Start Making Music in Reason DAW | Evan Oxhorn | Skillshare

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Start Making Music in Reason DAW

teacher avatar Evan Oxhorn, Make Better Music

Watch this class and thousands more

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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

12 Lessons (1h 6m)
    • 1. What You'll Learn

      3:13
    • 2. Setting Up Your Preferences

      1:36
    • 3. Navigating Reason

      2:50
    • 4. Using the Sequencer

      7:22
    • 5. Recording Midi Data

      6:08
    • 6. How to Record Audio In Reason

      2:54
    • 7. Getting Started with CV

      8:27
    • 8. The 4 Types of Devices

      3:15
    • 9. The Mix Channel

      2:51
    • 10. Using the Mixer

      8:46
    • 11. Your First 20 minutes in Reason

      17:19
    • 12. Conclusion

      1:19
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About This Class

Are you frustrated with figuring out the workflow in Reason? Confused by how to make music and navigate its interface? 

This beginner's course will walk you through the basics of using Propellerhead Software's Reason DAW, covering everything from how to record audio to how use the four types of devices in Reason. 

By the time your are done with the course, you'll have a firm understanding of how to make your first full track in Reason.

Note: while this course was made using in Reason 11, this course will still be incredibly informative for users of previous versions.

To help you master using Reason, be sure to download this free cheat sheet that describes all of the devices in Reason. And check out this complete guide to using Reason. You can also connect with me on YouTube, where I post new videos weekly.

Meet Your Teacher

Teacher Profile Image

Evan Oxhorn

Make Better Music

Teacher

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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Transcripts

