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Whatever your views on the 'Loudness Wars' and the irreversible sonic damage (discussed throughout this article) that can be done to tracks in pursuit of loudness, when it comes to rock or pop music, and some electronic and urban styles, some degree of loudness processing inevitably becomes necessary. Why? While some playback devices include automatic level balancing, not all do, and tracks played on the radio or in shuffle mode on an MP3 player with no automatic level balancing need to be at nominally the same subjective level as commercial tracks if they're to bear comparison with those... more



here is a wealth of devices, patches and samples available in the Factory, Record, and Orkester Soundbanks. And the amount of refills available on the internet grows each and every day. So why are we going to discuss yet another Device Toolbox? Because this one is going to be a little different. Here, I’m going to explore what isn’t in any of the prefab refills provided with the software. Here I’m going to discuss ways in which you can create your own repository of Matrixes. If you extend this idea, you can create your own Redrum devices as well, or how about a complete storehouse of Bass... more



Just when you thought it was over. . . You were wrong! I’ve decided to extend this series of tutorials to explore a few things that I didn’t get to within the track I built. I could probably go on for 10 more parts to go over all the possible things you could do with the Matrix. But I wanted to focus on a few areas and explore them in a little more depth. So here’s a few things beyond the track, which you can do with the Matrix Step Sequencer.

Download the new project files here: Matrix-Track-Building2(NoCheat). This zip file contains a new version of the main song .rns file, as... more


Now we get to some fun stuff: How to use the Matrix in a few different and interesting practical ways. To that end, I decided to build an entire track using nothing but sound devices that are controlled by Matrixes (Matrices?). This way, we can Now we get to some fun stuff: How to use the Matrix in a few different and interesting practical ways. To that end, I decided to build an entire track using nothing but sound devices that are controlled by Matrixes (Matrices?). This way, we can explore some of the common and uncommon uses of the Matrix along the way.Creatively, it can also be a test... more



In this tutorial, I’m going to work with the Matrix and show how you can build a track by sequencing, rather than by plugging notes into the standard Reason sequencer. Egads! I’m not saying this is the best and only approach. Indeed, a lot of people (purists mostly) would probably turn away in disgust at a tutorial like this. I’m merely presenting it as one way you can use to build your songs. Take from that what you will. In the end, I hope this shows you how the Matrix can be a powerful ally when you compose your track, whether or not you go to the extreme of building an entire track... more


In this tutorial, I’m going to finish up our Matrix song, and then explore the differences between the Matrix and the Thor Step Sequencer in a little more detail. It’s important to note the differences between the two and how one is not necessarily better than the other. Although I would argue that Thor’s step sequencer is much more advanced from a programming standpoint. I think the Matrix still has a lot to offer and still provides a lot of possible uses. So don’t shelve it just yet.
Creating a Bell Fill

This time we’ll use the Matrix in a new way, as an Arpeggiator. I know... more



The word 'pad' can mean a lot of things in the studio. Depending on the context, it might be a large rubbery drum‑machine button, a switch that makes your mic preamp less sensitive, or a bunch of boring synth chords. Assuming that you don't want to make boring music, you'd be forgiven for shying away from the third of these, but in fact synth pads can be immensely useful for enhancing studio productions across a surprisingly wide range of different music styles — as long as you create and apply them effectively. Pad Behaviour In this screenshot from 112dB's Redline Equaliser, you can see a... more



In this project I’m going to demonstrate a few ways you can use Thor’s filters, FX (Delay and Chorus), and LFOs creatively by routing any of your audio sources through Thor. This can be a great way to punch up some drums from a Redrum, or to create some new innovative sounds from any of the synths. Furthermore, you’re not limited to using only 1 filter. You can connect your audio through a series of Thor devices to gain access to more than 1 filter at a time. So let’s start our exploration.
Basic Audio Filtering through Thor:

Open Reason. In the rack create a Combinator... more



It can be difficult reading about compression without hearing what it does. Here are a number of audio files to accompany this article, with a detailed explanation of what they demonstrate.

Here is a selection of audio files to accompany this month's Compression Made Easy. You can listen to these as MP3s in the media player in the main article (/sos/sep09/articles/compressionmadeeasy.htm) or you can download from this page

Vox Balance Uncompressed Audio icon voxbalanceuncompressed.mp3

Here's a section of my Mix Rescue remix of Pocketlips' 'Rock Show' in SOS December... more


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