Hey everyone!!!
So I've just recently learned how to use the comp editor in Reason and I honestly don't know how I've been getting along without it. I previously would either record on two separate audio channels and do punch-ins (time consuming) or I would just record the take over and over until I was comfortable with the sound (VERY time consuming and VERY frustrating when you mess up on just one word or two). Now I just record a handful of takes and S-S-SLICE the audio up like a samurai to perfection...
If you're like me (an amateur trying to sound professional) then I would devote some time to learning the comp editor in and out. It's laugh out loud easy to use and can make a world of difference in the quality of your recordings.
Reason's Comp Editor
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Midniite Music
My Gear: 2021 Macbook Pro M1/UA Volt 176 Interface/JBL Series 3, 8" Monitors/Akai MPK mini mk3/
My Gear: 2021 Macbook Pro M1/UA Volt 176 Interface/JBL Series 3, 8" Monitors/Akai MPK mini mk3/
- EnochLight
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Reason's comp editor is one of its best kept secrets, and while I have a lot of list-wish items that would make the experience better (as does Selig), I still love using it. Amateur or pro - it's an incredibly useful tool. Glad to see you mastered it!FrankJaeger wrote: ↑22 Dec 2017Hey everyone!!!
So I've just recently learned how to use the comp editor in Reason and I honestly don't know how I've been getting along without it. I previously would either record on two separate audio channels and do punch-ins (time consuming) or I would just record the take over and over until I was comfortable with the sound (VERY time consuming and VERY frustrating when you mess up on just one word or two). Now I just record a handful of takes and S-S-SLICE the audio up like a samurai to perfection...
If you're like me (an amateur trying to sound professional) then I would devote some time to learning the comp editor in and out. It's laugh out loud easy to use and can make a world of difference in the quality of your recordings.
For everyone else, check out some of these tutorials to get your feet wet:
Win 10 | Ableton Live 11 Suite | Reason 12 | i7 3770k @ 3.5 Ghz | 16 GB RAM | RME Babyface Pro | Akai MPC Live 2 & Akai Force | Roland System 8, MX1, TB3 | Dreadbox Typhon | Korg Minilogue XD
- EnochLight
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I'm not a fan of how crossfades are handled, but that's a whole other thread (and not necessarily related just to comping alone).
Win 10 | Ableton Live 11 Suite | Reason 12 | i7 3770k @ 3.5 Ghz | 16 GB RAM | RME Babyface Pro | Akai MPC Live 2 & Akai Force | Roland System 8, MX1, TB3 | Dreadbox Typhon | Korg Minilogue XD
I was excited when I first learned about comp edit. But honestly, I'm hoping they completely change/revamp the audio editing workflow in future iterations. Audio comp editing is what I like the least about Reason.
The good news is Audition 3.0 is free now. I just hate switching back and forth.
Audio editing is not just for fixing bad source material. It's also for making weird sounds. I like making weird sounds.
The good news is Audition 3.0 is free now. I just hate switching back and forth.
Audio editing is not just for fixing bad source material. It's also for making weird sounds. I like making weird sounds.
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Thanks... I agree.EnochLight wrote: ↑22 Dec 2017
Reason's comp editor is one of its best kept secrets, and while I have a lot of list-wish items that would make the experience better (as does Selig), I still love using it. Amateur or pro - it's an incredibly useful tool. Glad to see you mastered it!
On your other comment though, I think the crossfading is actually pretty nice. It's simple and ensured there were no audible pops in my final bounce.
Midniite Music
My Gear: 2021 Macbook Pro M1/UA Volt 176 Interface/JBL Series 3, 8" Monitors/Akai MPK mini mk3/
My Gear: 2021 Macbook Pro M1/UA Volt 176 Interface/JBL Series 3, 8" Monitors/Akai MPK mini mk3/
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That's strange as it's now one of my favorite features. I guess we all have our preferences though.sublunar wrote: ↑22 Dec 2017I was excited when I first learned about comp edit. But honestly, I'm hoping they completely change/revamp the audio editing workflow in future iterations. Audio comp editing is what I like the least about Reason.
The good news is Audition 3.0 is free now. I just hate switching back and forth.
