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Subject: tip and tricks for pro-mixes


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Original Message                 Date: 22-Feb-02  @  09:09 PM   -   tip and tricks for pro-mixes

Brett

Posts: 781

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1) Insert a 2band eq or two in to the reverb chain to high and lowpass filter your reverbs. This cleans them up and they shimmer nicley.
2) #1 also works on delays
3)use a chorus/flanger as a splitter to make subrtactor synths have stereo out. select bypass. This will make #4 possible.
4)insert a delay into one channel of each stereo track. Alternate between delaying the left and right channels of all of your tracks, except the kick and bass, between 1-50ms. This will open up the mix and give new life and space to all your sounds. Works wonders on snares, pads, and hi-hats rolls giveing the last an auto pan effect you hear on Hybrid, Uberzone, etc. You may have two play with the wet dry mix on the drums. Solo out the track and get it right. Most synth parts work best 100% wet, but snares are trickier requiring 1-3ms, and %10-%50 wet.
5)to get thick unison synths , use 3-4 subtractors submixed to one mixer. Use two of the same osc on each subtractor. Sequence out your entire song, and then when you have the track with all filter tweaks done, copy the midi to the other two tracks, and copy the patch two the other two synths. If you make changes you will need to recopy the midi over and the patch over again.
6)Export some of your one hit sweeps and stabs. Load them into an editor like wavelab or soungeforge. reverse them, then load them back into an empry NN19 and assign them to a key. You can do this by hitting the file button at the top of the display window. Works great for creating reversed snares,hats, sweeps strings etc. I also loaded an 808 kick that I use for old school pitched kcik drum.
7)if yoiu have rebirth take advantage of loading those standard aiff files into a Redrum. They are locared in the propellorheads\modpacker\standard componants file. 909 kicks and hats never let me down.
8)For Sonar users,if you have a multi-channel sound card like a dspfactory, you can run Reason with Sonar. I use this for tracking vocals. You just select no audio in reason. launch Sonar, then select the directx driver in reason. Put those headphones on and set up you input buss to recieve audio from only the mic in and away you go, then load the vocals into a NN19 after they have been compressed using a waves RCL or other nice plug-in comp. You can sync reason to Sonar using Hubi's loopback virtual midi ports.

Goodluck. I will be posting up some very usfull subtractor patches in this thread. I encourage you to add your ideas and patches as well.




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Message 11/42             27-Feb-02  @  11:37 PM   -   RE: tip and tricks for pro-mixes

Brett B

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I sat down and started thinking about features on fx, and how I mix on a console, and then I looked at what I had in Reason, and this is what I came up with. Now I read that you can use a matrix sequencer for syning lfo to midi. When I get it, I'll have it posted up here.



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Message 12/42             04-Mar-02  @  09:14 PM   -   REASON VS REBIRTH

gatecrasher

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:How can i tell to rebirth to start his sequence
at, lets say, the third bar
:from reason. Maybe my questions seems a
bit confusing but english
:is not my main language.
:
:thanks
:JFD

nocturnproduction@hotmail.com



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Message 13/42             04-Mar-02  @  09:22 PM   -   RE: tip and tricks for pro-mixes

k

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Just create 3 blank patterns in rebirth and sequence them in or use the mixer to mute until needed.

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws. I call it... Big Jaws!



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Message 14/42             04-Mar-02  @  09:23 PM   -   RE: tip and tricks for pro-mixes

k

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tip: - get into the various trigger connectors on the back of the rack.

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws. I call it... Big Jaws!



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Message 15/42             04-Mar-02  @  09:27 PM   -   RE: tip and tricks for pro-mixes

k

Posts: 12268

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tip: no vst fx or dx fx in reason so no autotune, but you might get cool tuned-vocal parts for garage etc using a short vocal audio hook cut-up in recycle... phrase/sylable by phrase/sylable & retune the pitch of the component parts in REXPLAYER for new but similar vocal fx.

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws. I call it... Big Jaws!



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Message 16/42             04-Mar-02  @  09:29 PM   -   RE: tip and tricks for pro-mixes

k

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and running your squarewave synth bassline thru a reverb with a TAD of room reverb/gate reverb really opens up the bassline - mess with the 'release' for the final 'feel' of the b-line

___________________________________

I had an idea for a script once. It's basically Jaws except when the guys in the boat are going after Jaws, they look around and there's an even bigger Jaws. The guys have to team up with Jaws to get Bigger Jaws. I call it... Big Jaws!



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Message 17/42             05-Mar-02  @  03:21 AM   -   RE: tip and tricks for pro-mixes

Brett B

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i haven't had ant questions on connections and really don't know what to say about the subject, K is right about recycle. If you load your vocals into recyle, you can then pitch them where ever you want want and chop them up into those interesting stutters that Quivver's stuff. You could also load your vocals into the sampler and tune them up or or down. I recomend doing your pitch shifting and autotuning in another app. I run it in sonar then export.



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Message 18/42             05-Mar-02  @  03:26 AM   -   RE: tip and tricks for pro-mixes

Brett B

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to gate your samples use volume. Set the the sustain of the sample with the note duration, then use the controller for master volume with the snap resolution set to 16th or 32nd resolution and lower the volume in a pattern to transform your sample. Send it to a delay to get that classic chopped up delaysing vocal hits so prevelant in late 90's progressive breaks and trance. I'll use apattern that matches somthing else in the track like an arp or drum groove. O'll post an example later.



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Message 19/42             05-Mar-02  @  03:32 AM   -   RE: tip and tricks for pro-mixes

Brett B

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sorry k the triggers, oh!

use the lfo from a synth's back pannel, routed out the back to modulate a pan on a mixer. There are inputs on the back of every unit that support inputs for modulation. So you can use any of the modifier outs of a unit to the input of any other device. Pan is just one. I use the lfe to pan input on a delay so the only the deley pans in sync with the lfo modualting the synth's filter for a sweeping delay effect. i'll get into the details about this in another when I have some more time. I'll go into triggering tricks too.



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Message 20/42             17-Jul-02  @  02:45 AM   -   RE: tip and tricks for pro-mixes

Brett

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to fatten kicks and bass, try a mult technique used by many to make the bass more present and fuller at a lower level and out of the way of other instruments.

You route the output of mono bass and kick to a chorus and turn it to by pass so the left output from the back panel of the drum machine is going into the chorus left input .Do the same for the bass.

Now send the left output of these chorus to the input of the main mixer. Disconnect the right channel if it auto connects it.

Connect the right output from these chorus to right input of a seperate mixer.

Repeat this with the bass, so you have the same mono signal from the kick and the bass going to two diferant mixers, the main and a seperate mixer.

Now put the output of this seperate mixer into a compressor and the left output of the compressor into an open channel on the main mixer(remember to disconnect the right cahnnel after it auto connects.) Pan the bass and kick on this seperate mixer to the left.

You should now have three seperate mono signals coming into the main mixer, a kick, a bass, and a mix of the bass and kick going through a compressor. Set the comp to a high ratio 10:1 or higher, medium attack and release with the threshold down low.

On the main mixer , set the kick and bass at a point where they sound clear and ballanced. Then mix the mult in under the mix and you should here it fatten up the sound considerably without making the song louder and even allow you to lower the kick and bass and still have it be full.



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