Learn to Sample in Reason Like a Pro | Evan Oxhorn | Skillshare

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Learn to Sample in Reason Like a Pro

teacher avatar Evan Oxhorn, Make Better Music

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 23m)
    • 1. How to Chop Samples in Reason

    • 2. How to Chop Samples in Reason Sequencer

    • 3. How to Chop Samples in Reason with Dr Octo Rex

    • 4. How to Chop Samples in Reason with the NN XT

    • 5. How to Chop Samples in Reason with the NN 19

    • 6. Make a Daft Punk Style Techno Buildup by Chopping Samples in Reason 9

    • 7. How to chop hip hop vocal samples in Reason 9 Using Kong

    • 8. Get Creative by Mangling Samples in Reason (Reason Sampling)

    • 9. Chopping samples A simple tip for better Hip Hop beats

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About This Class

Learn the basics of making your own samples in Reason, and then chopping them up in a variety of fun and interesting ways. From making a Daft Punk style build up to cutting vocals like hip hop pros, you'll learn the ins and outs of manipulating samples. 

This class is for all Reason users looking to learn more about sampling.

For more in-depth Reason tips and free downloads, be sure to check out this Guide to Using Reason. You can also connect with me on YouTube, where I post new videos weekly.

This course covers sampling in all of the major sampling devices included with Propellerhead Software's Reason 7 and up.

Meet Your Teacher

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Evan Oxhorn

Make Better Music


At Stock Music Musician, you'll learn music production tips and music licensing strategies that you can instantly implement to improve your music and make more money. Producers who use Reason software to make music will find heaps of tutorials.

My favorite thing is receiving emails from satisfied students telling me they've gotten their first sale or sharing a radio-ready mix!

Vision Statement

With the right guide, anyone can create better mixes, grow confident in their musical talent, and earn extra income from licensing their tracks.

Mission Statement

I help musicians grow their passion for music into a profitable and rewarding side hustle b... See full profile

