Producing Music with Reason - Section 1: The Foundations | Edouard RENY | Skillshare

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Producing Music with Reason - Section 1: The Foundations

teacher avatar Edouard RENY, Music Producer & Tutor in Physics

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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

    • 1.

      Music Production with Reason - Introduction and Class Content


    • 2.

      The Structure of Reason


    • 3.

      Moving around the sequencer, the rack and the mixer


    • 4.

      First notes in Reason


    • 5.

      Applying effects


    • 6.

      Exercise: Creating a Spacey Piano


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About This Class

This series of videos is an introduction class to the music production software: Propellerhead Reason. 

Level: beginner

Video 1: The structure of Reason.

This video initiates the class with a theoretical description of the structure of the software. Understanding how Reason is organised allows  to master the flow of sound and music data within it. Reason is composed of three main modules: The sequencer, the Rack and the Mixer. We will describes these and look together how the sound flows between them. 

Video 2: Moving around the sequencer, the rack and the mixer
The second episode shows the 4 ways to start up the beast, and how it presents itself on your computer. You will get familiar with the three main windows and learn how to navigate between them (using the mouse or keyboard shortcuts).

Video 3: First notes in Reason
In this video, you  will learn how to create a synthesiser in the rack and play a few notes. This will allow you to observe where the sound goes in the software and give you a perfect opportunity to learn what is meant by "the rack" and by "device". You will also record a few notes in the sequencer as well as some MIDI parameter data. This will give you the opportunity to learn a few basic editing techniques as well as how to hook up a knob of your midi controller to a midi parameter in the rack, and record its real time motion! 

Video 4: Applying effects
In this video, you will start having a glimpse of Reason's musical power. In this episode, we will edit the MIDI clips we created in the previous video to adjust them to our liking. Then you will learn how to connect effects to the synth created in the previous video and how to set them up to get the sound we want. This will give you the opportunity to discover two of Reason's effects modules: The Echo and The Rev7000. We will record variations of these effects with time by assigning some of their parameters to knobs on our MIDI controller.

Video 5: Exercise - creating a spacey Piano
A challenge for you! From what you have learned in the videos up to now in the course, you should be able to create a spacey piano sound from scratch . Try it, seriously! that effort will allow you to get familiar with the basics and prepare you for the second section of the course.

This class is the first section of a global course about producing music in Reason. If you wish to go deeper into the subject, please enroll in the next class. 

Meet Your Teacher

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Edouard RENY

Music Producer & Tutor in Physics


Edouard Andre Reny was born in 1971 in Bordeaux, France. Long studies in sciences armed him a PhD in solid state chemistry which led him to a post doctorate contract at Hiroshima University, Japan. In his early thirties, he integrated a large water treatment corporation in The Netherlands as a senior researcher. A decade later, he decided to fly with his own wings by founding his own company, “Synaptic Machines”, that brought together his interests in sciences, his drive to share it with the world, and his passion and talent for music. Why not make a living with what one truly loves!

This coincided with the realisation that he was a damn good teacher. To support financially his bran new company, he started tutoring a few kids in their late teens to prepare for their I... See full profile

