Producing Music with Reason - Section 2 - Creating a music track | Edouard RENY | Skillshare

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Producing Music with Reason - Section 2 - Creating a music track

teacher avatar Edouard RENY, Music Producer & Tutor in Physics

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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.

      What you will learn in this class


    • 2.

      Creating a Beat in Reason


    • 3.

      Recording a synthbass line + sound generation basics


    • 4.

      Setting up a pad


    • 5.

      Recording a melody + file clean up tips


    • 6.

      Sound designing a rising woosh (Part 1)


    • 7.

      Sound designing a rising woosh (Part 2)


    • 8.

      Importing audio in Reason: an ending impact for our music


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About This Class

This class is the core of the "Producing Music with Reason" course. building up on what has been taught in section 1, we will produce together a mini music. The objective is to give you the know-how and show you the tools to make one yourself,

By the end of this class, you will be able to fly with your own musical wings!

Video 1: contents of this class

This is what you will learn in this section :

  • Navigate across the windows and manipulate editing tools,
  • Get familiar with the rack structure,
  • Create instruments in the Rack, and apply effects to them,
  • Record and edit in the sequencer MIDI notes and parameter automations.
  • Basics of a synth and how to manipulate some of the synth parameters while knowing what you are actually doing,
  • Basics of drum machine programming,
  • Using and editing audio samples in the sequencer,
  • And many other useful things, like shortcuts and tips which are spread around this section.

Video 2: Creating a Beat in Reason

This episode will show you the different options Reason offers you to create beats (audio loops, sliced Rex loops, Kong Drum machine and Redrum drum machine).  
We will focus on one specific option to create a basic beat (programming a drum machine, The Redrum) and record it in the sequencer via the Pads of our MIDI controller. Our MIDI recording will allow us to go a little deeper in the editing process and learn some cool editing tips. 
Level: Beginner. 

Note: This video is not an extensive list of ways to create beats in Reason. There is another powerful option that is not mentioned here but it uses Refills (for example BFD with MIDI clip importation).


Video 3: Sound generation basics + recording a synthbass line

In this video, we will create a bass line using the Subtractor synthesizer. This will give us the opportunity to get introduced to synthesizers. We will briefly describes the basic functions of a synth so that we can generate a sound. We will also do a little theory here by describing how sound can be described as waveforms. We will listen to various waveforms and understand why some can be used for a purpose and some others for another. I will exemplify this by improvising the creation of a jazzy pad. We will then go back to playing, recording and editing a bass line for our music track.
Level: Beginner and intermediate level user.


Video 4: Setting up a pad

This video will show you how to create a background Pad in Reason. We will explore how to browse and load a preset in the Rack. This will give us the opportunity to discover what is a Combinator. This will also allow us to explore functionalities of the rack. We will see how to learn about sound design in the rack from these presets. Moreover, we will learn how to change the sound on the fly in order to suit it to our needs. We will conclude by playing, recording and editing a pad for our little music track.
Level: Beginner and intermediate level user.


Video 5: Recording a melody + file clean up tips

We have now a beat, a bass-line and a background pad. Time to play, record and edit a little melody using the spacey piano sound we created in the first section! During the creative process, it is important to stay organised in order not to hinder the workflow while composing. The second part of this video will share with you some clean-up tips and a few best practices.
Level: Beginner. 


Video 6: Sound design a rising woosh (Part 1)

This video and the next introduces you to sound design by creating a rising whoosh sound from scratch. Such sound is often used to announce a change or transition in a song, especially in electro and techno. We will use for this a Thor synthesiser. This first part will share with you the basics of the Thor synthesiser by going through its architecture. We will learn how the sound is generated in the Thor and how it flows in its various modules, as well as what these modules do to it.
We will then learn how to generate a white noise that will be the base of our sound and sculpt it with time to make it rise. In addition, to make it sound flashy and spread across the stereo field we will create a chain of effects by connecting various devices to the channel strip containing the Thor synthesiser.
Level: Intermediate level user.


Video 6 - part 2: Sound design a rising woosh (Part 2)

In this video, we will insert our Whoosh sound in our mini music track. For that, we will sculpt it to our liking by recording in real time synths parameters and the motion of the channel strip fader in the sequencer.
In the process, we will realise that our whoosh doesn't sound that good, so we will troubleshoot to analyse what is missing and correct it by modifying some synth parameters. We will also add an EQ and a maximiser to the effect chain we created in the previous video.
Level: Intermediate level user.


Video 7: Importing audio in Reason: an ending impact for our music.

In this video, we will import an external audio sample that we will use as final hit for the ending of our music composition. First, we will discuss how and where to find these samples, and the legal implications of using them in a composition. Then we will import an audio sample of a hit, using this example as a good opportunity to get introduced to the basic audio editing tools that are offered in Reason's sequencer. We will explore this a little further by importing an audio loop of a beat, and replacing our current beat with it, just to hear what it sounds like. This is a great way to explore alternatives and change the feel of a composition drastically.
Level: Beginners and intermediate level user.