1. What You'll Learn: are you trying to make music and reason and feeling confused or overwhelmed by the workflow by not knowing where to start, not understanding how to navigate the software? Well, I'm here to help you with that. My name's Evan. I've been making music and reason since, like 2003. I've had songs released on TV, radio Netflix all made and reason, and these have been streamed hundreds of thousands of times. I've also taught nearly a 1,000,000 people how to use reason on YouTube, and I'm here today with a perfect introduction to using Reason as a beginner. This video, Siri's, is designed to get you working and reason, understanding how to navigate all of its features. How to use its basic workflow set up how to record your first piece of audio, whether it's guitar vocals have to start making recordings of the synthesizers included in reason how to mix a song and basically just give you an overview so that by the end of the course you will be able to know your way around me. Reason create really what you're hearing in your head and finally, that you'll be well positioned to start taking the first steps of bringing your musical creations to life. Before we go farther, though, I do want to offer a few pieces of advice for how you should approach making music in reason. Now the developers of reason have kind of taken an interesting approach to music creation. On one that I think is really fun. They have tried to replicate the traditional analog way of making music. What does that mean? Well, instead of simply having a bunch of settings that you control in your computer, reason tries to emulate would be like if you had various instruments laying around and you wanted to plug them into each other, For example, I've got a synthesizer here now, in some pieces of software, it's all just a bunch of settings and numbers. But in reason they often try and replicate all of the knobs and even all of the little CV inputs that line the top of these instruments. And what do they do, then, is they give you the ability to literally use virtual wires to connect like an instrument with an effect. And once you get that paradigm under your belt and you realize that what reason is trying to do is replicate a more traditional analog environment. I think you'll have a lot faster learning curve. So I hope you watch these videos. I hope you learn a lot from them. And I hope this first piece of advice is gonna be really helpful for you moving forward. I really think you're gonna be amazed at how far you come over the course of this short course. And I look forward to helping you in future courses where we can dig deeper into the individual instruments and a fax of reason and then start maybe learning to advanced techniques. 2. Setting Up Your Preferences: Now we're gonna focus on perhaps the most important little menu in reason. This is where you go to get things set up. And also when things are going wrong, it's the preferences menu. It's up here at the very top, and this is where you'll configure how things are shown. Um, how you want the cables shown? Did you want the animation on? If you want to load up templates, this is where you can do it. Most importantly, this is where you'll set up your audio so you can select your audio card here and you'll set the buffer size, which is a trade off between how quickly reason performs to your plane versus how much, or how quickly it plays back with your plane versus how fast it performs. So the less the smaller the buffer size, the less late and see they'll be between what you play and what you hear, but there will be potentially perform. Performances will also see here. This is some performance things you can tweet. I recommend starting with them all on and going from there. Here, you can admit e surfaces. I would recommend just plugging it in and hit auto detect surfaces. Now, these two here, we don't need to look at so much right now. But if you are interested in recording adding VSC plug ins to reason, you would go here, hit at and then browse to the right folder. All right. I hope this has been helpful. Thanks so much. 3. Navigating Reason: this video is going to introduce you to the main interface windows in reason. Now there's four main Rees went reason Windows you're going to be using. I will take a deeper dive into each of these as we go along, but in this video, I just want to point out. But before Windows are and how you can navigate between them, the 1st 1 here is the mixer, and we're gonna control the volume of your tracks and put everything together. There's a lot of different options here, most of which will get into in future videos, but you can scroll up and down. You have the different instrument channels here and there volumes their names across the bottom. This is the master section. It affects everything, and they've got a handy and navigation window here. The next thing I want to pop up on this is one way to now get between them is to use these buttons here, and then you condone drag and resize on. Now you get the rack. The rack is where a lot of the secret sauce and reason comes into play. This is different instruments here. You can tell by these mixed channels and you've got some effects on. You can scroll up and down. If you have more added, you could also scroll left to right, then below that we have the sequencer and this is where your data will live. Either your audio files that you record or the MIDI data. You program samples will see it here, displayed horizontally over time and then vertically based on the instruments and then over here you have the browser on. This is where you can search for presets and sounds and loops