Level: Beginner

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1. Music Production with Reason - Introduction and Class Content: I know you would like to start making music right away. Reason this setup in a way that you can actually do that without really understanding the fundamentals. But if you do that, you will quickly struggled when you start to work on more elaborated projects. I propose that we first look at the foundations of the software. How is it organized? How does it work? This is the objective of this first section. This section is divided into five videos aimed at making new family or with a software in order to prepare you for section two. Section two, we will produce a short music track together. The first video, this one is theoretical. We will look at reason from a higher perspective and learn how it is organized. This will allow us to understand the flow of sound within it. The second video will initiate our dive into the software and teach us how to navigate in reason. The third video, we will create a synthesizer, play it, and record our first notes in the sequencer. In the fourth video, we will learn how to apply fixed jaw sequence of notes. The last video contains an exercise you will have to create from scratch as spacey piano. 2. The Structure of Reason: In this video, we will describe how the sound flows between the three main pillars of reason. Reason is composed of a sequencer that contains the data. I whack, that contains the instruments and devices. Mixer, which puts everything together. Let's first take an overview look at a typical setup. The computer where reason is installed is represented by the gray box. Some midi controllers can be connected via USB ports. Midi controllers send digital information to the computer via USB ports. For example, this information can be work notice how hard it is pressed, when it is pressed, and when it is released. This set of data is called a midi note. Other data called control parameters can also be sent via the controllers. Like for example, the volume of mixing channel, a specific synthesizer parameter, All the amount of reverb on a piano, things like this. You know, this data can be recorded in reason. From this data, reason we'll generate sounds and send the sounds to the sound card. The sound card. We then process and amplify the sound and send it to you loudspeaker system. You can also record sound and reason. Plug your guitar in your sound card and start playing. The sound card will send the audio to reason where it can be recorded. This works also with a microphone or any other instruments that can be plugged in. Note that there are also some microphones that can be plugged in directly via USB without passing through a dedicated SoundCloud. Note also that the sound card and I'd be integrated directly in your computer. But if you are serious about producing music, it is a good idea to have an exterior sound card. Let's go inside the computer and look at the architecture of reason. Reason comes in three main windows. The sequencer, the WACC, the mixing table. I will present it in this diagram. Also the modules with which reasoning to wax, that is immediate controllers and the sound card, the midi controllers sends me the information to the sequence and the sequence circuit analysis this data towards the other modules of reason and stores it. If the user decides to record. The sequencer is a container of midi notes and control parameters of your music. As we have seen earlier, it can also record the audio data that comes from your sound card. The sequence that contains all the musical information of your music piece. Here is how the sequence soon looks like. This is immediately, it contains notes represented by these little balls. The longer the ball, the longer the note, the higher the bar, the higher the pitch of the note. You can also record in the sequencer the variation of parameters. They are represented here by curvy lines. For example, here, you can imagine that this line represents the aftertouch of the node played in the sequencer. You also have audio clips. Audio clips can be recorded by the sound card or directly imported in reason from a sound file. We will learn in this course how to record and edit the midi and audio data. We know now ways towards the music data. But actually how is the sound generated by reason, the sequence, since this data to the WACC, the WACC window contains all the emulated hardware. In the WACC. You will find synthesisers, samplers and effects, but also makes the channels, utilities and the master channel, and even a representation of the audio interface. The data sent from the sequencer controls all these hardware. Examples. Midi notes, are sent to a synthesizer that will process this data and generate the corresponding sound. Control parameter data can also be sent to an effect and modify in real-time the sound pulse income effect. Control parameter data can also be sent to a Mixer Channel was known as a channels trip to record its change in volume. This is very practical to automatize mixing when designing sound effects. This is what a rack follow devices looks like. It looks complicated but do not worry. It really isn't. Once you are familiar with it. You have the audio interface and the master section, which is actually the output of the mixer. We will talk about this in a few minutes. Here you have a synthesizer connected to a channel strip. Here you have a loop-based drum machine also connected to a channel strip. There you have another synthesisers connected to a channel strip in which was inserted at distortion unit. There you can see a sampler that contains piano samples connected also to a channel strip in which it's inserted a reverb unit. Look at the back