Meet Your Teacher

Teacher Profile Image

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. What you will learn in this class: in this section, we really producing a mini music track together. Don't expect a masterpiece just a few seconds of commercial music as a support to the learning experience. I will show you how to make music in reason that is to show you how the software works. The music track. With sound like this, we will use a red drum drum machine to make the beat. I subtract a synthesizer to create a cinespace I can't be need to patch for the pad on the spacey piano we created in a previous video. We will also get a small taste off sound design by creating a rising bush on the force into sizer. Finally, we will important note. Example. An impact sound. We will import it in the sequencer and integrated in our music. Along the way, you will learn how to navigate across the windows on manipulate editing tools. You will also get family or with the rack structure by creating instruments in the back and applying effects on them. You will also record and edit in the sequencer. Mini notes on para meter affirmations. You will get familiar with the basics of a synth and learn how to manipulate some of the since para meters. Why, knowing what you are actually doing, you will also witness the basics off programming a drum machine. You will be using an editing audio samples in the sequence of Then together, we will look at the basics in mixing a music track and also spot to problems in the mix as well as correcting these problems. And there will be many other useful things like short cuts and tips which are spread around this section. I'm courageous to be active in this section of the course. Do not sit back and watch passively have reason open and after each video, play around with what you have just learned. Create a music track with. 2. Creating a Beat in Reason: in this video always start by showing you the different options. Reason offers you to create beats. Then we will use the redrum drum machine to produce our own. I just opened the file that contained too spacey piano we created during a previous video. I'm going to put it on the side for now, so I click on the Channel Strip in the whack on keeping the mouse button pressed. Drag the channel strip somewhere else in the lack. The whole group of devices gets moved to the new location. By doing this, all the cable connections between the devices remain unchanged. You will realize later that it is quite important to reorganize your whack from time to time as it can become messy quite quickly. When you are in the flow of composing, let's start creating a basic beat. There are multiple ways to do that in reason. First, let's go to the sequences by pressing F seven. One way to create beats is to purchase a sound bank containing loops and then using these loose by importing them in the sequencer. I prepared this one as an example. I just drag and drop it in the sequences and it appears here it is. What this action did was to create an audio track in the sequencer, a channel strip in the lack on in the mixer. I can play this audio loop, but we're not going to use that today. Check the video about audio in reason later in this section for more details, so I'm going to delete the track in the device. This action deleted the track in the sequencer. The device in the lack on the cello strip in the mixer in order to make beads. One can also use October X Octo X is a special model in reason that weeds rex files rex files are audio loops that are sliced in parts you can were and into slices the way you want and treat them like media events. Let's create another tow backs when I created it comes preloaded with the Fort X Files. I can check them out by pressing one, or I can copy them directly into the sequence of you can hear. Now the Rex fouls by double clicking on the clip. You can see the media events in Amedi Note editor. You can also trigger the events with a pad controller. Well, the key boat, but we're not going to use that either, so I will delete the track and the doctor tracks. The either way to create a beaten reason is to use drum machines. They are two fantastic drum machines within reason. The cone. The corn is an amazing piece of kit with tons of options. It is actually a sample player, and each of these paths can trigger a sample. You can control the pads with a pad controller. Oh, you can use the keyboard, but we're not going to use this either. We are going to use every drum. It is a more basic drum machine, but for a purpose, it is perfect. The redrum contains a series of sample players in which you can load samples. The redrum can also be controlled by a pad controller or keyboard. I'm going to close the browser and make my first recording. I make sure that the track associated with the redrum is record enabled, and I put the click off. So let's take care of the kick to start with now. That's ended this clip. First we are going to Kwan ties it by pressing F eight I called the tool window. I am going to quote ties, all notes at the quarterback, but first I need to select them. I'm going to set the note velocity I wanted identical for all of them. So I go to the node velocity panel off the two window Select Fixed 1 10 is good for me, so I press supply. All the velocities have been adjusted to a value of 1 10 Let's listen to it. By reciting the media clip to four bars, I will be able to treat it like a loop that I can copy and paste left. Click. A later selected control C Control V occurs have positioned itself automatically at the end of the clip on copy. I would make a short track here on Aybar's only So I will end the track at the beginning off the night spot, and I will create the last kick at the beginning off this ninth bar. So I left click on the note and keep the mouse that impressed and drag the mouse. The note will be copied at the location I release. Let's create and mother sound the high hat I could actually create the high hat within the same clip. But I prefer having a separate lane for each of the sounds. So I create a new lane. This new lane is automatically record enabled. That's activated the click on record. Okay, let's have a look inside the clip. So I double click of the clip to open the editor. I select all the notes I press F eight to call the tool window and time quanta eyes at 1/16 of a bar. However, this will become very mechanical, so I would like to randomize a little to get more of a human feel. You know, I would like also the volume of each hit to be related Lee the same value, but with a little bit of human touch. So I will set it up at 90 and then randomize it a little bit. Let's check the position off the first note. Good. It landed after the bar because now I'm going to make a loop Herbal being declared by fixing the boundaries to four bars. That way I can copy and paste it. That's listen. I'm now going to create a new lane for the snare. So I moved my mouse above the head off the track and then right click to call the contextual menu and then select new Note lane. The Sneyd is hit. Let's record it. Oops, I missed it. Wrong pad Doesn't matter. I'll fix it later. Let's open the media clip. He raised the mistake and see what we've got. I will quote ties again, so I called the tool window on