and everything like that, and dragged them into the either to the timeline or into the rash. Now, the way I've been using this and navigating is by using these buttons here, we can also have a more all of them simultaneously up. Do you want? You can resize space between them. This is not how I normally navigated though you also the auction to go here toe window and go detach on the moon it will do is it will give a full screen for everything on Let's also detach the rack window. So on a Mac, it will actually give me three different tabs. You can go between um you can also hit the F five F 6.5 7 keys. Here you'll see main mixer racks and sequencer, so that's a really easy way to switch between them. And if you have multiple monitors, can always dragged them either to another monitor. What sort of put them layered like this so that you can pop back and forth between them? I hope this was helpful. Let's continue on to the next lesson. 4. Using the Sequencer: Okay, now I want to take a look at this sequence. Sir, this is where a lot of the action will have. So we've already talked about the transport, but let's talk about what's going on up here. These are tools you can use for manipulating your audio or your mini data. So you've got a pointer that's basically just selects. Now all of these sections could be double clicked, and it will also select things. Hear music to drag stretch. What happened? The pencil tool lets you right the eraser tool A races. Or you can always just select something and hit the delete button. The razor to will cut things in or cut them wherever you quit. Let's listen to what that was, so let's undo those cuts. But let's make everything slide down. Cut. Those could be very helpful Now. You can also cut up audio, the specificity or the detail with which it cuts is based on the grid that you select so I could make. You'll see these vertical lines coming in these columns. You can make much smaller cuts as you go up, whereas if I haven't selected too far can only cut on the bars. You also have the option to not have it snapping to each bar and each point, but instead just to you be able to do it wherever I usually recommend keeping snap on. Finally, the other thing to note is in grid mode. It's based on how zoomed in you are, so this brings us to the zoom key. But you can use this to zoom in and you notice the grid. It went from 1/4 to 1/8 and as we go, deeper now goes to the 1 16 So it's a smart, efficient, natural way of making sure the grid is the same size. Then you have the mute key. So if you want a mute, some slices air, some notes, no problem. But don't do that without moving the data. So if you had a really long song, this is basically a navigation tool. We already talked about snapping Ingrid position in length. Just tell you where you are now. On the left side, we have the information on your tracks, and transport is the overall transport here, but you can also actually, that's Ah, First you can mute tracks with the M and then, if you turned off here, mutes all of them. So if you have multiple tracks muted, I can either on meet them individually or on me, all of them. Similarly, you can solo tracks, meaning that the only wants point, and they in turn all the solo off from the top. This lets you add a lane of information, an automation, which we're not gonna get into just yet. But that's how you would do it on this lets you specifically choose what you're going to add. Elaine of automation. So let's go to me, Polly, and the mod wheel is basically that big wheel on your keyboard, and it will make a funky sound, so we can. Then it's like the pencil key to draw in a modulation. Here you see their separate lanes for each type of automation, and now let's zoom in on well, I'm using. I'm clicking W to select it. So I've got one point there. Use pencils to draw points on. You can also drop curves. You can do whatever you need to dio, but let's just draw on something like this. It was a double click to add points. Now let's see what this sounds. That's I'm making too much of a difference in sound, to be honest, um, so, but that's how you would add automation to specific lands. Finally, you have these individual tracks, and here you can choose what's recorded. You got commute on the solo and choose the automation, and you've also got the ability to talk about the groove a little bit earlier. This is how you going to sign the re groove. You can Also, you've got this automation here, for example, you can meet the automation if you don't want it by hitting the mute button or X on. Delete the automation line. So that's the basics of Lee sequencer. You also have the ability to at it audio data, and you can drag these points around to get them more quanta ized. For example, you also have three other Well, you have this extra boss button here, which just plays specific slices. So this is the slice at it. You know the ability toe at the pitch of the notes by clicking pits. Um, and this will, for example, you you can transform audio this way, specialist singing If you have the wrong notes, Sometimes it will sound very artificial. This it's best to do it right the first time, if possible. If you've got multiple takes the combat mode, let's you piece them together. But that's a little more advanced. I want to get into in this course lots of the abilities to zoom in and out here. These three selections will show you the size of the audio wave forms. So if you want a lot of detail or just a little bit, this will zoom to the size of your selection. A man. If you hit it again, it goes back to where you were. So this is small selection here. So if ahead soon we're gonna go