of the devices. The connectivity offers infinite possibilities. This opens a huge amount of creative options. And doing this course, we are going to have a lot of fun with that. Sound is generated in the WACC. But it's still not going out of reason for that. It first needs to pass by the mixing table. All the instruments or audio channels in the WACC assigned to a channels trip or slice of a mixer. Each channel strip can process the data by adjusting parent and volume. For example, inserting some EQ and effects. Then the mixing table does what it does. It mixes all the channel strips together into one mouse to output called the master bus. Here is what it looks like. It is actually a very powerful piece of kit. It is simulated from the SSL 900 K's to mix them. Remember that the rack contains all hardware instruments, effects, mixer channels, and the master bus. It includes a device that analyzes the mouse to the output of the table. That means that the sound is sent back to the rack. The master output is connected by default to the audio interface. This is a view of the top of the rack. In the front view, you can see the most section and there the hardware interface. If I flip and look at the back view, yes, you can do that. It reason. Let's see how things are connected together. We will explore this feature in detail. Well, if I look at the bucket view, you can see that the output of the master section is connected to the input of the hardware interface. In the diagram, it shows up like this. This was all very theoretical. In the next videos, we will put this into practice and follow the sound flowing in the software. For V0. 3. Moving around the sequencer, the rack and the mixer: in the previous video, we have learned that Reason instructors around three million Windows, the sequence of the lack and the mixer. In this video, we will list the different ways of opening reason. Look at the three main windows and learn how to navigate between them. Let's open reason I have multiple choices on how to do that. Option one. I can. One reason in demo mode demo mode means that I can use reason and even save my work, but I cannot leave open the files. Option two. I have purchased a reason license so I could authorize my computer to avoid this screen. You can check Section three off this course for more details. The laptop I am using now is not authorized. Only my studio set up is you can only authorise one computer per license. Option three. An alternative is to use a USB dongle that contains the license. Plug it into a USB port and reason we recognize that you own a user licence by screening the dongle. The license can also be contained into the balance sound card. This allows you to use the software fully without being connected to Internet. Very practical for when traveling. When playing live on stage, Option four is to log in your popular head account that contains your license. That system allows you to have reason installed on multiple computers, for example, humane computer and your laptop for when you're traveling, but know that you are not allowed to use reason on both computers at the same time. I read in some form that if you do, you will receive a warning from purple heads, and after three times, your count could be suspended. So be careful, let's and to reason by logging in. Oh, beautiful, What do I have here? I can recognize the three main windows, the mixer, the rack and the sequences. We have 1/4 window here, the balls up. Let's minimize it. To do that, I click on this little gray disk so disc becomes style gray and the browser is minimized. I can we expand the browser by clicking again. The little disc becomes like gray again. I have the three windows open you can see for all of them. The little disk is half light, grey, half dark way. That means that the windows are sharing the screen with other windows. If I click on the disk off the mixer, the little disc becomes dark and the mixer minimizes. Let's do the same thing for the wack. The disk off the life becomes dark on the wack minimizes, leaving all the screen for the sequences for which the little this is now like Great. This is quite useful as you can select the windows you want full screen. But to be truthful in terms of workflow, I don't find this feature fantastic. I prefer using shortcuts. One of the short cuts supposing I am in this situation is to press control F seven. I just press control F seven now, and it actually put me back to three windows on the screen. If you open the window menu here, you can observe that you have some shortcuts to full screen one off the windows. If I want the main mix of full screen, I press F five. If I want the lack full screen, I press F six, and if I want to view the sequence of full screen I press F seven if I want to go back with the three windows on the same screen at the same time I press control f seven. You might have noticed when I opened the window menu that there are also control of five and control as six road cuts. Let's trance control at five and detach the main mixer. Where's it gone? It is, Yeah, I have another screen connected on my laptop. So it appeared on the other screen that is super practical, as it allows you to have a comfortable global view on things in my studio set up, I have three screens, one for each window. It is so valuable in terms of workflow. To do everything on one screen is OK if you have one or two instruments and a few effect devices active. But when you're working on a full projects with trended tracks and 50 devices running similar near slee, good luck to do all on one screen. For any serious work, you need at least a second screen. And ideally, three. This is a picture off my studio, and you can see that each screen is associated with a specific reason window. Usually, I put the lack on the left. The sequence in the center on the mixer on the light for this course, I would consider that you have only one screen. I will also assume that you're watching this course and learning about reason on a laptop. In the next video, we will create an instrument like this, create instruments, sub tractors into Sizer. Have you noticed many things have happened in the different windows when I created the instrument? Studying what happened during that action will allow us to get family firsthand with the structure off reason. In addition, it will give us the opportunity to play and recalled our first music notes in reason. 