randomize a little, too. Let's listen. See, there's a problem here to notice a little late so I can just move it and forward it a little done. I think it's OK. Let's listen to it fully to get the field give sounds good. Now I can close this Andi control Left click Drag the mouse release. That's another way to copy and paste to clip. So now we have created our beads. Oh, click is annoying. We weren't needed anymore. Actually, yes, we will, because when we record the other instruments, we will need to know when to start right. But we do not want to hear the click doing all the song. So the tip here is to create a new lane on record. Some markers. Let's put the click on for the last time and recalled, And this week won't eyes. There's no randomness. We do not need to clip anymore. We have our bid to stay on the temple. If we want. We can modify a little bit. Volume the pan while the Pala bitters for each sound in the redrum That's it way have our beat. We could try to refine the sound that mixing it better and applying some effects. But I usually do this at a much later stage of the production for two reasons. First, the other instruments would change how the drum sounds are perceived, so any tweaking I do now will most probably have to change later anyway. It would basically be a waste of time and second, slowing down the composition flow by making sonic decisions so early in the production is really counter effective. Believe me, we are ready to create our next instrument, a base 3. Recording a synthbass line + sound generation basics: In the previous video, we created a basic beat. We will refine the mix of this beat once we have created the other instruments on music lines. Now let's create a cinespace. The first step is to create a synthesizer. There are three great synthesizers in reason the subject, er, the march low and the fool We will use the subtracted, so impressed if six to get back and dragon drop a subtracted. The subject is based on subjective censuses. Subjective censuses just means that away form is created from which some of the harmonics are removed to shape the sound. However, the subject is much more powerful than that. It can generate a huge vary ity off sounds and timbers synthesizes our model early beast. They're made off various components, oscillators nor generators, filters, envelopes. LF owes which I low frequency oscillators on various para meters, the oscillators are the models that usually creates a sound. Let's go to Bowser and put a spectrum eq you to visualize what we will be playing. Let's select on the first oscillator a sine wave, and I made sure to de select the second oscillator. Let's press a key. Let's say a seat. A sine wave is a wave like this with only one frequency, and when I pressed to see, I see only one frequency. If I change the bench frequency increases. Now let's change way form. Let's select a triangle, A Z you can hear. The timber has changed and, as you can see, the extra peaks extra frequency that have been added. The first frequency is actually the filament of frequency, the same one that we had during the way for. But in the triangle way form, some extra frequencies are added, which I usually moved to pulls off the first frequency. These frequencies are called harmonics. Let's change away form again and select a square wave, for you can see here we have even more harmonics, and you might notice also that the timber of the sound is more thick now. More fool. Let's select now the sole tooth way form as you can see down more harmonics, and you can also perceive a sound which is thicker. This makes square and sawtooth wave forms quite ideal for sick sounds, kind of big paths and things like these. Let's make an experiment. Activate the second oscillator, which places same low. It also generates way forms. I was selected to square away fools The two sounds will be mixed by this batter that I put in the middle So now I get this Let's make this sound thicker by the tuning the minute of it. And actually, on the second oscillator, I'm going to add 1/7. I'm in model for Nick. I want to be in polyphonic to make goals. Sounds pretty jazzy. I like that. Let's put some Collis create in effect. It's gonna be a reason. Effects on it is whether clueless Thank you. But I wanted more smooth and jazzy, You know, I want it a bit. Bless. Come in your face. So I'm going to choose away form with less harmonics. Let's select the sign. Okay, Notice that here in the red. So are better Decrease a little bit volume if I'm in the red is going to start saturated. You don't want that, so yeah. Oh, Okay. I got a little sidetracked here. Well, we were looking for a sin base and I'm starting to create a path. No jazzy path. Well, that's the reason Effect. There's so much power under your fingertips that you start side tracking and creating new sounds and having fun, and that's cool. It's great to compose and having new ideas. Actually, that gives me the idea that I probably created course in the future on how sensor size of works and how to design sounds which are out of this world. But now let's focus on the task of the hand, which is to create a basic baseline. So let's create a baseline. So for that I will actually just use a different patch. Basically talk so I can just reload the default patch anyways, what I did here just by changing pattern coming back to the office phone patch again. And I am now with my bass guitar sound. Oh, I would move the callers. I just selected it and press, delete and confirm. But so let's open the sequence. We are going to record our baseline, so I'm going to choose very simple core. Do something they simple just to illustrate how you can do that. As you can see, my cursor here is not on the right position to record, so I can move in that way to put it back onto the lab position to start recording. Oh, I can just press one by pressing one on the number keypad. I bring the curse of back to position. L meaning to this left handle. Okay, let's record. I checked that. My track bass guitar. That's quit. Send base. So I checked on my simple face track is on the court mode like you're so is here. So I'm fine. I just best recalled. Okay, so you notice I did some mistakes? My fingers are pretty big for these for this tiny keyboard. So we will have to edit our truck. So I double click on the middle clip and let's put the sequence full screen by pressing at seven. A bit of a spectrum, a coup. Okay, so I can already see that this note is bad. So I'm going to select it. And that's press delete as well as this one. Remember? For selection, you press the mouse, not keep it pressed, drag the mouse and then release the button. If you want to de select, just click elsewhere. But so this is my track. I'm going to Kwan ties it. So for this, I select everything in press f eight. If eight. We call the tour window, so I want to call ties it at 1/16 and three takes off. Randomness seems good to me, so I just leave. Apply now. Let's listen to what we have. Okay? It seems okay, except for this note, it was a little bit too late, so I was doing there to see what's going on. Uh, I can see that doing the quant ization. So note was badly placed on this line. It should be on the other line, so I can just drag it. And now I'm good. I know that when I dragged the note, it