really close, you'll also notice something. You select audio, you have the fade in section on the fade out, which is basically it'll turn the volume up and off our in, and I'll take it off and have the overall level. Or you can transpose the Kitson, which means basically increase it or decrease. So there you have it. That is the basics of the transport in reason and by transport, I mean sequencer 5. Recording Midi Data: So in this video we're gonna learn the ways of creating many data, recording it in putting all that. So what is many data? Well, that's basically a signal that tells the synthesizers and sampler players in reason to make sound. So one way you can do it is by drawing it in on the sequencer so you can go here to this little pencil tool. Let's start from scratch here. So what's like this will delete it just to start over and we'll draw in a sections. You have to create a hot like an area like this for where be date is gonna be driven, written in and have a double click it, and this brings up the keyboard. I don't know about you, but this color is a little hard to see, so let's change the track color to something a little more electable. Now let's select the pencil key again and will draw in some notes. I didn't want there. You e want there be selector key again in terms of time, will drag this for No. Maybe I already have a loop playing and Dr Rocks. So let's so that works good for May. Now Let's crew goes back to the rack and I'll show you how to create device. So what we're gonna do is we're going to do ad device. You can also right click to make this happen on this shows all the instruments to go to reason devices. This is going with the ones that come with it. I want to create a radical Canada, which is a totally radical here. So to select a device that plays on your keyboard, I've got a physical keyboard here shows up. So eso let's hit play and must Let's go back to the sequence or channel first of all, so we can see what's going on. So I think the first note here is wrong on you'll notice is a bit of lag in most of these videos from playing live. That's partly before just the fact that I've got this video recording software, but we're gonna use Kwan ties to fix it. So I'm just gonna play in ascending chord progression. Let's listen to what it would sound like. Wait. So I figured out what I want Sonam gonna make sure that pre is on, which is gonna give me four clicks before it actually records, so I'll hit the record button. Okay, now what we can do is we can say, Take all of this in Kwon ties it to quarter notes, because that's about the right pace for what I'm doing. Let's go in here and let's listen. I'm not a great piano player. So what I want to do is now go in here and will stretch these notes out So they last basically. So they overlap. We're just shy of overlap, so there's a little more staying way. Have that now. The other thing I want to do is go to the Rex player here right now, if you so on many of these devices, there's these little eras, which either expand or contract sections. So I want to expand this lower menu. This bonus menu on the Rex Tabin turn things around as well. That's a that's on the way into Iraq video, but right now it's playing it just on a loop through here. But I want to transfer it to the sequence, sir. So I want to hit copy loop to track. Do this in another video as well. But now, if I look at the sequencer. I've also got the mini data telling when each of these slices is being played, because this loop is made up of a bunch of small, little tiny slices of audio looks. And so what? I want to be sure that was to turn off enable looped playback. So it was not both planet automatically as a loop and from the Midi dio how you record many data in reason. Let's move on to recording audio data. 6. How to Record Audio In Reason: All right. Now we're gonna learn how to create audio data, how to record out of your data and grease. So audio data is different from MIDI data because it's basically an actual reproduction of a really sound in the world, as opposed to something mean synthesized or triggered within reason. So I've got my bass guitar hooked into reason, and I've already created this out of a truck, but I'll delete it so I can show you how I did that. And what I'm gonna do is record the signal of my bass guitar into reason, and then I'll get it. So I'm gonna hit, add track and hit, create audio track. Now, this will create an audio track, and I always recommend naming your tracked what they are. Now. You'll have to apologize me for one minute because the software isn't record. This does not allow me to input the base recording information and let the playback go on. So you're gonna not hear me talk for a little bit, and you might not hear any sound for a minute, but I'll be right back, so I'll explain what I did once I get this back. So the first thing I need to do is change my sound card to my main sound car, and then I'm gonna make sure I select the right input from my sound card input that my basis plugged into. Then I'm going to to my base season tuner function on. I'm gonna make sure that monitoring this turned in and then I'll record so selected it now I want do the right instrument. You can see the signal. They're not too hot. And now it's too. All right, I got the monitoring, and now let's hit record. All right, so we should be back in case we weren't there. Now I've got based thing this line here disrupted since the volume of that recording, audio and reason. I hope this was 7. Getting Started with CV: All right, now we're gonna look at the rack. This is the juicy bit of reason that it's so unique and wonderful. So the