@Gario

No, it will not. The click is instant, whereas the compressor isn't. It'll let the initial part clean through.

@SBB

The limiter will also decrease the volume of the body, and has a very slow release (see bottom left amp curve example).

Okay, I've kind of chickened out and created a portable, scaleable amplitude attack envelope with a Thor. This only solves the problem as far as the sampling compartment goes, though, since it's MIDI controlled and thus single-fire.

Sorry, I didn't understand the problem.

If it's sampled, why don't you start the sample at ~2% (or less) into the file, after the click? I know that's possible in NN-XT, not too sure about Korg (again, Reason 3.0, no Korg - sadness). Alternatively, you could fix the click manually via Audacity and re-upload the sound. If it's a problem with the sample itself (which is what you're saying, by the sound of it) you'd be hard pressed to fix it in the compressor, especially if it's in the beginning, like you said. Even if you could, it's much easier just to fix the sample itself.

Once the sampled click is gone you can add the correct amount of click artificially via compressor, limitors, etc. That's how I'd approach it, anyway.

@Gario

I've already come up with a fix for the sample creation section, but it's not something that would work to bring down the peaks on a regular mixer track.

So, the problem in a nutshell: Drum hits and many other sounds have transients that compression just aggravates. What is one supposed to do about them to bring them down to level?

Visual demonstration included (exaggerated for clarity)

At 4/4/11 12:26 AM, Tome89 wrote: rremrurerm

I didn't read any of the previous posts so pardon me if im silly but can't you just use audacity to clip the fraction of transient and make a new sample?

At 4/4/11 12:45 AM, Quarl wrote: I didn't read any of the previous posts so pardon me if im silly but can't you just use audacity to clip the fraction of transient and make a new sample?

Yes I could, and this is no longer the problem since the same thing can be done in Reason, both actively and in the sample editor. What I can't do in Audacity nor Reason is to hammer down each peak of a drum track. I assume there is some way to wire around in Reason that would do this, but I haven't come close yet.

Not that it really matters that much, I'm very sparing with compression, but it would probably be useful knowledge nevertheless.

Ai, it's a problem with the entire track? Yeah, simply deleting them would mess up the track as a whole...

Perhaps a little hard limiting over the entire track would help? If that particular sound is all you're dealing with that would do it, but if there are some sounds you want to keep at high levels (like a bass) and some samples that you want to fix then I'm afraid I don't know of what to do other than fix each offending part one... by... one... :(

Using a limiter will avoid the rhythmic problems of cutting, at least, but you'd be in for a long night of editing.

I think you should 1. use different samples or 2. realize that the transient is what makes the drums snap and a drum with the volume envelope you want will not have that at all or 3. maybe mess around with the Transient Shaper on Kong. I got some pretty decent results when I ran every drum through transient shapers.

At 4/4/11 12:26 AM, Tome89 wrote: @Gario

I've already come up with a fix for the sample creation section, but it's not something that would work to bring down the peaks on a regular mixer track.

So, the problem in a nutshell: Drum hits and many other sounds have transients that compression just aggravates. What is one supposed to do about them to bring them down to level?

Visual demonstration included (exaggerated for clarity)

i laughed hard when i saw that picture, lol.

i actually am a big fan of that transient shaper they included, very helpful

An equal power crossfader exists!!

There is a god!!

Big bump.

I was just informed last night of a big update for Reason 6. Rack Extensions oh god

now I need to upgrade from 5 to version 6 :o

Reason 6.5 and Rack Extensions was released a couple of days ago :D

I made a little video demo of some of them

Hello everybody,
I'm new to Reason and to composition softwares in general, I got Reason 4,
I'd like to know if there is a way to input music in a music staff , because I mainly write for classical instruments and orchestras. I usually use "Finale" to compose.

Thank you

PS

At 10/6/14 03:48 PM, PomicStone wrote: Hello everybody,
I'm new to Reason and to composition softwares in general, I got Reason 4,
I'd like to know if there is a way to input music in a music staff , because I mainly write for classical instruments and orchestras. I usually use "Finale" to compose.

Thank you

PS

With "staff" you mean sheet music? There's absolutely no way you can do that in Reason. You can display notes only as "Key Edit" "Drum Edit" and "REX Edit" mode. REX is only usefull for Dr(Octo)REX and "Drum Edit" for "ReDrum". "Key Edit" is for everything (else). You'll get used to the Key Edit mode soon enough. It looks more intuïtively than sheet, and it gives you all of the information you can have regarding performance. Staff leaves much to the interpretation of the performer. The Key Edit mode does not. This gives you 100% control over your music. You'll start to like it soon enough.

Btw if you want to make good sounding orchestral songs in Reason I suggest the Euphonic Strings ReFill, for more lively sounding string sections.

Reason may not be the best program to create orchestral songs in. The orchestral samples have not been updated since version 2.0. That's 12 years ago. You're probably better of getting stuff from EWQL or Orchestral Tools or whatever. It's much more expensive though.

Reason may not be the best program to create orchestral songs in. The orchestral samples have not been updated since version 2.0. That's 12 years ago. You're probably better of getting stuff from EWQL or Orchestral Tools or whatever. It's much more expensive though.

Ok, thank you. I'll try this out.

Well, I use Reason 5.1 version since 2012 and it's kind of cool... I have tried many other software, and I can say there is nothing coolest than Reason.

I compose solely in Propellerhead's Reason - I've used it for several years in the early 2000's from v1 - v2.5, then I took time to go "all analog" with synths and other recording gear. I got back on the Reason train at v7 with their Essentials, and now that I'm using it for my composition platform, I've fully upgraded to v9.

I've never been this happy with a DAW. I don't usually record audio, I synthesize it. If I need to edit audio, Audacity will do fine for me - I use Audacity for editing my Foley work for sound design, then I drag it into Reason and manipulate it there.

I'm used to Reason's workflow, as I was trained in a sound-engineering class from 1998 to 2001. Turn the rack around, connect the cables. It's that easy. If you don't want to do that, it automatically connects for you, but I like that I can change it to my will. The sound quality is excellent, and the piano roll works for me. I just operate that way. I learned how to use FruityLoops back around the same time that I was attending sound engineering classes, and I didn't like the software. At the time, everything sounded like it came from the same software, no matter how much I worked with it (and I spent several hours, every day).

When I moved on to Reason, it felt like a gate had opened, and I was privy to all kinds of new stuff; the sound, the synths, everything was better. Propellerhead hooked me with ReBirth, and then they made Reason. I was making Autechre and Aphex Twin style music back then, and it could handle it - I had a unique sound (compared to those around me) and I could do more.

Now, the sound has improved so much, the synthesis the Reason can handle has grown immensely. I'm a happy boy!