4. First notes in Reason: in this video, we will learn how to create us into cider in the rack. We would play a few notes and observe where the sound goes. We will also record a few notes in the sequence. Okay, let's stop. I opened reason here, and I'm immunized to browser. I don't need it. For now, I'm going to create a synthesizer and do back. For that. I click create instruments and I can choose different devices. Let's choose a subtract er synthesizer. Many things have happened first in the lack. We have the synthesizer that appeared, but there's a kind of head on the top. Let's maximize it by clicking on the little arrow here. This header is actually a channel strip. It's the same channel stripped that appeared in the mixer. These two are equivalent. For example, if I change the volume off the Channel strip, it changes. Also the volume off the channel strip in the mixer and visa versa by clicking tub in the back. I can flip the devices and Caesar back. If I click again, it flips back on the front again. What I notice is I see the synthesizer and the output of the synthesizer is connected. The I cable to the input off the Channel strip. I can modify this if I want. I can click on, keep the mouse click. I keep the button of the mouse pressed, and then I can move the cable wherever I want. If I release it onto nothing, it disappears. Let's connect the synthesizer to the mix of channel, so I click here. Then I move while keeping the mouse that impressed until a region input. And then I release. So now I've connected my synthesizer to Eternal Strip, which is actually inside the mixing table. I noticed that when I created the synthesizer, something appeared here in the sequences as a media track, which is a kind of container which will contain the information that will play in the subtract er. If I were called anything now, it's time to play a note. Oh, I played a note on the controller. What happens is the following. When I pressed note on the controller, it generated some computer data, some digital data, which is called a meeting up. It's information that contains a pitch the length of the note. When it starts, when it stops etcetera, the sequence I can record it on, then sends it to the synthesizer. The synthesizer will take this information and generate some sound. The sound output of the synthesizer is connected to a channel strip which is in the mixer so the audio can be process and mixer mix and therefore sent to the master bus. The master bus sends the result to the interface with the card which is located in the back . And then sound goes to the card from the card. The audio will be sent to you loud speakers. Okay, let's record now. If you note in the sequence of in order to have a better view, what I'm doing, I am going to maximize the sequences. Say takes a full screen by pressing F seven. So what do we have here? We have our media track here. If I press play, you can see a cursor which is moving along the time line. If I press click here, I will hear Click corresponding to 1234 Stop now If I want to change the temple, I can just click on the number off the temple and now you can see that it is white numbers on black, meaning that I can edit it. Let's choose a temple of 100. Enter. If I double click on the stop, it goes back to your original position. Okay, I think we're ready to record. Do you have sound? Yes, we can see that the media data is actually coming in a minute track by looking at this little arrow. Let's the court a place on the record button and and stop I have now I'm medically let's listen to it. Thing is what I wanted. But it's not regular, so I will have to edit it. I would double click on the tip, and now I have some details here. These bars represent the notes, and you can see that pitch here. I'm going to use this tool to move around. If I click in the middle of the tool and keep the mouse button press on, drag the mouse. I can travel around the timeline. If I take one of the edges first announced pattern and drag the mouse, I can zoom. Let's zoom here on the first note. If I click the note, I selected and appears information about this note, notably the position. Let's take this one from this one. Well, you can see that they're not well said. They should be a one here to be on the bell so I could do it by hand by moving the note amount. Oh, I can make it automatically. I prefer to do it automatically because there are too many notes to move about, so I will press F eight to call the tool window. The tool window is a collection of tools to allow you to edit some data. We're going to Kuala ties this note, meaning we are going to bring it to the closest 16 spar. But if I apply it, look at the position he have to know there. If I apply the quote ization, it has been brought to the closest 16 Spar. I can do this for all notes by selecting the more I just click, keep the mouse button pressed track the Knaus release, and now I can apply the quad ization to all notes. You notice how the notes moved. Let's play regular. If I click elsewhere the nose. Get this selected. Just close a tour window and left close