way the rack works in reason is basically you've got your devices here going horizontally, or you can also move them over and have racks spreading out wide. And that's the way you want to swing back and forth. You hold down shift, rotate your mouse wheel. Um, now that's helpful. You got these arrows, which opened things up in close them. But the rial magic isn't you hit the tad key, and that flips everything around, which lets you use these CV voltage cables to control things. So the first thing I want to do is talk about what CV voltages. And that's basically a way of sending a signal, I believe, between zero and 127 127 being the most you will be in the least, and that signal will then effect or module E whatever it's going into. So let's use this drum. Are blacks here? So what I want to dio is I'm going t o get into these. What we're gonna do is use an effect called the um synchronous in fact modulator. Now one thing you probably just noticed is that there's green wires and there's red wires, the red wires. Do you see the voltage? The green wires carry audio, so let's look at this. These great things called the mix here are basically the correspond to the mixture channels on the mixer, and you need to have a mix channel. You need to have something going into input of the mix channel for it to make a sound. You will not hear it if it doesn't go into a mix channel. But the mix channel doesn't have an output to the mixer just automatically does that. So the way this is working right now is the output of the doctor. Rex, the audio output is going into the synchronous on the synchronous is audio output is going into the mix jail if you're following now. So now if I were to just turn on the drums Now, let's, uh, waken here. This is really messing up the sixties kind of cool it, but that suddenly came here for instead of using the audio routing. What I want to do is have the audio of the Rex. Just go directly back into the mix, child. So I just have the drums running. But what I want to have happened then. So this this is the better way of doing it? Because the synchronous needs the transport to be playing is you see these blue lines they represent how much CV is going out. So as the blue Nun, a little bit a lot. And I'm not a lot. So we want to get on. Let's so we want to get that basic shape And so they have the c v out the curve here. That means this signal is gonna be sent out on what we're going to do is send it to the filter cut off in the doctor. Rex, This is a filter. And so basically what a filter does that's actually just cannot this for a second. So I can show you what a filter goes. A filter This here's the e que. And a filter basically cuts off frequencies creating the cool attack No sound you heard. So there's a filter on racks and we'll do the individual instrument videos. But I can also do make that same sound here. But what I want to do is have a disk controller. So from going to plug this into the filter cut off now you notice we're not hearing anything. And that's because that's filters already set all the way up. So when it tells it to go to 127 that's already at 127. But now let's listen. But we can also change Detective Felt or drew in a different shape, for example, and reason gets even funnier when you start combining all sorts of different filtering together. So this synchronous actually has three different curves. One of them is shaped like this, so this is now had tab and go to curve one. I also have it effect. The let's have it affect they rotary to knob in this Polly. So this is basically gonna be affecting one of these naps, which is going to be raw. Everyone is the comb filter. It's another filter. So now let's listen to. That's not much of a difference. That's trying. I don't like this. Let's go here and let's actually change this to okay. Oh, you hear it adds that much extra space but we want to send a screeching metal. No, we don't. So let's go here. That's actually browse Thor Patches were in the Thor Patch file already because it's smart and that knows that. And so now let's go to lead. Since let's do analog lead way. So that is a quick and dirty way of doing a routing in reason. Um, we'll get into the rack a little bit more in the next video, but this is just the different speed between CV and regular footage. 8. The 4 Types of Devices: There are four main types of devices. Instruments, effects, utilities and players, and they're all super important. Now, further on, we've got videos that deal with specific instances of all of these. But say right here in this video, I just want to give you a high level overview of what they all are. So the first category you can see them sort of even right over here, or if you right click again. Instruments affect utilities and players, so instruments are exactly what they sound like. They are literally instruments so well up in a balloon. Simple it off instrument if we go here. So I will use this for a future example. So and we've got some key. Oh, now let's throw in Effect, in effect, is something that basically the instrument flows through and the effect will change how everything sounds so we can use the, uh, it's just automatic. This is getting sort of a vintage e, sir. Let's go. Freeman more extreme. That's a process that's not getting my, um so they process them. Utilities are a super different categories. These are some of the most important aspects of what are in reason, but these allow you to to create things in the rack that are limited only by your imagination. Um, you have various tools for routing, for sequencing, for doing. See these, and also just for creating mix channels and audio tracks and things like that. So be sure to walk the individual video something because he's a really important and finally, you have players and players. Are these incredible devices that allow you to basically play with? One note is only one note eso going through this eso to make great sounding music and reason. You'll need to use a good combination of all of these processing your instruments with good effects, spreading them out and getting the best use of your effects, thanks to utilities and then using these players to even trigger and make your compositions sound even more interesting. 