Tomura Shigaraki. Universal Conquest Wiki. Hero Killer Arc Time to Pick Some Names. Gran Torino Appears. Hero Killer Stain vs. The Aftermath of Hero Killer Stain. Listen Up!! A Tale from the Past. Wild, Wild, Pussycats. Drive It Home, Iron Fist!!! Establishing the Bakugo Bodyguard Brigade. Do That Interview! Have a Merry Christmas! Off to Endeavor's Agency! The Hellish Todoroki Family. More of a Hero than Anyone. The High, Deep Blue Sky. Pass It Forward, to Whomever. Mirko, the No. I Wanna Be with You Guys!!
The Thrill of Destruction. League of Villains vs. Footfall of Destruction. Katsuki Bakugo Rising. Miss Candid and Miss Shut-Away. Thanks For Going Strong. Hero-Saturated Society. Like Those Tragic Tales. The Hellish Todoroki Family, Part 2.
Izuku Midoriya and Toshinori Yagi. Izuku Midoriya and Tomura Shigaraki. The Final Act Begins. Been a While!! Can't Be a Child Anymore. The Lovely Lady Nagant. Great Explosion Murder God Dynamight. A Young Woman's Declaration. The Bonds of One For All. That's the Idea, Ochaco. Roaring Sports Festival. In Their Own Quirky Ways.
Strategy, Strategy, Strategy. The Boy Born with Everything. Battle on, Challengers! Hero Killer: Stain vs U. The Aftermath of Hero Killer: Stain. Gear up for Final Exams. Game Start. End of the Beginning, Beginning of the End. Create Those Ultimate Moves. Special Episode: Save the World with Love!
A Talk about Your Quirk. Deku vs. Kacchan, Part 2. A Season for Encounters. D If Snap is activated, you will only be able to drop the selection so that it maintains its relative distance to the Snap value positions. To duplicate the selected events, hold down [Option] Mac or [Ctrl] Windows and proceed as when moving events.
D You can also use the Duplicate Track function on the Edit menu or the track context menu. This creates a copy of the selected track, complete with all events. The duplicated track will appear below the original track in the track list. You can move or duplicate events using the Cut, Copy and Paste commands on the Edit menu. When you Paste, the events appear at the song position, on their original track s.
If you have deleted the original tracks, or if you Paste into another Reason song document, new tracks will be created as needed. D See the note below about Copying and Pasting whole tracks! When you Cut or Copy a selection, the song position will automatically move to the end of the selection or, if Snap is activated, to the closest Snap value position after the end of the selection.
This allows you to quickly repeat a section, in the following way:. Make sure playback is stopped. Select the section you want to repeat. Since you can make selections over several tracks, this is a quick way to copy entire song sections. Make sure the selection contains exactly what you want before proceeding. Select Copy from the Edit menu. The song position is moved to the closest snap value after the end of the selection provided that playback is stopped. Select Paste from the Edit menu.
The copied section is pasted in, and the song position is moved to the end of pasted section. Paste again, as many times as you want to repeat the section. You can select one or several tracks by clicking or [Shift]-clicking in the track list.
This allows you to use Cut or Copy on the track, complete with contents. D If you Paste the track s into their original song, this simply duplicates the tracks. D You can also Paste the track s into another song. Note that only the tracks complete with contents are copied and pasted - not their respective devices. You may want to separately copy and paste the devices to the other song.
You can also draw selection rectangles with the Selection tool, encompassing several Events and delete them all at once. The same rules apply as when selecting Events.
That is, if Snap is on, the selection rectangle will be magnetic to the Snap value positions. The Eraser tool can be used in two ways: You can single click on events or you can make a selection rectangle encompassing several events. See below. D Select the Eraser tool and click on the event you want to delete. When using the Eraser tool to delete events with Snap on, the following applies:.
In this example, the Eraser tool is used to delete notes in the Edit view. When editing the overall structure of a song, you may need to rearrange the order and length of whole sections e. On the Edit menu or sequencer context menu you will find two useful functions for this:.
This function inserts an empty area between the locators. D Select the Eraser tool, click and hold the mouse button and draw a selection rectangle. This way, you can make a selection encompassing several events and delete them all at once.
If Snap is on when a selection rectangle is drawn, it will be magnetic to the nearest snap value positions. If you hold down [Shift] when making a selection rectangle, direction is restricted to horizontal or vertical only.
This function removes all material between the locators. This can be used as a feature in itself, as described on page You can also apply quantizing see page 28 and use the Change Events function see page 29 in the Arrange View.
This is useful since it allows you to edit events on several tracks in one go. D Note that you can select one or several tracks and have quantizing or Change Events apply to all events on the selected tracks. Sometimes it is practical to work with a section of events as one entity.
This is done by Grouping the events. You may for example have a two-bar bass line that you want to move or repeat in the song - by Grouping the events, you can select, move and handle the bassline as a single object.