always fits perfectly on one of the lines. This is because I've got to snap that or not. If I am selected by clicking on it, then I can move the note continuously. Now. I moved it continuously, but it's not perfectly in a bar, so I want to quote ties it again so I could just click. Apply because it's selected who I can select it on Dwight click and in the context, your menu select quant ties. It will have the same effect as clicking apply here. The para meters selected here will be those selected when I clicked on ties in the context . Showman. Right? So let's and zoom. There's also something I would like to change. I would like, although legs off notes to be similar. And also I would like the volume to be a bit lower so I can select everything by doing this four by passing on control. A. So let's select notes length. I want them fixed so this length seems OK Puffing. I could get them longer if I wanted. I kicked him on the number and then on the arrows. Okay, let's listen. I want to change also the velocity off the notes. So I click here to open the little panel, Choose a fixed velocity, say 90 things good to me. So I select all the notes and click apply, but it might be a bit too Buoying. I want a little bit of more randomness. Second click on random and then selected randomness I want and then click Apply. That's it. My trek ends up on the beach. I would like a bass note there, so I'm going to use this notice. See? And I'm going to copy it there. So you to select it. Press control and press the mouse pattern on move It allowed. You can see little. Plus here That means that when I release to now statin, it has not moved the note by copied it. I repeat, I select the note first control, then press the mouse Staten moving around release I got my note Control said to cancel the last action but here had snapped non selected. I wanted to be Kwan Tei So I just select my note. Right click I clicked on ties. I also want my note to belong at least about so I'm going to click Snap Then click on one of the handles and pull it. Hey, we all What? So let's listen to the end part This notice too long. I want the volume to decrease. Let's remove the two window and I would create a new lane on which I will select by clicking here. What para meter I want to control It will be the master level. So what I'm doing here? I'm creating a lane for this button. As you can see, reason created a green period meter around the perimeter I want to control I'm going to draw a clip him, then undone to click on the arrow again and double click it. I can edit directly. So to be precise, I'm going to zoom and press the pencil to currently here, notice that the little line before and after correspond to the current level. So I'm going to make sure that my current level is about the same. And here I use a pencil tour again. And just decrease of all was type. Let's see what we have here. Good. Maybe a little bit more. So I'm going to edit the points here. All the points was selected, so I just click elsewhere to just then select one single point note also that all the points are on a good life. This is because snap was selected If I am selected and draw it again now, as you can see, the points are not necessarily on the great line. And I can move them anywhere I want Now. When I drew this, I was not very regular here here. I would like to have the same value so I can select them all and then here in value press equal and they will all equalize. Let's Listen, right. So I'm pretty happy with my baseline. I can maybe make a clip show to hear this. I think I'm good. Maybe increasing it'll be the volume in the mixer. In this video, we created a basic baseline for our music truck. In the next video, we will learn how to create a pad. 4. Setting up a pad: In our previous video, we created a baseline to go without beat. Okay, so let's now create a pad. So I put the back from screen. How can I create a pad? Well, I can create a synthesizer, then select a pad and dragon drop it inside the sensor size. Pretty spacey, but we're not going to do that. So I delete. Listen to size up, we're going to select our pad in the reason nine. Sound back. That's so here you have a list of pads. If I select one, which has extension thought well, it will open the floor. Controls it to cancel the latest operation for Let's Look at the extensions, for example, here about an extension XWB that will create a pad in the monstro. Let's look now for another extension. Oh, just underneath. Have an extension, is it? It creates a subtracted, Let me tell you, controls it. Notice that you have lost off CNBC's what iss CMB. Let's create one thats one. So that didn't create this synthesizer. It created a Combinator. Combinator is a device that allows you to compact beautiful devices inside and create your own machine. Let's look at the devices will let's look fully into devices. If I press a little arrow here, it will expand the device corresponding to this hour. If I do the same thing but a press out on the keyboard and then I clicked. You see closes a mole will open Samore, so out plus click when clicking, these little arrows will open or close all the devices within the Combinator, and this works also for the rack. If I consider instruments directly in the whack, press out and then the little our here it will minimize all the devices which are in the same row off the rack. Okay, let's have a look at what's inside a Combinator. Let's play it first. When you press a key on the keyboard, the Combinator will assign the media data to all the sound generating instruments. Here we have two tools into sizes want and to. If I pressed tub, I noticed that the output off one of the thoughts go to the second channel off a mixing table, and the output of the first so goes to another channel, the mixing table. Then the sound is sent to the ICO and comes back. The output off this mini mixing table is sent then to reverb the output of the river be center compressor. The output of the compressor is sent to the input of the Combinator, and the output of the Combinator is sent to the Channel strip. It could be very useful to study the sounds which are made by others in order to learn yourself how to create sounds. Let's listen to the sound again. There's something I don't like in the sound that is kind off distortion. So I would like to get rid of this distortion. So where does it come from? Well, I noticed here and the echo that the drive was full blast. So let's remove the dry much nicer. However, I'm not going to dig deep inside the Combinator each time. I have a problem with the sound note here Buttons. The designer of the sound has assigned these buttons to Vegas para meters off the devices inside the Combinator, for example, the coast drive. I will press on it and watch what happens here. And when I deactivated Yes, Dr is gone. So how did the sound designer manage that? Here you have the programmer off the Combinator if you click here, you see that button Number three, which is this one has been assigned to the drive amount off the echo. Suppose I select this instead? So feel to on I press on button here and look what happens on the filter. This is how you can assign the battle off a Combinator to any para meter off any device within the Combinator. Let's put it back to by the