9. The Mix Channel: All right, now we're gonna look into what the mix channel is. So like I said, you can't have a sound in reason unless it goes into a mixture that is basically what everything flows through. So and its simplest form. Like I said, we've got this going into this. We're actually more accurately Doctor X, going into the makes chow. Now, what else is included in the mixture on the front side, you've got the ability or just solo control, just God, bosses and things like that. What time for that? Also advanced program again. What I want to cover here. So, for example, one thing you could do would be to, and if you're to the back, you'll see you've got the input. The phaser runs through this insert of fact sections of every effect that you have here. We'll go through out, goes here and not put it. The mix channel goes here, and the output of the effect goes here. But this all happens before the mix channel sends it to the mixer. That's why it's inserted in the middle of the signal train. Parallel processing is something that's a little more advanced as well. We're not gonna cover it here. Same with side chain compression and which we, uh, is just a little too complicated to get started. And the direct out allows you to instead of sending something to the mixer, send a signal somewhere else, which I don't think you need to use too much at this stage. The other thing I'll note, is if you have the button K, it only shows you the relevant cables on that whites are are sort of blurs out the other ones, and this can make it much easier to focus. And, of course, you can resize things and all of that from the back. And now the next thing that we're gonna cover is going to be about routing, so stay tuned for that video. 10. Using the Mixer: all right now we don't get the mixer now. This is a very complicated piece of engineering, but honestly, you don't need to know nearly as much about it as it will see. So the first thing I want to do is let's just double click on the instant section. You're not gonna use that. It's not that necessary. You can double click on something or to hide it, and we can also hide this sense. That's beginner learning reason. You don't need those, So let's think about how to visualize this. Each one of these vertical Collins is a channel, the mix channel just more complicated. And so you've got the drums, the lead, the pop piano on the base on Let's Change the color of the base so that we can really stay organized and keep things apart. So starting from the bottom Oh, and then on the right, you have the master think everything. Every one of these mixed channels here flows into the Master Channel on. We'll get to that and then on the far right here you have navigation. It's a mini map of where you are so starting from the bottom up, you've got the name and you can change the color that's we'll let you go to the sequencer or the rack of the device. This shows what's armed to record. Here you have the volume in the meter mute and solo pan, and the width is how wise you hear how you can sort of send it far or wide. Next, we've got the e que here lo on the high. But to be honest, I think the best way for you to do e que as a beginner is just a click on this graph here and dragged the dots. It's much, much smoother. I'll accuse E mode because it will do a slightly more gentle curve. You can see it's a little more precise. You have to make sure that each was turned on. You said the low hat pass filter and the high pass filter. And on here, the low in the highest by definition of shelf. You can see how that sort of looks like a shelf, but if you want to make it a little bell, you click on Bell High Frequency Bell, Low Frequency bill instead of show, you can go to another channel if you want in the wrong. Let's go back to compressor basically takes the loudest part of a song and squishes it so that it doesn't punch through as much. So you have to turn the compressor on what's so the terms. This yellow knob here shows how much of this yellow dot shows how much compression is going on or gain reduction and ratio. Basically what the compression the threshold of the compressor sets a line. Everything above that line gets compressed or lowered and volume based on the ratio. So every one decibel that's above the threshold gets lowered by 4.6 or by 2.2 or slams absolutely slammed. So, gentlemen, you just want to keep it up for two or four releases. How long it takes to go back. Stop compressing and fast is how quickly it takes to come on. This is super squash right here, right? It's just hear how it's pumping with a slow release. No, that's it's just a little smoother with a dash of compression, but don't overdo it. What gate does is it closes, mutes the sound. Basically, if it doesn't have a loud enough signal, so that allows you to like if you've got a loud drum, sits like, for example, a drama hit, but then other drums air bleeding into it or you recorded a guitar. But there's hiss when it's not playing, you can use a gate to automatically quiet that. So let's listen to this piano. Let's