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1. How to Chop Samples in Reason: Hi, My name's Evan. I am here today to teach you about one of the most powerful music production techniques around chopping samples. Chop samples. I heard in every type of music these days, from hip hop to E. T. M. To even rock and pop and reason is it loaded with different ways of actually chopping your samples. So in this course, you're going to learn all about the different techniques and tips and tools you can use to chop your own samples. In reason when this is done, you'll be making news, your own samples, manipulating them and turning them into all sorts of cool, otherworldly sounds. I really hope you enjoy this, so sit back, relax and dig in. 2. How to Chop Samples in Reason Sequencer: Hey, guys, what's up, Evan From stock music Musician here and today I've got another lesson on how to chop hip hop vocal samples or any type of vocal samples. The Sun isn't really a hit pop song at all, but just how to chop vocal samples Now, I've already made one video on this using the Kong uh, sampler, and, um, it might not be the easiest way of doing it, but it's my preferred way of shopping samples. It just feels the most natural and musical to me. For whatever reason, Ah, lot of people prefer to use the annex t an annex, tea or, uh, any. There's a few other ways you can do it. But for me, my primary ways using the Kong, which you can check out in the video linked up there and then using just the sequence or itself, is probably my second favorite way. Um, and there are pros and cons to each method. The great thing about the sequence, sir, is that allows you to use certain tuning tools. It allows you to stretch the tempo much more effectively. That allows you to change the pitch without affecting the time of the sample. And, um, you can also, um, sort of edit samples a little more. Precisely. The downside is you can't just press a key or a button or a pad to trigger the sound. Um, so without further ado, what we're gonna do is first listen to the song this rough demo song here, which I'm still in the midst of, um, with the finish, vocal on. Then I'm gonna show you how I got there. So, um, let's just go to the mixer and mute the lesson vocals and make sure the proper vocals air on. Go back to the sequence, Sir, I've got a loop set up here. And so these tracks here, the purple ones are the dark purple ones are the actual vocals and the light purple ones, the lilac or whatever are gonna be the lesson vocals. So without further ado, you don't know me so pretty simple, straightforward. There's a few things going on there. But now let's listen to it with the vocals before they were processed. So this is sort of how it would sound, um, otherwise annual here. It's just a mishmash. Don't know mean we're gonna go. You don't know me so you can see that the timing's off. The pitch is a little off, and some of the effects are missing as well. So let's zoom in and see how we do it. The first thing you would do is go to the browser and actually find the samples that you want. So here. So this isn't one I used. But you know, you can grab like this'll one on, just drag it right into a seat, a new sequence or track, or to another sequence or track whatever you want to dio. Um, because these overlap, I tend to use several tracks. But then, as I edit it down, I might combine this one groups. I might combine tracks eventually, but and the song writing stage, I think it's easier to keep them on separate tracks. So now let's start with the first phrase. Well, just a loop around it and play it once and figure out how to get it to send right? Don't know mean so you can hear the The timing is all wrong, so I'm gonna select the clip hit Z, and that zooms it in to be just the right size. I'm able Just make it a little more zoomed. Just I have something to work with. So you can see what I did here is I took the phrase the first phrase you don't know me and that actually ends right here. That might be a bit of a tale, but if you actually sold these samples, you can hear there's a lot of microphone bleed. You hear those drums there in the background? So this isn't one where you really wanna get the background sounded, um, so now let's listen to this You don't know mean cannot just lacks a little bit. So what I'm gonna do is right. Click on the clips and you want to do this to all the clips. But you go to stretching transposed type. You're gonna want to do vocal. And this means it's sort of effects how the process and that the computer that reason uses to stretch certain things and what aspects that preserves This is a vocal. So you want to select vocal, and we just want to speed things up a little bit. So if you hold down the control key on the PC, and I'm not sure what Kit is in the apple. This little watch comes up clock and see, just drift and shape. Shave it over to where you want it to be. And now let's listen on seven nights, but you don't know me. So you hear how much faster and tighter that is. You don't know me the original way. It doesn't really sound quite in time with the group. So we're shrinking down the vocal so that the entire phrase get said in the right amount of time, which is a really important thing. Um, then for the second phrase at all Similarly, it's way too long and doesn't wouldn't naturally start in the right spot. So let's take a listen. Let's make the haze for now. So we wanted to start actually, right here. So we moved this slice, Thomas this one over, Yeah, one over from where it would normally be. And then we want to stretch it to fit the right amount of time. So you sort of just do this by ear. That's still a little slow. It sounds so let's try it one more. You can also stretch things to be longer, and that sounds good to me. So the first thing I'm gonna do is show you how tow line up all the slices and how to chop him. Then we're gonna actually zoom in an experiment with some of the pitch options and some of the four men options some the cool features that you can only do on the sequencer just like this time stretch. A big issue with the nxt e, the Kong and the other samplers is that when you change the pitch, you change the speed of the sample. Um, and that can mess things up a lot. It doesn't happen with a Kong with a rex loop. But, um, you know, you have a lot more control with the sequencer, and that could be really helpful. By the way, if you have a chance, please be sure toe like this video, subscribe to the channel from or great Reason content and leave a comment. If there's something you'd like to learn more about, um, or if you've got a better way of doing this or if you hate me and just want to tell me what , um, so let's go to the next phrase and get that set up. Um, so this is sort of like a backing. Hey, hey, just sort of to spit Phillips and space on so you'll see. This is what I ended up with a sample of about this link. But what would happen if I were just to shrink this original? Hey, that's what The loop to this selections that place you way too long. And now if I just shrink it, let's see what happens for if I compress the time, I don't think that's the sound we're going for either. So let's undo the stretch. And really, what we want to do is get It's nice, because this sounds nice. Consecutive a bit of a triplet feel to a song that is very much, you know, four on the floor house type style. So, um, basically want to get three Hayes in the time of 14 bar measure. So right you. So that's three. And so let's