a detailed anything window now I want to look at this clip. So first I'm going to copy and paste it. But before that, I'm going to change its size by clicking the handle. Here. I can change the size of the plate at the end of the clip and also in front. So what I'm doing is actually pressing on the mouse pattern and dragging the mouse. The clip is selected. I'm going to press control, see? And you see the cursor moved just after the clip. The pressing control. See, I copied it in the buffer so I can do control V now, and it will copy the clip where the cursor is. If I move the cursor and press control be again, it will copy the tip at the position of the Kherson. Let's delete it. A person just delete. I want to loop thes two clips, so I'm going to use these handles the right handle on the left handle and click loop. How it was already clear. Now the loop is on. So when I play my data, it lives to the white handle. It will go back to the left way. Now we have our medically edit it. Let's go back to the latch oppressing a six. Actually, I would like to give the sequence of open to if I play. The media data is sent to the synthesizer that transforms the data into sound and send it to the Channel strip, which in terms sent it to the master bus, the interface and therefore your sound card. What is interesting here is that I can actually change some off the para meters off the since while it's playing do that. I put my mouse on the Jeremy total to change. Click on, keep the button pressed on, drag the mouse. The issue is that it can be quite teaches to do. And also you can only control one para me too at the same time. So I'm going to teach you how to control these para meters with an exterior controller. To do that, I select my power meter, just placing the mouse over it and rightly. Then I click edit remote of a wide mapping. I make sure that learned from control surface input is selected and then I choose a button and move it around. That teaches reason that this pattern will control this perimeter. Okay, So now when I move my button, I see also that the power need to is moving. I can repeat this for another perimeter and another button on my controller. Okay, so now we are all set up to play that start to play the clip, play with way. Okay, that's pretty funny, but I would like to record that. I would like to recall the motion off these perimeters. So, in the media track, I can de select this because this is for notes. But this will record media perimeters that's elected, not selected. So if I press record, let's position myself here. But that's record. And I move one off the battle which is associated with one of the para meters. It would create a new lane. And this lane will be for the filter resonance. That is for this perimeter, which I modified. And I can treat it like an okay he had selected. So I can just delete it. I can also close the lane, but it will create again once I start moving the button again. That's the court. No, no, no, no, no, no. And now, if I arrange it, that is green circles around it, meaning that these perimeters have got a track associated with and that might be modified doing the playback of the way. So you do see how powerful this can be because all these battles here can all be automatic ized, giving you quite a French off possibilities. And this is just one cent in the next video. We will add some effects to our little music here, and we will record the variation of the effects. We can get some quite interesting cells. You will see. Please note that this video and the one that follows is just a quick overview off how lease and works. We're not trying to make a music track here. I'm just using this example to show you the formations how the sound moves around of different windows in reason and how the media data is processed. I hope you enjoy this video. See you in the next 5. Applying effects: No, no, no. Ah, previous video. We learn how to create a sense in the rack. When we created the scent, we realize that it also created in sequence of a media trial that allowed us to record a few notes. Then we hooked up some of the para meters of the sense, actually the filter para meters to some knobs on a midi controller that allowed to change in real time, the value off these para meters while the Clippers playing and we could even record them. This is a recording clips off the change in the media para meters. With time in this video, we will edit Seascapes because we will realize that they know exactly what we want. And then we will Adam effects to make the sound of vote. Okay, let's start. Let's start first by listening to the clip. No, no, no, no, no, no, no, no. I'm OK with the notes about them. Do you know, really, like the sound on the extremities of the clippers have a planet to dull, So we're going to eat it. The's Palomita changes when I double click on a clip containing so many notes. We've seen that it opens an editor, but if I open a clip contending some media events, it opens directly in the sequence of So I can edit that. Clean the sequence of How do I do that? Well, I would click on one of the events and then keep the monster too impressed and drag the mouse to move the event. Where want, if I take elsewhere? Just dyslexia Event From what? To select multiple events. I can just select in area. So is left click and then keeping the amounts that impressed track the mouse. So you see, all these events are selected stilling. I removed these because the world side of the clip so they were not relevant. I want to the sound of it less dull. So I'm going to increase the filter here. And also I'm going to remove these two increase filter there and actually make it to be more symmetrical. There were something like this. Let's look at the residents para meter