mount and keep it toss. Most probably the sound designer has assigned to these battles the most expressive para meters I could do with a little bit of high frequency. I like it that way. I got a way to adjust the sound you want to. Your track is actually to adjust it on the fly, meaning you can create a loop in your sequence out and then sick play. I'm going to give myself a little space. I realize that I cannot actually move the mouse while I'm playing at the same time. So I'm going to a science and para meters. I will assigned to the frequency the first knob here off my controller and then further the other knobs. Okay, let's play well. That's a very practical Why, though, so what I will do is that we record first. I know we loop this, but in order to make sure that the first notes enter the look object that they are a little bit after the one, I'll change this later. Okay? Group. - Okay . I think that the sound I got here is what I'm looking for. So now I would record it. But first, let's remove the media. Clips are selected and press delete. Let's double click on the clip and then press F seven to get the sequence of full screen on. Remove the browser so we have the maximum space. What you can see already is that you have some notes which are off lighter colors and others. That means they have a lower velocity. The dark notes have the high velocity. The cleaners have that lower velocity. Let's listen to what we did ID like something a little bit. Most move. So I was select all the notes. Chris F. Eight, on Decreasing knows velocity. Actually fix it. Say it 60. It's good again. Much better. By decreasing the velocity, I'd increase the attack on the notes. Therefore, improve the league Otto beating the transitions between the names. Now I can go force of manual editing, so I kind of want them to start a tiny little bit earlier than the bar. So what I'll do, I'll quote, ties, everything. And then I would move the position. Have been earlier like this. That's listen, I do a little bit off desperate myself. Manual adjustments. All right, that seems to be okay. But everywhere now I could maybe increasingly the size of a few notes what I could actually do. Select all the notes, which are off one bar. Aun Kwan ties in length. Do that. I select one note press control and click on all the notes, which have got only one bar off length. And then I can select the lengths here and then press equal. I could do same thing for the two bar notes equals Let's listen to this for the final notes. I would like the volume to decrease progressively, so let's close this. Let's go see also is a tool window. So I wish to create a new lane by selecting a parameter that I can change this time in there. Mm. Come find any So let's open the right. I do not wish yet to put some information on the slider off the Channel strip. I would like to keep it available for when I do the mixing. So let's look inside here. What could impact the volume? This may be so. I want to put automation on this button. For that. I need to create a track for the line mixer. So a selected white kick create track for light mix of one. And it's a good idea to name it because, like this, I keep track of what I'm doing. Right? I'll call it on you, Pad. Let's actually check if it works. So I launch the clip. Yes, it does. What? So now I can create an automation lane? I can I could actually just draw it right. But I could also copy this one, so I pressed control mouse click. Move it. Release baby to shop, right? I would like also to increase the reverb to have a nice reverb. So will automate eyes this one by selecting the reverb, creating a track for it. I do not want to look through all this to know which button it will correspond to. So what I can do is make sure that the reverb track is selected and I quickly start according on moving in. This'll create the automation lane automatically. And now I can edit it. And I would just increase Votel. Let's listen. He started too late. It appears to be a bit better. Just moving a little bit more. Yeah, I think we've got our pad. In the next video, we will compose a little melody. We will be using the piano. We designed a few videos ago. This one you remember A selects a truck. See you in the next video. 5. Recording a melody + file clean up tips: So now we are in the middle of composing our track. We have created a beat with a red drum. We created a baseline with this synthesizer to subtract, and we also used a pad. Let's call it passed. By the way, double click on the title and ties today. The reverb off the pad would be a good idea to put pad, and here I'll change it to pad volume. Now we will compose the melody. The instrument. We will use its A piano. We designed a few videos ago. This one the track was bombing to it was this one notice how removed in the act. I used this instead of moving here by schooling with the mouse wheel. What is this? That's full screen. The back. This is a mini version of the right. I can increase the size of the thumb now, placing the mouse on the blue bar left clicking, keeping the mouse that impressed and dragging the mouse. Then you see a little hand in the blue box here that allows me to move around. We only have a few tracks, so the rack is actually quite simple. But when the number of tracks increases, it can become quite a mess, and this tool is very useful. Another thing we will do in this video, we will clean up a bit. We only have a few tracks. It is not very important here. We know what track is doing. What. But when you're working on a big project is really recommended to clean up from time to time, right? So let's recall this candle. I place myself on the piano track, and now I would say that group and just improvise until I've got something that I like. Volume is too low for the piano. So will actually decrease the other painters. They start again, a press one to go back to the left handle. Not too good. I don't like this either. So I'm going to stop the video on, improvise free from the camera and come up with a good melody. I have a little mentally now, so let's record it first. Let's check. Everything is set to cook the grand piano track. Yep, it's on record. Oh, I don't want to be looping. That's only to improvise, you know, because he is here. I think I'm ready. Let's go. Suppose that you came up with something which is a little difficult to play. You can always decrease the temple and increase it. Afterwards, I show you I'll duplicate this. Try me. I'm going to duplicate all the instruments and all the settings of this track just are likely king choosing in the context your menu duplicate track and devices. You see a new track has been created in the mixer in the rack. Also, everything has been duplicated as well as in the sequence of That's the Leader clip and that Wilmut the track I just recorded. Now I want to play something which is too difficult to play at this temple so I can always increase the temple and hit record. I feel that this track is better recorded. There's s mistakes, so I'm going to listen to it at the original temple and see if I'm OK with the field. Im OK, just one note missing. So what I'll do is I'll just double click on it to edit it and president of seven to get the full screen for the sequence of first, let's quote ties everything. So