Audio editing is not just for fixing bad source material. It's also for making weird sounds. I like making weird sounds.
Midniite Music
My Gear: 2021 Macbook Pro M1/UA Volt 176 Interface/JBL Series 3, 8" Monitors/Akai MPK mini mk3/
My Gear: 2021 Macbook Pro M1/UA Volt 176 Interface/JBL Series 3, 8" Monitors/Akai MPK mini mk3/
- EnochLight
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I also have Audition 3, and it's still my preferred deep sample editor... but Reason's comp mode is completely unrelated to Audition 3, as well as deep sample editing in general. I think you're talking about two different things.sublunar wrote: ↑22 Dec 2017I was excited when I first learned about comp edit. But honestly, I'm hoping they completely change/revamp the audio editing workflow in future iterations. Audio comp editing is what I like the least about Reason.
The good news is Audition 3.0 is free now. I just hate switching back and forth.
Audio editing is not just for fixing bad source material. It's also for making weird sounds. I like making weird sounds.
Oh don't get me wrong - it works (sounds) great when doing crossfades. But compared to other DAW, it's incredibly basic - almost irritatingly so. And you can't even do simple crossfades with audio clips in the sequencer without diving into comp mode.FrankJaeger wrote: ↑22 Dec 2017On your other comment though, I think the crossfading is actually pretty nice. It's simple and ensured there were no audible pops in my final bounce.
But still, Reason's comp mode is awesome. I get a ton of work done in it.
Win 10 | Ableton Live 11 Suite | Reason 12 | i7 3770k @ 3.5 Ghz | 16 GB RAM | RME Babyface Pro | Akai MPC Live 2 & Akai Force | Roland System 8, MX1, TB3 | Dreadbox Typhon | Korg Minilogue XD
I must be a complete numptie because it has never made sense to me. Comp edit mode equals bafflement. I have read the manual many times. I just don't get it. Not intuitive for me.
- EnochLight
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Watch the videos above. That said, if you're not recording live audio (whether vocal takes or live instrument recordings), the comp mode will be largely useless to you.
Win 10 | Ableton Live 11 Suite | Reason 12 | i7 3770k @ 3.5 Ghz | 16 GB RAM | RME Babyface Pro | Akai MPC Live 2 & Akai Force | Roland System 8, MX1, TB3 | Dreadbox Typhon | Korg Minilogue XD
It's functional, But if you've ever done crossfading or comping in andy other DAW, you feel the difference. Having to slice audio in order to comp between takes is a bit annoying. Still usable though if you're using it for a single vocal track.FrankJaeger wrote: ↑22 Dec 2017That's strange as it's now one of my favorite features. I guess we all have our preferences though.
Here's comping in Studio One
Yes it's easy to use. I like it.
As someone mentioned though, it's unusable for multitrack parts (eg, anything multi-miked like drums).
It also doesn't loop clean for me...that is sometimes I loop a section and just record audio riffing (guitar or vocal). If my performance goes past the loop point it continues in the next take. If I go back after the fact and paste the performance together I get glitches. I understand that that's not how takes were intended to be used, but you would expect is to join seamlessly wouldn't you?
Also if you start cutting up your vocal and making tweaks (pich, speed), and then re-joining it, your comps look like a godawful bloody mess, sometimes with dozens and dozens of takes. Not sure if there's an easier way to do this but man, it's ugly.
As someone mentioned though, it's unusable for multitrack parts (eg, anything multi-miked like drums).
It also doesn't loop clean for me...that is sometimes I loop a section and just record audio riffing (guitar or vocal). If my performance goes past the loop point it continues in the next take. If I go back after the fact and paste the performance together I get glitches. I understand that that's not how takes were intended to be used, but you would expect is to join seamlessly wouldn't you?
Also if you start cutting up your vocal and making tweaks (pich, speed), and then re-joining it, your comps look like a godawful bloody mess, sometimes with dozens and dozens of takes. Not sure if there's an easier way to do this but man, it's ugly.
Producer, songwriter, multi-instrumentalist. I make indie pop as Port Streets, 90s/shoegaze as Swooner, and Electro as Yours Mine.
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