Links don't work (404). Really want to see this! Ok I edited the links. I forgot to get the "shareable" links. Thanks! I just realized my reply made no sense in the context lol. That was really cool! Are those just used for simulating large sounds like explosions and whatnot? They look really stron...

joeyluck wrote: ↑

03 Oct 2018

RandomSkratch wrote: ↑

03 Oct 2018

Links don't work (404). Really want to see this!

Ok I edited the links. I forgot to get the "shareable" links. Thanks!

Here's some videos hosted on Google Photos... This is a little testing station I have setup at the shop. That platform is about 70 lbs or so. https://photos.app.goo.gl/QvpbdLn8yvXSjqnGA and some more testing: https://photos.app.goo.gl/jLqpDELirQy15xD46 :D Of course, now I've really gotten of topic ...

I've been using Enforcer by Boom Library. You can of course do similar tricks, triggering things via CV, but it's a really great plugin and I get awesome results easily. It's sound source is synthesis so you have great flexibility over the sound and comes with many useful patches for an array of ap...

I've had really great results from Enforcer. I recommend giving it a try :) They offer a free 7-day trial. It makes it easy and it's very versatile. https://www.boomlibrary.com/sound-effects/enforcer/ https://youtu.be/IvrpU7f_SoQ Also, Disperser by kiloHearts works well on many things. I've gotten ...

I use my ColoringEQ for this sort of thing, using a technique I discovered early in the development process I call “focused saturation. You’re basically boosting a narrow Q band and adding saturation to emphasize the fundamental of the instrument, while also adding harmonics and creating sustain. R...

The oldschool way would be a constant sine signal on a channel with a gate that has it's sidechain fed by the snare signal. But nowadays you usually have the snare as a MIDI track anyway so just throw in a synth track to play a short low sine with the same pattern as the snare. Or you could also us...

@NekujaK I would love to have your knowledge permanently in my brain! Great post!

Without having pretty in-depth theory knowledge this can be a tricky task. I'm not an expert and struggle with this often. Check out Captain Chords by mixed in key https://mixedinkey.com/captain-plugins/captain-chords/ It has the ability to narrow down your key based on the chords you input into it ...

Would it not be quicker to just have two separate sends/returns?

You can totally do the same thing with these synths. With Europa each engine has a spectral filter which can be your typical low or high pass and there is an overall filter in the mixer section. All of these can be controlled by the envelopes and are assigned using the little display in the sections...

I always was like ~ if we can, why not just add effects directly to our devices, set them up ideally for the sound, add the right amount, and done. To this day, I don't use consoles at all. I find that sometimes inline effects with a wet dry balance won't leave me enough dry signal for the amount o...

The envelope would be coming from your instruments amp envelope, no?

If you have multiple instruments you'll have to program a knob to link the attack of all involved.


Sent from my iPhone using Tapatalk

Hey Selig, Have you ever seen or used the pink noise trick for setting levels? I've seen it done a few times on YouTube videos where you play pink noise at the set reference level you want to hit and then you bring in each element just to the point of being audible over the noise. I guess the idea i...

Usually compression isn't that fast so it doesn't actually cut all of the "wave tops", only when it's attack is "in progress" so to speak. Thats why you usually use a fast attack to compress high frequency content and a slow attack to compress bass content. The typical values correlate directly to ...

On something like a kick, I find subtle parallel saturation to be key to keeping the original “oomf” in that you only add what is missing (rather than distort the entire signal). By saturating only a narrow band of frequencies (as you can with ColoringEQ) you control exactly what is saturated and e...

The higher you saturate, the more it sounds like “distortion” (sometimes sounding smaller than the original) and the less like a bigger version of the original. One reason it sounds “bigger” is the compression effect in addition to the additional harmonics. This is a common issue for me. I think I ...

Yeah, people really gotta look more where they apply distortion these days. I hear super clean bass regions but high ends that are basically just a mush. If you remove the bass you sometimes get completely dissonant hissing o_O Theres a reason rock guitar players only play a 5th, it's not JUST beca...

I'd suggest GClip VST, which is free, or there is a RE version of it. Really good, visual, flexible little device. https://www.gvst.co.uk/gclip.htm Take a look at the description of the RE! Says useful info; just what we talk about here, too. https://shop.propellerheads.se/rack-extension/gclip-wave...

Thanks for the replies everyone. As far as devices to use in Reason for doing this, the Softube Saturation Knob is a pretty good one without being too obvious (at low settings?) I'm still searching for a good meter to measure crest factor (I like a number) but I can always look at the big meter and ...

I came across this video of someone using a saturation device in place of a compressor to get a bit more headroom in the mix. Just wondering how common this is (because you know everyone on the internet is an expert...) and whether or not it's possible to do with any built in Reason devices? I'm gue...

How to restrict Matrix' "randomise pattern" function to specified octave(s)? I love how this feature can be quickly used to test some patches / synths or provide inspiration when you're stuck, but I'd prefer if the result could be restricted to specified note range. Is it possible somehow? Is the o...

stygian_corvidae wrote: ↑

16 May 2018

Also relevant xkcd:
https://xkcd.com/1172/

OMG that's hilarious!

Yes. But I wouldn’t add “mastering” at this point because you want it to be the LAST thing in the signal path, even after the Master Fader (especially for brick wall limiting and dither, both of which need to be last and in that specific order). Sent from some crappy device using Tapatalk Okay. As ...

Just making sure I've got this right?
And if I want to add other devices before I would feed the Insert FX To Device --> My chain --> Stereo Imager Input --> Main Imager Out --> Insert FX From Device.