a select everything press F eight to cause a tool window. I will put a little bit of randomness in there and I applied. Now there was a note missing here at the end. I wanted to do something like this. So this note, Yeah, I copied here and I move this well, but I raequan ties everything because I probably did you something bad. Here. Let's listen these two north side, it'll be low. I'll just increase their volume a little bit in order to get a sandwich habit. Muehlegg, Otto. I will increase the length of the notes in Chile, making sure that two notes of the same page do not collide. And then I will do the individual notes like this one. I will increase its length a little bit. This one also Maybe these at the end and these Okay, let's listen. Maybe I could increase the length of this one because it's a see also like the ending note . Yes, So now we have our mentally I can delete the original and the device is associated with it . We have quite advanced in the composition of this music. It could be a good idea now to clean up a bit, so let's keep up track by Try the Beat. Well, I don't like the name, so I just call it beat. So to do that, I just double click on the name and then I can enter the name. I want Sin Base. Look, it was the name. It looks fine. Bad. I'm OK with the name, too, but I don't like the color. It's the same color as a sin base, so I just assign it another color. So white. Click on the track and search for shy color, and then I can choose another color for the track. That's true. For example, Sky blue, the river, about the volume of the pad thes kilometer automation lanes. Well, I like them to have the same color as a path, so I know they're grouped right, so I can just select one on, Then click Shift and select the other too slick both at the same time. And then, like click and choose the same color. Be grand piano 10 copy. I just call it piano. Let's see what has happened in the other windows on the mixer. All the names have been changed as well as the colors in the back. The press as six. Same thing. Maybe it could be a good idea also to organize and direct here. Have the piano if put the pad with the piano. So I just click here, keep the mouse that of breast and drag the mouse to move it. This has not changed anything. It's just move the instruments. No connections have been changed. I can even minimize it if I want. So I have a bit of you if I want. Also, I can put the sin base on another world just by doing the same thing. I select the channel strip, keep the mouse that in breast and move the mouse and then release. So you see now I can also move along the roads. I think that we are now organized enough light. The file is keen enough. So maybe a good idea to save it. So fire se dies and then you save your files. I recommend actually that long ago you save your files under other names. Since fashion too. Like this, you keep the previous versions in case you make something really bad in the version you're working on. Here's a music. It's still a little dog, right we would like to ask him here. Candy. That is what we will do in the next video. We will actually play a little bit with some sound design. We will create a wash for scratch. 6. Sound designing a rising woosh (Part 1): in the previous videos, we have created a little piece off music as it is now. It is still a little dog, so let's add some ear candy to it. In this episode, we will create a wash from scratch. But what is a Bush I wish is some white noise for which we progressively let high frequency past. With time, it creates a sense of anticipation and announces a transition one ending, the one we will create with sound like this. We will create this wash forms crash by using a four synthesizer and some effects to enhance a stereo spread of the sound. We will mostly be working in the back, so let's press as six to bring the lack full screen. Let's create a thought synthesizer and have a look at what's in the belly of the beast by clicking show programmer through lots of buttons. Here it comes with a preloaded patch. We can reset the thought by right clicking on the floor at a place where there are no knobs and in the context, you many that appears select reset device. By the way, this command, we said device is available for all lack models which can load patches. So now in the thaw, we have a really basic pat which is loaded. Like all sympathize is the source of the sound in the throw is generated by oscillators which are located here. We can have three oscillators working at the same time on Davis kinds to choose from. The one we will use to create our bush is the noise oscillator. The sound exits here and enters a mini mixer where you can address elated volume off the three oscillators. Do you notice all these grey arrows? They represent the path that the sound can take. So for the mini mixer here, you notice two outputs. Let's follow the top one. It allies to a series of knobs 123 that define. If the sound off the respective oscillator can pass or not, let's remove oscillator to No, we only have the sound of oscillator, one that will enter the next stage, which is a filter. I can choose the type of filter by clicking here. The output of the filter goes through a shaper, a shapers, a little effect that can add warmth or distortion to the sound by modifying the shape of the sound way, then the user has a choice of where to direct the output of the shaper, either directly to the amplifier oh, through a second filter that we can also choose. There's also another output to the mini mixer that goes directly to feel to to. So basically, you have the option of running both filters in series and in parallel after the APP. The sound can go through third filter that we can also choose and a delay and, of course, that we can set up. Of course, there are the other standard models that you can find in a good thing to L. A. Foes that can be assigned and therefore moderate various para meters off the safe in the metrics below envelope generators, one for the AMP. One for the filters on one for the global out. In addition, you will find a little step sequence of here, the schools that no intend to go deep into how synthesizer works. I might set up the course on that in the future, though, get for now, I thought important that you get the grips on the basics so that you can enjoy this video fully Okay, let's spend up our wish Now with the full to create our bush, we will need a noise generator. The noise generator allows us to select different types of noise. This is a sound of their white noise. The white noise is a sound that contains all frequencies. The noise generator can also create other type of noise is like callin oy starting and other types Ah, and way can also play with this perimeter here all these. But let's stick to white noise, which is quite close to what we want. However you notice it decays quite quickly. So I will increase the decay in the amplitude envelope. I would like myself to be a little richer, so I will create another noise generator. But this time choose a colorful noise. Let's turn off, generate one. This is what I Let's turn it on again. The secret in creating a bush will be to play with the filter by increasing the cutting frequency was time We get this specific effect. I will be playing