This applies to the Arrange View only - you can still edit individual events in a Group in the Edit View. Groups with the same color contain the same events. This makes it easy to get an overview of the song, since variations will appear as Groups in another color.
Select the events that you want to Group. D If you select events on several tracks, one Group for each track will be created. If you want the Group to have a specific length, activate Snap and select an appropriate Snap value.
Select Group from the Edit menu or the sequencer context menu. Often it is practical to create Groups that are one or several whole bars of length. Click where you want the Group to start, drag to the right and release the mouse button. A Group is created, containing the enclosed Events. It is also possible to create empty Groups this way. See page 9. When a Group is selected, a handle appears on its right edge. You can click on this handle and drag to make the Group smaller or larger. The following rules apply:.
D If you drag to the left to make the Group smaller, any events that end up outside the Group boundary are no longer included in the Group. As a consequence, if you drag the handle all the way past the start of the Group, all events are Ungrouped see below. D If you hold down [Shift] and click, you can select multiple Groups. D You can also select Groups by clicking and dragging a selection rectangle, just as with events. If Snap is on, the selection rectangle will be magnetic to the Snap value positions.
Make sure the selection rectangle encloses the elements you want! D Another way of selecting Groups is to use the arrow keys on the computer keyboard. Pressing the right arrow key selects the next Group on the track, pressing the down arrow key selects the closest Group on the track below, etc. Holding down [Shift] and using the arrow keys allows you to make multiple selections.
D To de-select the selected Group s , click anywhere in an empty part of the Arrange View. D If you drag to the right to make the Group larger, any events you enclose will become part of the Group. D Note: Groups cannot overlap! This means that if you enlarge a Group so that it partially covers another Group, this will automatically resize the other Group as well:.
You can divide a Group into two by clicking with the Pencil tool at the desired position and dragging to the end of the Group. Actually, this is just a consequence of the fact that Groups cannot overlap. As soon as you create a Group that overlaps another Group, the other Group is automatically resized. For example, if you were to draw a small Group within a larger Group, you would end up with three Groups:. This command on the Edit menu helps you locate all Groups with the same contents:.
D Select it and select Ungroup from the Edit menu or sequencer context menu,. D Click on the Group size handle and drag it all the way to the left. Neither of these methods affect the events in the Group, they just remove the Grouping. If you have Groups on several tracks and want to split these at the same position, you can use the following method:.
Set both the Left and the Right Locator to the desired split position. Select the first and the last Group that you want to combine. Select Group from the Edit menu. Click the size handle of the first Group and drag to the right. Release the mouse button at the end of the last Group. You can work with Groups much like you edit selected events in the Arrange view:. D To move a Group, click on it and drag it to a new position, taking the Snap value into account.
If you move the Group so that it partially overlaps another Group, the other Group will automatically be resized. If the moved Group overlaps the other Group completely, you will get one large Group containing the events from both. This duplicates the Group and all its contents. You can also use Copy and Paste for this, following the same rules as for selected events.
You can also draw selection rectangles with the Selection tool or the Eraser tool, encompassing several groups and delete them all at once. The same rules apply as when selecting groups. The Edit View allows you to perform detailed editing to the events on a single track. This is also where you create notes, pattern changes and controller values from scratch by drawing. The Edit View shows the events of the track that has the focus in the track list.
D If one track is selected when you enter Edit View, that track will have the focus and its events will be shown. D If more than one track is selected in the track list when you select Edit View, the track you last clicked on will have focus. D You can change edit track at any time, by clicking in the track list. This way you can stay in the Edit View and select different tracks for editing, without having to go back to the Arrange View. The Edit View is or can be divided vertically into lanes.
There are six different lanes, suitable for editing different types of events. Any combination of lanes can be shown. You show and hide lanes by clicking their respective buttons in the sequencer toolbar:. D If you hold down [Option] Mac or [Alt] Windows and click a Lane button, only that lane will be shown all other lanes are hidden. By default, the lanes that are shown when you select Edit View depends on the device type to which the track is connected and whether the track contains controller data.
Rex tracks, the REX lane and Velocity lane are shown, and so on. However, once you show or hide lanes, the new combination of lanes will be stored individually for each track.
The next time you select Edit View for that track, the lane configuration will be the same. D You can resize lanes by dragging the dividers between them. D Where applicable, the lanes have individual zoom controls and scrollbars. D The Magnifying Glass tool can be used for zooming in and out. D The Hand tool can be used for scrolling the view.
D For extensive editing, you may want to detach the sequencer area from the rack and use it in a separate window. D Alternatively, you can also maximize the sequencer area so that it fills the rack. This is done by clicking the Maximize Sequencer button or by holding down [Command] Mac or [Ctrl] Windows and pressing [2] on the left part of the computer keyboard. The Key lane. Note that the black and white keys are reflected in the background colors of the grid, making it easier to find the right pitch when drawing and moving notes!