try and cut out the echo with the gate. Three nights the oh Theo sun drops below a certain level than it clamps down. Now even we don't have to make it all the way to zero. That's what the range does. And finally we have this section here, which is something should absolutely ignore. But the one thing I do want to point out is to gain knobs at the very top here. Ideally, you want all of your sounds to be right around. Negative 12. Everything. Zero. That's just a good signal practice and then you can adjust these sliders here, get everything dialed in. Let me just take a sip of water Incident growth in my one set. Okay, Now let's move over to the right all the way to the right multiples, dim turns everything down 20 decibels. And here we can go to the sequence of the rack. Already talked about delay compensation. Just leave it on. This doesn't really matter Going there right now. Um, here's the e que her for the Master Channel way have the overall turn everything. It gives you a better using them. I give you my perfect secrets sauce that works almost all the time. This is how to set up the master. Most compressor in recent ratio to release auto attack 30 and basically all you after you turn the compressor on, you just want to set it to that about on the loudest parts of hits, too. Blowers, about two years. Lose things together a little bit better. All right. I hope this helped. Ah, committing you to the mixer. 11. Your First 20 minutes in Reason: Hey, stalker, this is Evan. And today I've got a guy for your 1st 10 minutes in reason. Now, if you're new to reasonable live, I want to click down below to get your free guide toe, all of the effects in reason. All of the instruments, all the devices all wrapped into one I basically managed, condensed down to a couple of sentences each for all of these 40 plus things that are included with reason. Just a couple of sentences to help you figure out what their best used for if you can ignore them completely because they're old legacy devices or if they're the hottest thing since sliced warm bread, not just ready to but but warm bread. All right, let's dig into what your 1st 10 minutes of reason are going to look like. So I've just got an open version of reason 11 here, not that excited. So what I want to point out is that there are four main windows. The mixer, which also doesn't look that exciting at the moment. The rack, which is where you have your instruments and the sequencer, which is where you have your recordings and you all said the browser, which is where you can search for sounds either by typing them in or by navigating different folders like the Reason Sounds folder and then going to bells. For example, you can open and close thes and resize than out well or even Goto Window. And you can, for example, detach them. And in on a Mac they'll open in separate tabs and windows. There will be separate windows you can jump between. Um, you also have the ability to just hit the F keys, like at 56 and seven to navigate around them. I like them detached. Also, if you have a multiple monitor set up where you go different computer screens, you can drag them on two different screens, and you can see everything at once. So most of the magic happens in the rack section from here. What you can do is you can either click on add device. We're dragging something you want toe mess with here. So the beginning you have these drum, uh, programs, and this is where I like to start. You got sort of an NPC star drum machine. I from just a regular old drum machine and a lute player. If you're starting out, Lou players a great place to start because plays loops really easy. So what we'll do is we'll hit around this, all right? You got a drum. Well, maybe that's not the style we want to go with. So let's instead go to De Loops supply. These are all the loops that are included. And let's do a hip hop. Um, let's try this. And so it's auto previewing. We can turn the volume up or down on that. Let's listen to the loop. Now. You know, this sounds different because auto previous it in the Temple of the Loop, but the song is actually set to a temple of 100 on 20 so it's meet in the middle. I'm didn't 90. That's usually good tempo for hip hop. And now let's hear playback and we're gonna add some other devices. But let's first also add a guitar for maybe a basis. Let's see, um, why don't looking for bass synth bass? Sure. Well, there's not a lot to choose from build in it. It's really easy to buy Luke packs that are compatible with this, So actually, let's go with a guitar Let's do it. Electric rhythm, guitar plane, sherry rhythms who doesn't like And majors go loads in several variations. So we were mixing that up a little bit. Now, what we're gonna do is we're gonna go to the sir to the sequence or here. It's the entire when the other ones have subtitles. But the untitled one is the sequence, sir. I'm going to select the draw tool. What we're gonna do is actually draw in a chopped loop. So these are the individual samples of that cherry guitar. So what we're gonna do is we're gonna take the pencil. I'm gonna try and remix the slip. Oh, uh, I don't know how this is gonna sound. Let's see, Let's hear. And what we need to do now is turn the live playing off, and it's only gonna play and notes, Rhoda, I like it already. All right, Well, that's the magic of reason. And I'm gonna just like this arrow, I'm gonna hold down. I'm just a new control C control, be a copy paste. So now we've got a new loop. But on the last variation we're gonna do is we're gonna draught in really fast and then we're gonna scale. We're gonna holding down. Well, I'm gonna hit W to select the