template. And now it's your turn. Add placeholder instruments for your master template and route them to the each individual group shadow. Remember to use your personal colder coding for the instrument channels as well. I might signing out and you broke my friends. 8. Step 7: Sidechain Compression: side, Shane Compression has become a staple in modern music production. It can be used for every single style music. So I find it very important to set it up in my master template. And you should, too, if you don't know what sightseeing compression does. Here is a very short summary. The main purpose of sites in compression is to decrease conflict between sounds in the same frequency range, for example, the kick drum and bass guitar. Basically, when two sounds are competing for attention, it results in a muddy overall sound. One of the most common implementation off sites and compression is therefore to that the kick drum win this competition by using a side Shane compressor to automatically duck the base every single time. The kick drum hits if you drive, citing compression really horde, you will get that familiar pumping sound that is very common in media and styles of music. Most compressor plug ins have a side chain input these days, which makes it so easy to set up. Sign train compression. The side chain input off the compressor is where you feed a duplicate off the audio that you want to win the competition I mentioned earlier. So one way of implementing sites and compression is to split the signal from, for example, the kick Drum Channel and send it to the site and input off a compressor on the channel You want to duck, for example, the base channel. However, since reason has this amazing SSL mixing console so easily accessible, I prefer to set up citing compression, using the internal compressors off the mixer. This is possible because every single mixed Cheryl in reason has a side chain input. If you connect a cable into this input, you activate the side shame capability off the compressor on that specific mix channel I wanted to set up citing compression with control over what is being fed to the input off the compressor. Yes, most often it will be the kick drum. But I wanted it to be easy to add other audio inputs. For example, I might want to use caps or snares to drive the site chain compressor. So I actually created a send a thick channel four sites in compression. That way I can control what is being fed into this sand effect mixture. The audio on this mix channel is then being sent into each individual group channel here. That means I can easily control which group Channels has citing compression activated by switching the compressor on or off on the specific Drew group shall own the mixer, and on top of that, I can control how much compression is applied per individual group shell. For example, I might want to have heavy side Shane compression on the days group channel every time, the kick drum mates and only light compression on the back and drive group channels. So the only thing you need to do to use sites and compression in a new track with this kind of set up in your master template is to create an individual track for your kick drum and turn up the send effect four sides and compression. Then you simply dialing the specific amount of citing compression you want to apply to each individual group shall great. Now it's your turn to take action implements side chain compression into your master template. You're free to use my method if you want to. I personally highly recommended and have used several other methods for doing station compression. If you find it difficult to set you up. Remember that you will get my grand master template as a bonus gift. After you have completed this course, then you can use it, analyze it and learn from it. I might help in your master side, Shane compression because you broke my friends. 9. Step 8: Master Bus: No, it's time to set up the mastering chain in your template. Purpose or mastering music is to add that final polish to the overall sound to make it into a professional production that can be played on the radio and other commercial use. Mastering is a huge and complicated field, but there are actually great plug ins today, but make it possible for people like you and me to master the music we make ourselves. One example of such a plug in is also basically it is a complete mastering suite or integrated into one single begin. However, if you don't have a mastering plugging like this, you can set up your mastering chain yourself in your recent master template. Since I have made my master template using Onley stock recent devices, I'm actually using the default mastering set up. I made it like this because I want to share my master template with you. And if I was using a lot off third party begins, you wouldn't be able to use my template without owning those plug ins yourself. You can do a lot of fancy stuff in your master and chain, but here all the essential elements off mastery one. Mastering e que a subtle eq you to shape the overall sound of your track to saturation. For example, tapes saturation to add that slight drive and warmth to grew the track together. Three. Stereo control. Making sure the low end is centered and sometimes also adding a little more stereo separation in the means or heist of your track. Full mastering compressor light compression to bring out the more quiet ports off the track . Fun limiter and maximize er to reduce the transients, which will increase the average loudness level of your track. It is also used as the final stage as a brick wall limiter so that nothing gets over. Zero db Awesome. Now it's your turn to take action, create your own mastering change in your template, or use the default reason mastering patch as a simple starting point as I do. However, if you own a mastering suite buggin such as ozone, I highly recommend you to use that in your master temporary. I might help you master your master template because you roped my friends 10. Congratulations + BONUS GIFT: congratulations. You have completed the full close, which means that you are a person who finish what you start on. That, my friend, is a true sign off successful people. Now I have a gift for you. Since you completed the full close, I have attached my own grand master template to this lecture. I want you to use it to guide you so that you can use all the knowledge, methods and tips you gain from this course. So take action, my friend, Because taking another step is the only way to move forward. I also want to invite you to join my V AP email list. Simply go to my website peak 11 dot com and sign up with your email address. You will get free products, special bonuses, amazing deals and much more. So become a V I. P. It is 100% free. Finally, I want to thank you so much for taking my clothes. And I hope to see you soon in one of my other courses. Until then, keep making amazing music. I mike signing out. And you look my friends