zoom to the selection and then hold down control shift and to zoom and even further on the way. And you just want to grab somewhere where it's kind of small bread around here. Hit s to turn off the snap feature, which means that you can affect it anywhere, not just on the grid, and hit the R button. Which brings up the razor blade. Um, just clip it right there on that valley. And now let's delete that section. Select what's left hit Z again to zoom out. And now let's see how that ending person perfect. So now let's just shrink it down to fit in the space. Well, let's make sure it starts at the right time first. Okay, so let's listen. You'll also notice that this is way louder than the other. So let's pull down the volume so that there comparable and you don't have to do as much work on the failures, so it sounds like it starts just a little late. So let's zoom in again on Let's just slide this forward a bit. So that starts at about the right time, but it's a little slow, so let's try this now. Yeah, that's pretty close. Umm, let's just shrink it a bit more. All right, so now let's see what these 1st 2 phrases sound like. Um, so the loop to this election, this is still a little not quite the right spot, and really what you want to do is make sure that the Heyes start at the right time each. Um, let's see about this. That's pretty close. One thing we can do toe help it out just a little bit is double click on it on Go to slice edit mode up here on this. It's sort of like a wreck. Sleep now. So let's let the loop to the selection second. Dallas. So I just want this yea, to be a little further up. So I just selected the point closest to it and dragged it a little forward, Um, on this one on this one as well. So it hits right on the downbeat. So this one should still be forward, and it doesn't want to go back. Um, go back there. Were you, um So you see how the ability to added the slices also just gives you a little bit of control over the rhythm and flow of the samples. You okay, So basically, we've got the first phrase down on, so we'll just copy this part and paste it over here. Control C control of a Let's be sure to turn snap to grid back on Boom. And then we've got this phrase here, Um, where we gonna go? And this also needs a little bit of work. So let's set the lips of selection. So let's solo this for a second. Zoom in on it on. The first thing you notice is there's a ton of drums bleeding into it. Oh, so let's just clip that out. Just dragging on the right side. And now the tales mostly gone on. Then click on this little dot here and this is a fade out. So now let's listen where we're gonna go on. Let's just bring that forward a bit more. We don't want to lose too much of the tail of the vocal, but we also don't need any of that other drum way. That seems like a reasonable compromise, at least for now. You know, this isn't the final just sort of showing you how to do it so well, turn solo off again. But as you can tell, it's way too long, right? I wanted to sort of be this, like you don't know me at, uh you know. So by their beautiful rendition, you can tell we need to fit it in way, way slower and I'm sort of cheating here because you can see I've already figured out how long it should be. But let's listen to that way to go. And so that sort of chipmunk fake effect is exactly what I'm going for. But let's pull this out just a little bit. Um and so, um, that was the wrong thing. Um, so we've got the full version here and now let's shrink it down and let's turn snap to grid . But let's turn snap off and it's bring us out. I'm right now. I'm just using the visual aid. But, um, that doesn't need to use your years to make this happen. That's that's pretty close to the way I wanted to see. Oh, okay, so now we can take this whole selection here. Let's just zoom out and listen to everything we've done. You don't know me. You don't know me, so you'll notice on the mixer panned the hay Hays to the left, to the right, and maybe where we're gonna go a pan to the left just to give some depth. But there's some more things that we need to do on these air. Really only doable in the sequence here and there a lot of fun. So the first thing I'm gonna do is I've heard on this at all. You hear how it's sort of? Actually, the first thing we should do is tune up. So this song is in the key of C, which means simply there should be No, not really many black notes. Um and so let me actually spend what I just did. So I double clicked on the audio here on this, brings up pitch mode or even hit pitch mode. Um, and then I select all the notes here, and these are the vocal notes. That reason is automatically converted. Um, so there shouldn't really be any of the black keys, any sharps and flats here, um, in a passing tone or something. That's all right. But that shouldn't be the main thrust under notice that the notes aren't perfectly centered on their their little pitchy. Not too much. It seems like everything is just a little sharp on, and so you can go to fine tune on, just drag it down just a little bit. You don't want to do it too much, because then it will start to sound unnatural. And as far as I'm concerned, from my perspective, I'd rather have one somewhat wrong note than to have an entirely unnatural performance. Um, so now let's listen toe, let's actually listen to before and after. At first it was at 31. I think so. You don't know me. That's what The lips selection. I don't know me, me, me. You don't know me, you don't know me. And so we've got a few notes here on E sure Ari Flats d sharp on their vibe. Rato's So I don't know that it matters that much on passing tones right here. I'm fine with this one. Let's take a listen to what happens if we move it down a bit. You don't know me. That didn't really make it some better to may. So let's keep it there, Um, and maybe just bring this guy up a little bit. Since he's kind of out of pitch now, I don't mean perfect. Now the next thing I want to do here, I'm gonna do it on a lot of the vocals. Let's go to this form in, which is kind of a filter designed to make things, either sound more natural or alternately, much less natural. If you mess with the tuning, we're gonna increase it. Let's try increasing it by five. You'll hear what it does, and then we'll dial it into something a little more practical. Don't mean, mean, mean, So it sort of is a weird filter. But I just wanna add, like, maybe one or two. Just a slight level of artificial, you know, robotics is, um not a ton, but just a little bit. So let's listen to it with one versus zero. I don't know. I mean, I don't know. I don't know. I mean, I don't mean Okay, so we're gonna set the for minto one just to give a little bit of that sound. Now, let's go to the pitch at it of this second section. Let's also set the loop to this. So we're looking here now at the pitch on this section, and it's all pretty good. Um, we're just gonna, um maybe make things a little flatter. And you can do this on individual notes to, you know, like this guy probably didn't need to go flatter and again, you know, I don't move him a ton it does not need to be perfect. Your you'll wreck the sound more by making it perfect than you would by leave in the natural expression and again will crack the foreman up one. So let's listen to this now. So one thing I'm hearing there is the way she says, Uh oh, I'd like to actually make an artificial at it there. Um, So what I'm gonna do, it's the chance snap on is cut the second at and I'm gonna drop. I'm using the