by double clicking on it. That's about right. No, that's that's okay. Thanks. Okay, I will move these two. Let's listen. Tell most of peace now. You see, it's not clear at the beginning way can also edit on the fly. No, no, no. I'm now pretty satisfied with our masterpiece. I think it's time now to give you tell you toe sound boost by applying some effects for that. We're going to work in the lack, so I will minimize the sequence. When I press tub in the back, I see the backside off various devices. This is our Chalos trip where the sensor sizes connected. This is where I'm going to inject the effect. If I click show insert effects, two things happen. First, there's a kind of hold. It appears there, and a little do opened the Western connections. If I press here a red ball pierce, meaning that when I created Vice it will install itself here. This connection here is an output. It's cool. Ascend the channel strip with Send the sound through these connections. It will go to the effect. Then it would be processed by the effect and the sound will come back to the return, which is an input. So basically the sound of terms to the channel strip through that way. Let's create now how effect bigs effects and I select the echo when I did this connections were created automatically. These are the most probable connections. And indeed here, if it suits us, the sound would come out from here be injected in the input and the output off the effects After some processing will go back to the return off the channel strip. If I press tab, I can have a look at how the echo looks like from the front boom. Pretty need. So I'm going to change his pedometers in order to get the sound I want. But first I'm going to launched my clip way. It gives another dimension to this little piece. Why don't you think now I'm going to add an extra I. In fact, I want a little bit of the Ferb so I can play here and create reverb. When I did this, it created also some connections. It connected the output of the code to the input off reverb and the output of the reverb directly to the return off the Channel strip. I'm also happy with this connection. This is what I wanted. Suppose that I would like something different. I mean, to cancel my last action bypassing controls. Ed, do you see the reverb has gone And now connections were like they were before. I suppose that when I create the effect, I do not want any connections. I would create my effect. But before I click and create the effect, I will press, shift and then create the effect keeping shift pressed. As you see, no connections have been created. Now, if I want something specific, I can do the connections manually. Let's also choose the type of reverb I want. So I'm going to click here and I will have The choice is all the verbs and just dry. Let lay show e. No, sir. Just sit on the fly. Well, actually, I kind of like the sound of this. You know what? I'm going to recall that I'm going to recall the variation off the driver Gracia. So I need to create a media track for the reverb to do so. I like click. I've got this menu and I go create track for all films. So this is a name actually off the patch, and now I created attract for the reverb. I'm going to associate this knob to another on I mean, the controller. Okay, So when I move them up here. Yes, it moves the knob on the map. That's we call this. I've got my power meter automation, which is enabled. That's what Court E. Well, I don't need these information, which is before the beginning of the clip. And actually what I do want to start with a little bit of reverb. So here we are, and it's the size of clip. Let's listen to it. And here, if we are satisfied with the effect of the reverb, I like it. But when the reverb comes in near the orchestra, all you know, it seems that the sound is becoming weaker. I think we should increase the volume of the sound at this point, So we should change volume of the sound way it's playing well. Volume is just another perimeter. So in order to do that, we can go to the Channel, strip in the back, and we are going to create a truck for it. A media track for the Channel Strip. This would be able to record any modification we do on the sternal strip, including the volume. So let's do that. I place the mouth on the Channel strip and white click, I get a contextual menu and I choose create a track. Full bass guitar. Yes, basic. It'll it's the name of the Channel. Strip appears now. Mommy Detract called Basket Top. I don't like this name, they say is the name of the patch that was used in ourselves. And actually, this doesn't really sound like a bass guitar, so let's call it. I think so. I'm going to double click on the name in type sent, enter and you see that the media track is now called since also as well as the child's trip in the mixer. Remember, these are the same device. Now I want to associate the volume of the channel strip to a knob on my MIDI controller like this, I will be able to record the volume changing while the Clippers, playing my position, the mouse on the slider, edit remote, otherwise mapping. I select a knob and will be around. Okay, now a check. If it's working, that's wacky. I can record That's it. It this new media clip. I will move these size it make sure that the two levels at the end of the beginning are the same. Maybe add a few more events, be a bit less conservative. I think I'm good. That's listen can see moving automatically. I'm quite happy with this, but I've got very good headphones here on day. I feel a little bit off mess in the low frequency range, so let's observe what's going on for this. I will open to make sir and press on this button. This will give me the spectrum of the music for the main bus. Well, here I only have one tracks, and it's going to be