a lot with this knob, so I wish to sign it to a number of my controller. The sound is a little dry, so Let's put a little bit of delay that we sink with the temple and some Collis. Let's decrease it. It was the time of the delay. Better still, the sound lacks a little bit of serious threat. So let's insert some effects in the Channel strip that contains a thought to insert effects in the Channel strip. Let's click here. We want to increase the stevia spread off our wash. A good way to do that is to have two delays running at the same time with different delay. Times one for the left, one for the right. So here we are going to create our own effects. If I have to. Delays running in parallel. That means I need to split the signal into multiple channels. Right. We need to create first as editor. There's a press tab to see the back. This is a merger splitter. If I take the scent of the Channel strip and connected to the input off the Stater, I will have the signal coming through their duplicated along these outputs. Basically, it opens four different channels, so now I can create delays on connect these outputs to the inputs of the delays. Let do that create effects and this is a delay I want. But before I click on it to create it, I will press shift on my keyboard and keep sift press and then click. This will guarantee that I do not have any connection, which I made. I'll be traveling. I would like to create a second delay so I could repeat this operation or while the first delay selected just press control mouse click and then move my mouth a little bit on. This will create a second delay on release. Let's connect the outputs of the spider to the inputs of the delays. I still have two channels. I could merge them in the merger and then connect this to the input off the Channel Strip. But I would like to be able to choose the level of his channels, and also I would like to have a drive channel. So for that I'm going to create a mixer within the Channel Strip. I didn't press shift this time, so the output of the mixer was directly connected to the return off the Channel strip. We can connect an extra outputs off the stater to an input off the mixer that would be the dry channel. And then the outputs off the delays to the other channels channeled to for this one and channel fee for this one these two channels will be the effect channels. Now let's press tab How to delays have about the same delay time. I want a different delay time for both of us. I also want to moderate Ato bed volume off the effect compared to the driver and then I want to pan it. Let's take it out. Yeah, Nice. A bit more effect maybe. 7. Sound designing a rising woosh (Part 2): I think that our Bush is ready to be integrated in our little music, so I will maximize the sequence. The track Ford Thought is here. There's only one note to play the note that will launch the wolf. I will actually drew it by first drawing the media clip. Looking back onto the little hours, I can double click on the clip and then open the editor. I will start four bars before the ending of the music. So where did the music end? By 11? I was drawing my note on Boss seven, then resize it to have exactly four ball. Now exactly four bars of length. Let's close the editor for played. I think I know exactly a wish, right? We still need to handle some perimeters, like the volume on the change of the cutting frequency. To handle the volume, we can use this, the mouse, the volume of the thought, the master volume off the line mixer old just so bottom of the channel strip. For that, I would need to create a track for the Channel strip. So while my mouth is on the channel strip, a likely create track for Thor one which is the name of the Channel strip here, and it created a track in the sequence of I can recall it. What? So it's automatically created a clip while it was recording and I was moving the slider unless edit it. All right, let's listen. Maybe I should increase the volume a little. I can do this in the throw by increasing the master volume. Now let's look at the frequency. We have already assigned this knob to the cutting frequency off the filter in the thought. By clicking on the media track corresponding to the forces and sizer, I automatically enable it my position, the cursor and I can start recording. I still find the volume very low, so let increasing by modifying volume automation, I select all the events and then I can just take them all with me up and maybe just increased the 1st 1 that's listen much better. That's a did a little bit of filter ID. Like it maybe a little bit more proversity, especially at the end. I would like to listen just the end part, but unfortunately I can't do that because I need the note to start, so I need to put the cursor before the note for playback. We will no end. I tracked that way. It's much too misty and imprecise, you know. I want to end it with a boom. We will see this in the next video, but for now we need to think about our wish. It needs to stop on the beat. So for that in the media track for the Channel Strip, we can create a mood. So I just position myself a little bit before record, then click on moved at the right time. By doing this, it created a mood on off media track so I can stand it unedited. I make sure that snap his press, choose a pencil. I don't like kill. Then through the closer again to move it around this. Listen, while I was listening, I realized I'm not satisfied yet. There are three things I would like to correct. First, there no enough high frequencies in my wash. Second, the volume is still too low and three. Most importantly, the wash is not musical enough. It like some kind of death. The two first modifications will be easy to make. I will insert any Q and a maximize ER in the Channel strip. The third issue relates to sound design. I will increase the residence of the filter in the four to provide this. It'll extra musicality that the Bush likes. You know, when you trying to create a sound from scratch, you must listen to the little musician voice inside you. And also there's no secret. When it comes to created stuff like sound design, you need to take the time and apply all the modifications that you artistic sense tells you to carry out. First, let's open the spectrum analyzer so we can visualize the effect of our modifications. Second, let's solo the media tracks for the Bush. Let's have a look. Yeah, there's a lot off low frequencies and little highs. Let's start ways inserting Andy Cube, a press shift first and then a click to make sure there are no cables, which automatically connected. Now, drag it upwards and then we'll grab the return, put it in the input of the Q and then put the output of the Q back into the return tub. I will just select the high shelf on increased slightly the Hi Feagans. Here we go now. I will insert a maximize er to increase the volume. This time I didn't need to click shift. I knew it would connect correctly, putting the output of the previous device in the input off the maximize er on the output of the maximize ER, replacing the output of Equaliser, therefore connecting to the return off the Channel strip. So let's listen and modify on the fly. I saw more high frequencies there, so I'm quite satisfied and the volume seemed a little higher During the mixing phase, I will always have the possibility to play on the perimeter to increase the volume. If I need. Now, let's increase the resonance. This is this on the fly I exported. I know your file off the bush before the three modifications we just applied and after them like this we can compare. Here are the two way forms corresponding to the bush before the three modifications. After the few modifications you already see a different in aspect, this one seems thicker. Let's listen to them. Let's see how upgraded wish now integrase within our little musical piece so and so low. The tracks related to the which and playback See you in the next video where we will conclude our little music piece with a punchy hit. This will be the occasion for us of importing some audio within the reason sequencer. 