razor blade tool, which is just are and elite. So I'm gonna hit Q select the first syllable and double it control C control of e. And now we'll hear it has sort of this somewhat artificial doubling on Let's just cut the tail the first syllable. Let's let's turn snap off Just a little short said you can actually hear it. It just creates a little bit of movement there a little bit of Oops. Well, we're not gonna get very far with that, because that's not actually the right track. Awkward. Um, So Okay, so what we're hearing now is on this track. I'm hearing a little bit of an artificial thing on. And I think it would sound cool if we doubled it up. So, um, we'll go here. It's we want snap on, um, that Take this control C control V And now I was just shorten this a little bit turned snap offsets more pronounced. Now let's select you pitch and it control. Great. And so now we have sort of the whole first part. It would have been smart to do all the tuning before I copy and pasted So we're not actually gonna redo it, But that's the right way to do it is by copying and paste before you copy and paste. So now let's go to the help me. I want that hey, over to sound a little more unnatural. So I'm going to select it, go to transpose and transpose it down and again. The great thing about the sequencer is you can transpose without messing up the timing which you can't do in Kong or the next e. So now let's listen to this. That's close. But it sounds like a very angry robot now, and that's not what we're going for. So hit control A to select the soul section and we're gonna try and messing around with the foreman on what happens if we bring this down 12. Now that sounds both more human and less human. And that's exactly the sound I'm going for. Just trying to fill up a little bit of space, but not really overwhelmed the mix. So now let's listen to this 1st 1st you don't know me on the levels are a little off. I think this probably still needs to be a little quieter. Maybe it should be just a little farther forward, but it's really to find Tunis. The point of this lesson is not to get this perfect, but just to show you some of the tricks and using. And so let's also go to this high part here. Um, what do we know? I'm so let's go here, go to pitch at it mode most of these air spot on. But let's mess around with the format way. Don't want to go to Chipmunk, but let's see what happens if we add Let's see what happens if he increased it an octave. So right now it's a three is the route. Now let's try a four, so hopefully there's no dogs around in that high pitched screaming doesn't bother you. But let's see what happens if we raise it in octave. But lower the format. Hate it. All right, let's go back. Uh, so this is the sound here. I'm pretty happy. So there you go. Without further ado, that's a whole other way of doing sample chopping. Um, and this is maybe a little less chopping, but a way of using samples. Probably the most powerful way of using samples in reason. Especially if using sample packs that have vocal phrases in them that are close, but not exactly what you're looking for. This is a great way. You can also correct just using these pitch at it tools. You could just correct one note if it was out of key. You know, you could just do that, or you could create these really weird artificial sounds. So, um, this is a whole other creative way of approaching, uh, shopping samples. I hope you find it helpful again. Uh, I'd really appreciate it if you enjoy this video. If you would take minute Teoh, leave a comment alike on, subscribe and let me know what else you'd like to learn more 3. How to Chop Samples in Reason with Dr Octo Rex: Yeah. Hey, gang, What's up, Evan? From stock music Musician here and today I want to show you a little bit about how to use the doctor Rex player in reason to create Rex loops and chop samples. I've made a couple of other tutorials on some of the other ways you can chop samples in reason. Um, and these have all been pretty technical in nature, and that's what this is gonna be to down the road. I'm gonna be doing a course on how to actually creatively use samples. But for now, I just want to show you some of the methods that you can use to chop samples and reason on . So this one centers around the doctor Octa rex. But if you're also interested in how to do it with, for example, um, and then the next t you can click on this video or if you want to use the Kong, you can look in this video, Um, or if you want to do it with the sequencer itself, you can look in another video. Um, and there's gonna be some overlap between all of these methods. But at the same time, there are also distinct benefits, Um, and drawbacks. Each type. So let's get started on the doctor, Dr. Rex. So the first thing we're gonna do just is we're gonna create a source instrument that we're gonna use to chop the sample. Um, or what we can just do is really import a wave. So let's go here on the, um, sequencer on Let's go to sample magics. Sunrise sessions. This is one of my favorite favorite, um, Lou packs? Um, no, these I don't think these air the wreck sleeps. OK, these air already Rex Leaps. Um, so let's go to okay, this is just gonna be Wait, so God, Spanish guitar here from a Luke Masters. Uh, track. I just want to stretch it so that it sinks to the tempo of the song. That's what I just did there. I held down control, And now Well, just on a loop around it and we want to stretch Type two bay. Yeah, that's fine all around. So now what we're gonna do is convert it into a rex loop so we can actually trigger it and manipulate it that way. So we'll right click on it. Well, actually, what we want to do first is go click on it and you can either double click or click on slice edit mode, and this brings us into slice edit mode. And this is where the Rex trigger points are located. That's what each of these arrows are. Um, so if we were to export this right now, Rex are reason automatically the text, all of the transients, all the loud points, and those would be where the rex triggers would be, and those would be the sample slices that you could manipulate. So I'm just gonna do that. Wants to show you what that sounds like. OK, so So you have to make sure that you're not incompetent mode to bounce. So that's just bounce it right here in this slice edit mode. If it's great out, you got a problem. So bounce clip to Rex loop. A new Rex loop is gonna come up right here. Now we'll go to the rack, will create a Rex Lee player. Reset it. I will drag on a sign song sample. Um, so now you see way change the pitch of it. If we wanted way any of the other fun filtering effects of Rex. You can do all the RECs things you cannot do, and you can also cut the slices. So let's pull up the keyboard, repressing four on Let's just show you where the slices are by. So okay, so that's one way you can play. You can also get down another, um, or even down one more. So that's one way you can do it now. The big problem just with this potentially is that maybe you don't like where the loop points are, Um, and that is definitely a frustration. I'm used to doing a lot of my sampling in machine, where you can just easily drag the loop points around in the sampler. And as far as I know, there's not a way to do that in Rex. If somebody knows differently, please leave a comment. I would love to find out that way. So instead, if you don't like how the sample is cut, um, my best guess is that you just have to go and re export it with different points so you can