the same thing. But that's do things correctly unless click under the Channel Strip. And now I will have the spectrum for this channel Strip. That's what we have. Well, I can see here the mess in the low frequency range on thinking about it. I would like a little bit off more crystal sounding, so I'm going to also increase the higher frequency back high pass filter to get rid off the mess on the low frequency range. Then I put the shelf was a high fever, for you met him, you know, he was a bit high. Just I'm satisfied with my child, so that's saving, uh, let's explore the music as a load Your file I have to file. And if I choose Export song as audio file is going to export for me, the whole time line from the first are until the end marker here. I do not want that. I just want to export this little section, giving a little way at the beginning and at the end. So if I choose file Export Loop, as would you file is going to export only this extract to soothe that file export loop as a do file and now by the 40 chose the name off the reason Fire. That's fine with me. Safe. I can choose separate and be death. I'm fine with this. Okay, let's have a look at the file we just created. I will open it with waivers Are a free application allows you to edit some way forms before even a play it. I can see that it's not loud enough, so I will have to re export it louder. I don't need to speak from Kikuyus taking space so by Let's look at the most a bus while the file is play a so you can see it's not allowed So we're going to increase the phone. You Most of us. Way you notice here, this little red dot That means it has clipped the volume is too loud in order to dio measurement again a press we set to get rid off the little red dot Here on I will try with a lower value minus three db is good, I think for a maximum peak level that's exported now and let's take the file. Ah, that's much better. Let's listen to it. I'm good. 6. Exercise: Creating a Spacey Piano: Now that you understand the structural visa and know how to create an instrument, add some effects to it. Play it at the called me the data. Let's do a little exercise. The challenge here is to will produce this piano sound. For that, you will need to create an annex T sampler with its different patch. That means you will not need to change the sound loaded in the next E. When you create it, you will need to add a reverb with the film school patch Onda Nico with the delay time off 1/4 I recommend that you said the temple around 1 40 then fiddle with the knobs off the reverb and the ICO until you find a pleasant sound similar to this one. When you're done, I highly recommend the fall away. Imagine you are with a friend and you are actually teaching him how to do that. Talk out loud and become the teacher. Explain to your friend about the flow off the Salin reason. Believe me, the best way to learn is to teach. So now pause the video and give it a shot when you want to watch the solution resumed the video and I will be back to show you. So how did it go? Did you manage to get this spacey cattle sound? I opened reason, and the three windows appeared. First, let's change the temple. I click here and places temple I I'm looking for which is 1 40 now I'm going toe work may need the lack. So left press as sex to get the lack full screen, I'm going to create my instrument and enter next T, which is a sampler. If I play, I hear the different patch, which is here in that case who sound We're looking for the grand piano. If I wanted to change a patch, I could just click on the window of the in the next e and I get a few choices. I can also click blouse and then I get the full range of cells. I can get within reason for the and the next e. For example, the organs. But let's keep the piano. Who is it? This one. I think this one is nice. Okay, but the sound is pretty dry light. Let's put him effects. So for this I will open the Channel strip Click on show insert effects on click here in order to get my red bar. Then now I can create an effect. Before I click. I'm showing another way to get the effect. I can also go in effects in the browser and just drag and drop. If I place tab, you will see the connections have been automatically made. Now by default. The echo has its dry, wet balance totally on wet. We don't want that. This is a dry sound. On the wet sound will be the same sound, but just delayed. I want a blend of both, so I'm going to set it here, for example. Now I want to have a delay. Time off 1/4 on increase of feedback, which is a length off the delay. Okay, you can go like this forever. So up, let's stop it. You might have noticed this harsh sound doing the echo. This is because of the drive that's removed the drive. If I want to have it Studio, I can always take Ping pong. Let's keep in model for now. I want a little bit of reverb, so I'm going to re click just underneath to get my red ball game and select a reverb. Now it oppressed are but I can see the connections are made also automatically. The output of the ICO goes in the input off the reverb and the output of reverb returned through the Channel strip. If I play, I noticed that by default to reverb has Bean put totally on wet meaning. I have only the process sound. How to balance this a little bit. I just want to have a later space that so much better. I'm going to select by clicking here. I patch the film school, but I could also if I wanted to just take a patch on drag and drop it to be too strong and the feedback of the closer I get to be, Yeah, that's pretty good. So now I have myself. If I wanted to record, I could just place a seven to get the sequence of. But if I want to have a look at what's going in the back at the same time, I can get both at the same time. Her purse click on a record