8. Importing audio in Reason: an ending impact for our music: only two song and a Buckley. We would like a nice, campy ending with a simple life tear. I will use this opportunity to show you that you can import owed your in reason. We will be very brief here. Reason is extremely powerful when it comes to managing ordeal founds. In other words, it is a huge topic that will deserve a four course. In the meantime, what I will show you in this video should get you started. It is possible to create a full blown music production without using a single synth or record anything by importing royalty free samples from professional sound banks and then cutting, pasting, reversing, applying effects or changing temple. In other words, by torturing the samples, you can reach some pretty creative results. Of course, you need to purchase these sounds. If you intend to release commercially, you productions never use a sound that you have found on the Internet without making sure that you have the full right to use that sound. Commercially purchasing user licences off sample banks will most of the time lift away this worry. There are many online distributor's out there, but go for the big ones before purchasing. Check the you lay for details on what you're allowed to do with the samples. For example, I do boy caught all production companies that do not provide the rights to distribute your music as library music. Fortunately, only a very few sample companies put such limitations in the you lay the day I create a course on audio. In reason, I most probably will have a full blown video on how to build up a good sample library. Individual packages are usually quite affordable between 10 and $100 most commonly around $30 for gigabyte off high quality stuff. But be careful. Not all that is out there is good yet some a fantastic and not necessarily the most expensive. Another tip. Compare the demo of the sample pack with your expectations. What sound do you want to achieve and also look at reviews before purchasing Over time, one can start to have a serious collection in a painless way for the wallet. Wait for super deal periods like Black Friday or Christmas. You can easily find really good products down 70% or more during these periods, so let's import the audio file of a big final hit for our music truck. I selected this one, so to import it, it's very simple. Just selected. Click on it, basically drag it and drop it in reason it will automatically create an audio track with your file in it. The track is already selected, so I can just drag it up to the zero position. Then I make sure snap is selected. I'm Linda, and I will be at the end of myself. I wish to reduce the volume of the clip before trying it out. So I just put my mouse on this double arrow here, click on it and then drag the mouse to change the volume. Yes, I can change the volume directly inside the clip itself, and you can see the representation of the way form changing size. Just listen to this US. Let's listen to it without the hit, so I'm going to click on it to open a contextual menu, and I can move to the clip. It does feel really empty without it, right? In terms of audio, this is all we need for ourselves, so we don't. But I didn't want to show you a little bit more about audio just to give you a little taste . About reason. We will try to replace our beats with a drum loop so I will move my beat and I will insert in reason the drum loop has selected. What is its position? Perfect. It's on the ball because I had pressed snap. So now I place it at the beginning of my song. But I realized that it doesn't reach the end of the song. It's a big lesson. A bus. This is because the temple of the Loop is 1 40 Why the temple? My song is on 38 not a problem for reason. We can time stretch the sample by placing the mouse here and then keeping control pressed. You see a little clock that appears. That means that we can time straps to sample, so I will set it up exactly at a bar time. Stretching is an algorithm within reason that allows to increase or decrease the temple of a clip without changing its pitch. So very powerful stuff. Now I will decrease a little bit the volume of this before giving to try Let's play interesting. It's fairly to empty at the end. We need a little boom. What we could do is cut this sample and take a little piece of it to have the final ending . I'm going to copy the sample, so I select it, that's control and then drag the mouse while clicking. And I'm going to listen to the part that I think would sit well, maybe this one looks pretty big. So yeah, the snap. I will use a stand. So for that I choose a snap of 1/4. They're using the razor blade here. I cut this and here and then I can just move this little part by dragging it with the mouse , and I will locate it at the white position. So let's zoom a little bit to see what's going on. It seems to start really on the lead position so I can also zoom here back, linking these to zoom vertically. I would like a little fade out here, so I will click on Snap to disliked it and then put my mouse on the handle of the volume bar and then drag it alone. Now a press snap again on move my little piece off several. Then I can believe this. So let's listen to the end part now. So you see how you can manipulate old you on reason. This was a tiny little glimpse off the huge possibility that reason offers you. You might think that our music track is completed now. So you guys far from it, we just went through Phase one, which is a composition and drafting off the musical idea. Now we need to mix it. And to be truthful, I find the sound really crap exported the music. So let's listen to it in a wave editor. While you are listening to the music as an exercise, try to find out what is wrong in my headphones. It sounds OK, but when I listen to it on my speakers, it really sounds crap the base and the kick drum on top of each other. There's absolutely no air in the low end. The snare is way too loud and pops out of the mix. Finally, because of the volume. But because of its sound, the bass sound is really boxing when I listened to it on speakers. In addition, there is a lack of sparkle in the whole track, and finally the piano and the parts seem also to be fighting for some space. Before, according this section of the video, I attempted a mix taking into account these observations. This is a result in the next bunch of videos. We look how we can solve these mixing problems. See you in the next videos.