click on these handles and delete him. You can even highlight multiple ones. So now we're gonna end up with some longer phrases. Um, and I also don't know if there's a way to adjust the sensitivity of this trigger by default or if it always just grabs the arm transients it wants to. I haven't found a way. I guess I should say, which is another great feature that machine has. And I wish we had in reason. Maybe somebody will make a great rack extension. That's the sample or we've really been needing. But anyway, I've cut out a lot of the loop points. So now let's go back to slice at it. Let's bounce to Rex Loop, and now we've got the lead guitar loop to Let's go back to oops to the Rex on Let's now take snow so you can now select longer slices. Um, and it's really just gonna be up to you as an artistic choice. How you want to select these slices and where you want to cut him. That's gonna depend a lot on song. A lot of the samples experiment with it because you will get very interestingly, different results on. You can message on the council to envelopes for each individual track, but 4. How to Chop Samples in Reason with the NN XT: Yeah. Hey, guys, What's up, Evan? From Stock music Musician today, I've got another installment on how to chop samples and how to make samples and reason. I've already done a couple of videos on this on some of the other ways you can chop samples and use them in reason. Um, you can see one on how I do it in the kong. Um, and this video is going to discover how to do it with an annex t and with the n in 19. But I've also done another video using sequencer itself to chop samples. And so this method I'm gonna use today with the ANA next e and N in 19 involves chopping the samples up a bit in the sequence, sir. But then actually manipulating them through the the reason samplers. So without talking to much more, let's get started. So I've got a vocal sample here. Um, let's just play it real quick, right? And certainly clipping. So let's just turn that down. And is your ah, uh, right in. So it doesn't really matter what the sound is here. I'm just wanting to capture it. Now, what we're gonna do is we're actually gonna bounce this into samples, and from there we're going to import them into the Annan 19 groups. So let's turn, Snap off and hit are to select the razor tool. You see Q the finger. You can also click here, but are for razor and then click here. So now we've got each sample kind of cut up. In reality, you're gonna want to spend a lot of time getting your start and stop points perfectly aligned, because that's really a lot of the art of sampling is making it start and stop it. Interesting times. But I'm just showing you how to do this. Um, not have to do with it artistically. That will be in a leader tutorial. So you select your clips. Highlight. Um um actually, something you can do to help out would be to go right click on each click and add label. So this would be like whatever. And then I think she says, Here is what I think she said. This one is beauty. Something like that. So now when you bounce out the individual samples, they will actually be titled whatever is what you take instead of like, sample one sample to sample three on that can really help with just managing your samples down the road, because in a big project, it gets complicated. So now you've highlighted all three of these. You right, click and you go to bounce and bounce clips to new samples. Um, and now you see, they've showed up over here in the browser under song samples on a sign samples is what? Whatever you take cool. Now we go to the rack. Just I have made enough six Syria. There's a jillion ways you can do it. Um, go to instrument on. Go with an an X T. Now you're going to right Click on an annex T to reset the device. What this does is it clears out all of the samples that are already loaded on to the next chief. Right Would be loaded right here. And now this is where the samples were played. So you hit the browse sample and let's is, uh, just drag him right in there and right now, let me pull it. Just the keyboard. You can see there mapped. By the way, these boxes goto all the notes. Each note it's gonna play all three of them. So I feel like a C Um Woo hoo. Let's let's go up to a slightly more. Doesn't that sound lovely? So the first thing we're gonna want to do and there's several ways you can use the n accede to manipulate samples. But the first thing I'm doing is just going to show you how to chop samples. So we've got these three samples here, and you do auto map zones, Chromatic lee. And basically, what that does is that assigns one sample to each key. Um, so right now I'm hidden the keyboards to and too high of an active. So when I hit these, nothing happens. These higher notes when I go down to the C one is what you get. Why did it so I'm hitting the note here, and it's triggering each one. I'm not affecting the pitch at all. I'm just triggering them, telling them to start. So is what What every You gay what every you gay is why, What it So I don't do a great job of start slicing the samples. So one thing you can do to make that happen a little better is adjust the sample start time . What did? What is not when I hit it. What sample immediately starts, but without it. What? It what on the So even if you don't do a great job chopping, you can fix it here. What? But I want to show you another way of doing it. So let's I'm just gonna delete, uh, really this one on this one and instead, right click on it and do auto map zones. So now every key on the sampler controls the sample, and it's going to pitch it up or down from the root of C one sister. Um, so that's not really a great sound here, for example, but let's go down, Womb wooden would woo. Basically, this can be very helpful at times. But as I noted in my other videos on sampling every sample ER has its own pros and cons and reason and this method when you auto map it to all the notes, um, changing pitch affects the tempo of the of the sample, and sometimes you want that sometimes you don't. But that is a problem with using the annex D. What would that something to be aware of? Now you can use the method that I showed in one of my previous videos about chopping samples in the sequencer to actually time stretch your samples so that they're there right length without affecting the pitch, because that's one of the benefits of using the sequencer. And then you could bounce a sample from the sequence, sir, into the annex T just like I did earlier in this video. Um, so that is something to be aware of. A lot of these methods can be used together. Now, I'm just gonna show you basically how to do the same thing. Um, there's a lot of filter just before I do that. There's a lot of filtering you can do on the annex T If you just Google and an X T tutorials, there's a ton out there. I just want to show you how toe get samples into them. 5. How to Chop Samples in Reason with the NN 19: Yeah, let's create on an in 19 which is similarly a sampler, Uh, and let's right click again to reset it. And now, which will remove the original sample click on this arrow to open it. And normally, I mean, we could use that voice that I just did before or we can use instead of normally it would be mapped to you would have a lot of different notes matched. And so if I opened the patch here, um, of the far fist, I guess that's been in Oregon. So the way these samples work is there's multiple samples for each octave. But you can also just use one sample. Um, and so basically, it