How to make use of send effects in Reason
Regarding mixing and mastering send effects will always play an important role in making a mix work. As I have mentioned in my other article about 5 mixing tips that usually work there are a few elements I have thrown in this list that can be used with send effects. Since we rely on volume, panning, eq, compression, and depth it is the latter which can the quite an essential part of using send effects. While some may see these type of busses as magic (since it is a matter of adding an effect and twist a knob) there is some bigger theory what defines a send effect and how to make use of it. In this article, I want to point out a few different ideas.
5 tips mixing tips that usually work
When it comes to mixing it may often be challenging from time to time to have the proper mix setup. There are all these books and all these different techniques that often explain the basics about how to mix and master your stuff. Every time there are little tricks that add that little extra's but if you think simple, mixing isn't that hard. If you think in terms of the Pareto Principle (where is based on the 80/20 rule) it means that doing 20% of what a mixer engineer could normally do would result into 80% of the results of it. Meaning the first 20% is the least effort yet have most of the effective results. Everything else could be done but requires more effort but has limited results
How to create a clear mix
Welcome to another article about mixing and mastering. In this article, I will mainly look at the subject on how to create a clear mix. While some of these methods might be questionable, in practice I use a lot of these techniques to make it all work within my own mixes. The whole goal while mixing is to put a balance between sounds. A good mix prevents things from jumping out in the mix, or a good mix will prevent things from sounding to flat in the mix. There might be different reasons why people would mix in different ways. Since a mix is a personal thing, it may vary per situation. Often I have caught myself making 2 different mixes where the outcome will vary on the whole arrangement even. I am just saying this because a mix, in particular, can have an impact on how the song plays like.
The best mastering suite
Mastering engines for Music. A topic that always comes back to me. While I get a lot of questions about what the best mastering engine is I am going to explain everything about how my engine works. It is very simplistic yet very effective for what I do: Make stuff loud!
When it comes to mixing and mastering I prefer to focus more on the mix itself rather then having something "magical" in my mastering suite to make things better for me.
Mastering engines should be simple. They should not be complicated. If the master sounds off, then this usually means there is something wrong with the mix itself. So I fix the problem under the hood rather than trying to fix the master itself.
While I am using Reason 10 for this video it is a general topic which also applies to other daws such as ableton live, FL studio and so on.
Drum microphone placement
I am Hydlide of Reasonexperts. In the following video I want to explain a simple, yet effective trick, to mimic the idea of microphone placements to give room to a sound. I use this technique a lot especially when it comes to create those large scale orchestral sounds. Since it allow you to reshape sounds per channel in this context while just focusing on the mix channels only. In fact, it is more a mixing trick rather then a sound design trick just be fair.
For the following video I will be using Kong the Drum designer to make it work, but as you might understand from this article it works with any instrument. Since it all depends on the amount of parallel buses you would apply to them anyway.
One hour mixing and mastering class
Hi, I am Hydlide of Reasonexperts.
Today I am going to share a video on my mainstream channel about mixing and mastering in Reason. Before sharing this video I want to clarify a few things. With mixing and mastering, there are a few standard techniques we can apply to make a mix work. This has also been documented in an article I wrote called the mixing guide. The idea with the following mix I am about to do is to capture a live recorded band. This is a different thing than your traditional mixing mastering session because it requires three or more different factors: positioning of the band, space, and room composition. In a traditional mix, you would most like the mix in mono and create a stereo field later. A live recording works totally different. Even better we can toss away the rules of mixing and mono and create a few new laws while doing so. One thing that is important is the mono mix check (which is different than mixing in mono by default).
Not so long ago I saw a new shop item flying by called the ZPlane Morphing filter from Lab One Recordings. While the ZPlane Morphing filter is inspired by the Red Queen Equalizer it has the added touch to it to morph two filters using a morph rotary. In theory, this is similar to using 2 filters in parallel and use a balance knob in between to balance two different filters. While I have made setups like these many times before using the Mixer 6:2 or Mixer 14:2 there is one device (which is a free rack extension) that can do something similar in this context.
Because I am about to touch the rack extension realm, and the earliest version I have installed at this point in time is Reason 9.5, I will add that all the example files I will be presenting are made with Reason 9.5. While they should work with Reason 6.5 and above, I hereby cannot fact check if this will work properly in older versions of Reason (just adding this as a disclaimer).
Introducing Propellerhead Reason 10
So you have your computer, you have your midi keyboard (or maybe not), the speakers are set to full power and you want to start making music. How do we do this? The answer to this question is: get a Digital Audio Workstation (DAW in short). While there are plenty of Digital Audio workstations out there you may require some digging into the world of DAWs before making the proper choice here. Since this site is a Propellerhead Reason site, we'll be looking at what Propellerhead Reason 10 is, what it does and how it can aid you to make music. This is the first article in a series of beginner guides to help you to understand what Reason is and how it works.
Parallel Compression while mixing
In the series of Mixing and Mastering we already covered most of the basics about compression. While compression inside the SSL Mixer in theory is similar as using a compressor as an insert effect. In some cases (not all) I prefer the method of parallel compression in Reason. This would be similar as New York compression. In theory you are adding an additional compressed signal next to the original (uncompressed signal). In theory this adds loudness on the starting point on the sound (until the compressed signal kicks in). So in theory, it still quite similar as normal compression as a send, but the difference is that you add the compressed signal next to the original signal. Thus resulting in a different type of dynamics.
Compression SSL Mixer in Propellerhead Reason
In this Propellerhead Reason tutorial I am going to write down a free (duh!) reason tutorial about compressors. I will go through the basics about compressors, how they work and explain how a compressors will have an impact on the mix. While in previous articles and videos I put a lot of focus on the MClass Compressor, Pulveriser and some parts are about the SSL Mixer in Reason. Compression in the SSL Mixer is quite similar as using a MClass unit (yet there are some subtle differences). The role and purpose on using it will be quite similar. So let me start there first.
Send effects in the SSL Mixer
Many people have mixed opinions about insert effects and send effects. Also, there are a lot of miss conceptions regarding how send effects work like. Since this is now turning in to a series of mixing and mastering, I think it would be a good time to touch the subject matter one last time: send effects
Mixing and mastering using Reason
In this part about mixing and mastering using Propellerhead Reason we'll be mainly looking at the volume section. In our previous article we mainly focused on explaining the different frequency ranges and which might be important to keep an eye for in a general context. The download examples will be made in Propellerhead Reason 9.5. The file I will be using is based on a Midi file made on the MSX-2.