pencil and we'll do a fade in there. So again, let me just say, if you're enjoying this video, be sure to subscribe to the channel. Give a thumbs up. Let me know if you've got questions about reason. I also be sure to click on that link below to download your beginner's guide toe. All these devices because you'll be up and running way faster than it's just trying to figure this out on your own. Sort of a hybrid Lupin shocks and going on. Now let's put in a piano part. My mouth has been a little pain in the butt, so select a radical cow and let's open up a preset here. Let's do right, let's see what this sounds like. I got my actual keyboard, so I got a little bit of late and see just because I'm recording this live. But that's not quite what I'm looking for. Syphilis see about soft and fast jabs. What I wanted was boost this curve up. I'm not a Panera's that sounds, but there is a lag here getting what I'm hearing black, which makes me sound worse. But that's easy enough to fix, because what we're gonna do is we're just gonna hit control A. We're gonna select all of these notes and hit the Kwan ties. But we select contest it quarters on now that wanted this will just move everything. Or we can always just fix this so, so messed up that it wouldn't even quantifies just really what you wanna be doing as a skilled musician, It's a risky drug. Everything's work should be. So let's see we're doing on the quarter. I want this one to be a little earlier. All right, I'm a copy of this Control C Control Bay. What I want to do here is again kind of double that up, just like we have on the get talking. Just hold down all in drag days over to make a copy. Let's remove the third, so it's a little more pronounced. Cool. Now, let's add an effect to that. I'm going to the rack again. I'm just gonna do an insert effect on going to first do a delay, Jacko, which is gonna make it sort of repeat and sound cool turned on the way. Let's crank up the volume a little bit. And also let's do some pain, pondel it on a little more feedback just to make it more pronounced. Let's lay down. Let's maybe even a little brighter. Let's turn the let's just pretend like the sustain pedal is down. I can automate that. So I'm gonna go with the monotone base synthesizer. No, I am actually gonna do here. Just for simplicity's sake is coffee. The piano part, these officer, Not the right notes, but it's the rhythm I'm probably going to start with. If I could play for Riel without the lag, I'd go differently. But now let's increase these by an octave. Just optimize this, which is really simple baselines. Let's let this to a loop until we get it out and someone right click. Now that's come on, Mr Oh, let's do some velocity stuff so that it pops a little more. Here is a little more So now the last thing we want to do is at a little melody on top of that on for that, we're gonna use he and the next he advanced synthesis urged advanced sampler on where we're gonna go with here. Uh uh. Let's see. How about some mats? Some vibes, perhaps, Uh, no doctor or not, Maybe a vibraphone. Uh, that's what I want. According let's get a pre cliff. A pretty count. Before I hit record, I actually let's turn the loop. This is actually play live longer, so there's more of a variation, so it's copy the baseline across. Now let's record the vibraphone part. I was not on the right, so we're gonna copy. I'm gonna use this razor tool here. Cut out the first take because that was garbage. Just a leader. Copy. The 1st 1 now that's here on this first note is just a little late. So let's Kwong tries, You know that's not where we want it. Did you go change it to 16th? There we go. Just jumping a little forward and same with you. You always want to check your performance to make sure that it sits in the right spot, but also that accrues contest. I want to change you. Let's see the way The only other things we're gonna do is we're gonna pop open the mixer kind of quickly makes everything and then you go to kill you got your first song and reason , and this is everything you need to know just down the beginner's guide. Because there are so many more features and read that I cannot get into right now and that it will really help you speed things along the 1st 10 minutes and reason more or less. I hope you like this. Be sure to like and subscribe to the channel for more great tips on making music and reason and pursuing your passion making cool, cool music peace. 12. Conclusion: So there you have it. You have just completed the beginner introductory course toe learning how to use reason. Now that you've done this, I think you are going to feel a lot more comfortable using reason. But if you have any questions or concerns, you just leave him down below and I'll try and address them or in future courses. I want, you know, already that as we speak, I am rolling out additional courses on reason that are gonna cover more and more aspects of the software, from using the instruments to using the effects to taking a deeper dive into more advanced techniques. So if you enjoyed this, be sure to leave me a nice review and check out those other videos. I'm also gonna start doing videos for other aspects of production, whether it's mixing or mastering. So I want you to be sure to check those out as well. And before I go away, Um, thank you so much for your time and as a way of thanking you. I wanted to give you a free download of my reason. Mixing template. It's available at stock music musician dot com. In the Free Stuff section at the very top and there's also a link to it down below. So thank you again so much. And I really hope you have fun making music with reason by.