would just be the same method. Let's reset this, um, talk to Dio open the song samples. Yeah. Okay. Write it. Hey, and now, um, this one is triggered to see three. Ah. So, um, right in the right in. So if you just want to be able to quickly trigger a sample, this come work pretty well. Um, there's a more advanced methods, but honestly, I think it makes sense. Just use the and the next T. If you've enjoyed this video, please don't hesitate to take a minute toe like it to comment on what you'd like to learn more about, or some other tricks that I might have missed about sampling with the ANA next e on the end in 19 and reason or any other comments you'd like to share. Thank you so much for watching and take care. 6. Make a Daft Punk Style Techno Buildup by Chopping Samples in Reason 9: Hey, guys, what's up? Today we're gonna learn how to use re sampling to make a really cool, daft punk style intro or buildup breakdown. Whatever you want for your song. I hear this all the time and electronic music. I also have a video showing you how you can use this in hip hop music. It's really a great technique. You can do this in any workstation, and it doesn't take that long. So let me show you what the sound, uh, sounds like and then I'll show you how to do it. And this shouldn't take very long. So it's gonna be here right in the beginning. So that intro that you heard there and then I used it again, and a breakdown in the song, um, is really not that difficult to do. And it's the type of thing that adds a lot of interest, especially on a song that has a more or less simple arrangement throughout it. So the first step is to really find the part of the song that you think you'd like toe loop , and you can do that by using on the left right looping markers to, like create various loops in your song and just play around with those first. So let's see what this sounds like. That's not that interested him. It's got some of them. But what about this here? Let's not so interesting. Usually this works best. If you started on a downbeat, that's pretty interesting to me. Um, but and that would work. I think, in another context where I started this song is over here Just the first note of the song s So what I think makes it work even better is if you only include the most essential elements of the song. So here just that guitar part I played the drums that I used a loop for which I just felt was the right sound for this song on the base that I played. And now, when you reduce it just to these simple elements, let's take a listen So that that sounds pretty good to me Now what we're gonna do and you can do this in any DOS Someone let you just live sample someone let you mix down. Um, the way I'm gonna do it here is by exporting the loop as an audio file. Um, and we'll just call it this for no reason. You want to make sure did There is turned off. Did the rain is something you really only want to use at the end of your exporting of your song because it sort of creates these digital artifacts. And so if you got a bunch of samples in your track, that air dithered, it's gonna just make it sort of sound artificial and jittery. Um, whereas if you wait till the very end, it'll sound much cleaner. So hit. Okay, explored it. And then you're going to create a new track and import the audio file. Every dot is this differently. But I've already done it down here soon. Al. It's solo. Just what I exported. Make a loop out of it. That's not actually what exported is this? So let's make a loop out of that and listen to it. Uh, so part of it. It's just a little too long, I think. But I like to make I think it is better to export mawr music than you need than less because, um, you can always just trim it down. But it's much harder to g o. That's much of a lot of pain in the butt toe, like constantly be bouncing things or mixing them down. So let's see what this part sounds. That's interesting, but I don't think that's quite the sound I was going for. So instead, let's try capturing the first half. Is that a loop to that? Let's see what that sounds. That's perfect. So let's copy that control, see? And then just control V command me whatever. Paste it, paste it, paste it, paste it, paste it. So we've gotten this far, and now it sounds basically just like a look. It's just plain repeatedly over and over now, to get the ending of this to kind of build up, we're gonna copy it one more time, and then most Dawes include a time stretch function. You can open up the tool window or hit F eight and reason on. Just click on the double button to scale the tempo. Or, I think if you use control click, it will also scale it. Um, so now you've got a part that's half as long, basically crunch the autumn. It's copy and paste that and let's do that three times, I think, And then let's paste it one more time and let's double it again. And let's copy that on. Um, we've got a snap it to a slightly tighter grid. And now let's listen to how that buildup sounds selected. All start. So by increasing the speed, you kind of add some energy to it. Now, the next thing you're gonna want to do to sort of get the daft punk style, um field is to automate the low pass in the high pass filters. This is basically just sweeping the e que. So when it starts off, not a lot of the frequencies are in the song. But as it builds up, more frequencies are added in, um so let's listen to what happens. What this sounds like. I'll show you what it looks like in a spectrum, and maybe we want to do that even slightly more extreme. And now let's also try automating the high pass filter and in reason you just can control right? Right click on a knob or hit all click on DSO. You hit all to bring up the pencil, or you can go up here and select the pencil. Double click on it. We'll set this a little bit higher. And now let's sweep this one down and seat. I'll just show you what that looks like. So right now these are the only frequencies better there and the rest of being cut out pretty significantly, I'm no slowly open up, and you could mess around with, um, where this starts and stops and all of that, Um, that will definitely change the effect of the filtering. And you could also just use a notch filter. There's there's basically what you want to do is automate some sort of filtering one way. Then it doesn't hurt at a swell, some sort of wash. This is one of just loaded up and maybe a little bit of delay and maybe some reverb just to make it sort of a little bigger. So there you have it. I hope you like to this lesson if you did. If you learn something, please click on the thumbs up button toe like this. It really helps me out a lot, and I've got a new lesson every week, so be sure to subscribe. Leave any comments if I'm doing something stupid. If there's something you like to learn more about in the future and I really thank you for watching Have a great day, Bye bye 7. How to chop hip hop vocal samples in Reason 9 Using Kong: Hey, guys, what's up? Welcome to stock music musician. This is Evan here, and I'm not sure you had a sample put samples on a hip hop beat. You can use this in any dog. Really? Um, with any software, any sampler here? I'm using the Kong, which is basically on MPC style chopper. But really, baby bump. You can hear the samples here. My hurt. You very chopped him. But I'll show you how to do that in a bit. I just want to get you into the song first. Show you how you can use just a few dozen half dozen songs to make a sound and hip hop. It's really cool. So atomic, My shoes, my subatomic, please. Someone So basically, I just took two or three sentences here, chopped him up, and now I'm just selecting them and triggering them at the right time. Nothing may be crazier, innovative people been doing this in hip hop for a long time, and I'm just trying to show you an easy way to do it. Reason, But you can do it any And it really can add a lot to song this for hours. So right now I'm just gonna ask you to take a second to subscribe to the channel, cause I'm gonna show you a lot of cool tricks down the road about how to take this sort of thing to the next level. Take your production, you know, from something basic and really add a lot of flair. Quality. I'm gonna show you how I got my songs played on NPR have had Horizon used my songs and things like that. So without further ado subscribed like and now let's dig into this. Um, so the first thing you're gonna want to do for the first thing I did at least was pitched down the sample so they'd sound a little more artificial, which makes him sound a little cooler. And then in reason, at least you want to turn the velocity down. Otherwise, they're just gonna sound two different. Next, you're gonna link all of the paths together. We're not going to be assigned them all to the same mute pad so that when you play one, it turns off the previous one which need to these sharp chops. Finally, you could add it, the samples down, but instead you can use it. But I'm here to show how long Adjust how long each sample will play. So that sort of falling, I'm tryingto sort of shorten it so I can get just part of the phrase drop bombs here. So a drop bombs alarms. So, platonically, that's about right. So, platonically a little short. But now you use this to show where you want the sample to start. So you adjust it back so that I just get back half your sub atomic or subatomic. Leah Subatomic Lee, Subatomic Lee. Somewhat subatomic Lee. That's what I want. Just subatomic Lee. So it takes a while. You gotta get your samples lined up and have some idea of what you want. That's why did all of this before, um, loading this up because it does take some thought to find the right samples and to slice them in the right way and find a creative way of using them. Um, but now I'm gonna go and sort of record it. Just you can see how easy you can get it. And obviously, this takes, um you know, this isn't a perfect take here. I'm not great at piano, which I'm using instead of ah, a pad controller, but, um, this gets you 90% of the way there. Things got me 90% of the way. There, at least just sort Anita, adjust what you the sounds and using this technique of using vocal samples or like a saxophone sample, has a lot of interest to a song that might otherwise be sort of background music. There's a lot of great sample libraries out there where you can find whether it's loop masters example magic. I mean, there's those two comes out there searching to find stuff, pops. Any bombs, Thomas. Lean somewhat my hurt, you subatomic lee subatomic. So after I finished this take, I'm gonna show you how you can also use this with more like singing tracks as opposed to short phrases, which is also really good technique. Now, the one thing I'm in this is that, um, I'm just adjusting link short royalty free my lips because if you don't get sued, or you might not be able to use your song on YouTube for speeding. If there's another content folder and that would suck, spend all this time making a song on YouTube doesn't even put it up. So I'm adjusting the pitch here and the start time, but as you'll hear this sample really doesn't work. I didn't have anything planned out messing around. So atomic. So what's so you can see? There's a lot of trial and Aaron Booth heart here is finding the samples using them? Not so what's chopping them as much on if you haven't had a chance yet. Be sure to subscribe and like this if you found it helpful. If you're not finding this helpful, give me a thumbs down and tell me what I could do better or what you'd like to hear. This is a better samples. Can already feel the inspiration pretty much right in the right key. Put it on other patas. Well reasoned nine. Makes these just drop it in right away. Maybe just started a little bit later. That's all we want is the way. And as I put this together here, it's gonna be a little busy. I'm not trying to write a finished song and sort of showing you how these to interact. Now I make a mistake here and like the 1st 1 out, think them section A, which means that also mute the vocals and really, I only want them ut each other, which is why you need a sign be and not a But it takes me a minute to realize that the first pad is linked to Group A, um, that no, um no. Um oh, um balm, soap, atomic leave, atomic bombs finally so used right. This would take a song to the next level. And that's really why I think you guys should subscribe because I'm really focused, both unlearning myself and teaching you guys how to take songs that are pretty good and making them a lot better. That's my main goal. Um, for the next year or so music, I feel like I've got pretty good at making background music, but now I want to try and make something that's a little more in your face. So I hope you join me for this journey on and drop a line and let me know where you are with your music making eso. Hopefully we can learn from each other. Thank you guys so much 8. Get Creative by Mangling Samples in Reason (Reason Sampling): we've been on a journey. Haven't way. Um, if you've been watching sort of this video Siris on creating evolving sounds and reason, twisting them up, remixing them, bouncing them into Rex loops, they stand by themselves. But they also sort of are telling a story together. And that's kind of what I'm gonna be trying to doom or on this channel from now on. Um And so in the previous video, this is all gonna be in a play list you can watch. I'll have a link to that that's gonna pop up right there. But basically, in the last video, we made a rex loop. If you want to see how it got made, that's a whole other story. Click on the playlist. You'll see it. But the wreck sleep sounds like this. So this is basically how you remix your songs and create cool new sounds. So we're gonna slow it way down, which is gonna just bring out some weird, weird aspects to it. Don't you hear that? Oh, yeah. Now what? I want to just make it low quality. So you've got you've got two buttons here high quality interpolation and low band with so I turned off the high quality and turned on the low band with. I'm not just it's gonna make all these artifacts and leg lo fi sounds come out more. So now what I want to do is just turn on the telephone ever so slightly and slow it down. Maybe over four. We'll see and then send it to the oscillator, which is basically going to change the pitch of this. You'll hear now what kind of comes in and out of tune That's too much. We'll make it lift. Sustainable, maybe a path. Alright, let's try this waken change the mod wheel on a sign mod wheel to wear. No, no, no, no. Okay, now let's see what happens to take it down Another That was a bridge too far way. So as you can imagine, every bit sounds a little bit a so you can imagine, as you can hear every note because of all of this, processing starts to sound completely different and because it's being so distorted in a low quality way. Um, this house just sort of all these weirdness is artifacts start stacking up on top of each other. Um, so the next thing. I'm gonna dio the next two things I'm gonna dio we're gonna add a couple insert effects here. We're going to add the Cramer tape stereo, and we're going to dio mastering crunchy. Sure way. Let's take a little down a little more attacked. - Wait a little too much saturation here. I just get too much gain rule. So I'm gonna throw a compressor up here first so we don't get too much of that tape saturation. Take compression room. All right, I will throw some vinyl lo fi Drumlin drums. Just a touch of both of these. All right, All right. So now what? We're gonna dio copy, loop to track. So now we've got all the slices here on ironically enough, we're gonna bounce this in place. Yes, bounces and bounces. So now we've got this thing. This is just the audio here on. This is what we started with. Let's just listen, Okay, So now we've got this and guess where we're going. We're going back to another rex loop after it bounced it toe audio. But with way fewer points, this will make it even more distorted. Um on will make pitch changes much more extreme. Like I said before, I wish there was a way to do this easier. I really just want for So I'm gonna select all of these and a Leedom on do. Uh okay, delete that, Uh, we're just gonna draw one in on each, um down, baby. All right, All right. Now we're gonna bounce this to another wreck Slip? Yes, we are, if you can believe it. All right, So now we've got bounced too. Stop playing. Now, let's listen to this. Smith. The original a lot. Right now. Let's see what happens if we transpose this up, Knocked it back to the original pitch way. Reversed all the slices, perhaps. Well, who knows what'll happen? Way won't do that. But here's what I want to show. You know, we've got these four slices turnout from, and now I should be able tow will trigger it with my keyboard. Buying trigger, huh? I didn't put the this part. Doesn't have ah, slice marker in a great spot. But you can hear how. Basically, I've now got these samples that sound really cool. A tonic character. Um, and you could actually begin this whole cycle again if you'll recall a previous video where we use the Euclidean rhythms and speed up the rhythm of it. Um, how cool is that? Right. So I hope you've enjoyed this playlist. Sort of the ways you can really trick out your sounds on the process is to do it. And really, the main thing is, just follow your inspiration. Have fun. Explore. Don't take yourself too seriously and enjoy making music. Guys, I hope you like this. 9. Chopping samples A simple tip for better Hip Hop beats: stock music musician here on I want to share with you a really powerful technique for adding a lot of interest to your hip hop beats. Um, and it's basically something called re sampling. That's where you take part of your song, chop it up all sorts of different ways and at basically almost make it new all over again. Um, now, if you want to know the real nuts and bolts about how to do this, you can check out this video over there on the top. Right corner. There's a link to it. Um, that video really show you how to do this. This is Mawr. This video here is more about why you want to do it on and sort of the fun, showing you some examples of how you can really use this especially powerful Ian hip hop. So let's take a quick let's listen to what's going on here. Um, this song still a bit of a work in progress, but you'll hear pretty much within the 1st 5 seconds. The sound I'm talking about. Okay, so this buildup part here. So I've got another video on the importance of endings and beginnings and all of that for writing a song. You can check that out at highly recommended because I found that my songs that sell the best that get broadcast nationally and stuff tend to have very strong, clear beginnings, middles and ends on. This is a technique you can really easily use to take a hip hop production or in Elektronik really anything, Um, and give it a lot of structure without having to do a ton of work. Eso I also use it at the end of this song. Let's just give it a listen here. So I've learned it with some really instruments and some samples and a bunch of stuff. Um, but the heart of this song are the drums, the strings and sort of the I don't like horns on then the synth bass. Or at least that's this heart of this samples. We're gonna go over here where I basically just took a copy of the, um, three main instruments on just copy and paste it. So, um, that's sort of the core of the song. Now, then, to get down to what you really wanna re sample, you can just take these parts and shorten them a bit. You could, uh, you know, try actually, before you even do that, Probably the best way of testing it out is just by a dust adjusting that left right flags when it comes to looping and sort of get a rough sense of what's going on, Some zooming in just a little bit. So we have a little more control that there is a little too slippery. Um, what if we try chopping it? That's still a little too much. What if we just comes down here? It's not. So there's also has a different options for where you cut it. You could also cut it something like this, which is, um or maybe like this, um, Onda. You can also, um, but once you figure out where you want to cut it, um, or maybe even something back here. Uh uh, Once you figure out what you want to cut, you just highlight the part and sort of trim it down. So let's see what this would sound like. And then you just control the copy paste a few times on. Then maybe a couple more. But on these last two, what you're gonna want to do is use your audio stations ability to double up the tempo. And so you sort of get this, um, faster effect. So that would that might be too extreme. Um, so I just want to show you a few variations on using the same loop and just cutting it a few different ways. Um, so here's that's not particularly impressive. I don't like that very much. Um, but this one was just when I was messing around with earlier. Um, to me, that one is a lot of fun on. One thing I want to point out here is because I didn't, uh I'm not cutting up the entire track. In other words, I still have all three stems. I'm able to mute the, um, samples and the base here on keep the drums going. Which sort of creates this interesting tension, You know, I could drop out, um, the base and apart or something. Um, something like that. Um, another version. This is pretty simple. This is straight forward application of it. Um, on the ending of the song. Sort of uses. Um, the technique is well, you notice the bases, then muted. They're so sort of give it a lighter sound. Although there is a real base on then sustaining, this is the regular ending. I chopped it and used reasons slowdown feature to make it go longer and then also did some pitch. Bandon. So you'll hear. So check out re sampling your songs. I think it will really help you build stronger arrangements. It doesn't take that much work. Um, just mess around with it, really. There's not a right way to do it. It's just about maintaining a rhythm, getting some interesting textures and exploring. But you'd be really amazed at what this conduce to create. Um, varieties, breakdowns, buildups, intros, endings. Um, if you found this video at all helpful, though, please be sure to like it. It really helps me out. Give me some encouragement to keep doing this and let me know what you think. Um, please leave a comment and be sure to subscribe. Firm or videos teaching you music production song, writing tips. Um, I'm sort of taking you inside How a doll works. So cheers and have a great one