At the top of the Edit View you find the ruler. Just like the ruler in the Arrange View, this shows meter positions bars and beats , helping you find the right positions in the song. This makes sense, as you will probably work with a larger magnification when performing fine editing. Just below the ruler is a narrow empty strip. This shows the Groups if any as colored bars, providing additional means of orientation in the Edit view. The Drum lane. This is divided vertically into ten pitches, corresponding to the ten drum sound channels on a Redrum device and named accordingly, if the track is connected to a Redrum device.
Use this for editing drum tracks. The REX lane. This is divided vertically into pitches from C3 and up , corresponding to the slices in a Dr. Rex loop player device. Use this for editing Dr. Rex tracks. When you edit events within a Group, you will note that the Group indicator changes color.
This is because the color of a Group depends on its contents, as described on page If you want to restrict note input to certain note values e. If needed, click in the piano keyboard display, drum sound list or slice list to find the correct pitch. Click in the note display part of the lane, at the desired position.
D If you just click, the note will get the length of the Snap value. D If you instead click and keep the mouse button pressed, you can drag to the right to set the length of the note.
If Snap is on, the length will be a multiple of the Snap value unless you hold down [Shift] while you drag. Also, see the note about drum note lengths below. D Click on a note with the Arrow tool to select it.
D To select several notes, hold down [Shift] and click. D You can also click and drag a selection rectangle around the notes you want to select. If Snap is on, the selection rectangle will be magnetic to the nearest snap value positions. D You can select the next or previous note on the track by pressing the right or left arrow key on the computer keyboard. D To select all notes on the track, use the Select All function on the Edit menu.
Make sure that the correct lane Key, Drum or REX has focus first - otherwise you may select all controllers or pattern changes. To set focus to a lane, click somewhere in it focus is indicated by a thin extra border within the lane. D To deselect all notes, click somewhere in an empty area. D To move a note, click and drag it to a new position. If several notes are selected, all will be moved. The individual distance between the moved notes will be kept.
D If Snap is on, the moved events will keep their relative distance to the Snap value positions. D If you hold down [Shift] when you drag, movement is restricted to horizontal or vertical only. This helps you move notes without accidentally transposing them, or transposing notes without accidentally changing their meter position.
To duplicate the selected notes, hold down [Option] Mac or [Ctrl] Windows and proceed as when moving notes. D When you Cut or Copy, the song position is automatically moved to the end of the selection or, if Snap is activated, to the closest Snap value position after the end of the selection.
D When you Paste, the events appear at the song position, on their original track s. When you select a note, a handle appears on its right edge. You can click on this handle and drag to make the note shorter or longer. D If Snap is on, the end of the note will be magnetic to the Snap value positions. You can disable this function temporarily by pressing [Shift] when you drag. This allows you to resize the note to any length, regardless of the Snap value.
D If several notes are selected, all will be resized by the same amount. D If you hold down [Shift] when making a selection rectangle, direction is restricted to horizontal or vertical only.
Drum notes can be resized as any other notes. D If Decay mode is selected, the drum sound will play to its end, regardless of the note length. D If Gate mode is selected, the note length affects the resulting sound. However, the maximum length of the sound is set by the Length knob - the sound will be cut off after this length, regardless of the note length.
Finally, even if the Length knob is set to its maximum value, the sound will not play longer than the length of the drum sample. D Select the Eraser tool and click on the notes you want to delete. You can also drag a selection rectangle with the Eraser tool and delete all notes encompassed by the rectangle. The velocity values are shown as bars, with higher bars indicating higher velocity. Note also that the color of the notes and bars reflect the velocity.
To change the velocity of a note, click on its velocity bar with the Pencil tool and drag the bar up or down. Clicking above a bar immediately raises the velocity to the level at which you click.
D By dragging the Line tool across the bars, at the desired height. Controllers are shown and edited in the Controller lane. D By dragging the pencil across the bars, at the desired height.
The Line tool is probably the preferred method for creating regular, smooth ramps, or for giving all the notes the same velocity by drawing a straight line , while the Pencil tool can be used for creating more irregular curves. If you hold down [Shift] when you edit velocity values, only the selected notes will be affected!
Consider for example if you have a busy drum beat, and want to adjust the velocity of the hi-hat notes only. Simply dragging with the lineor pencil tool would change the velocity of all other drum notes in the area too, but if you first select the hi-hat notes in the Drum lane and press [Shift] as you draw, you can edit their velocity without affecting any other notes!
For each track, you can select which controllers should be shown. This can be done in several ways:. This sets focus to the first sequencer track connected to the device, opens Edit View, brings the Controller lane and shows the automation subtrack for the specified parameter, all in one go.
You bring up the parameter context menu by [Ctrl]-clicking Mac or right-clicking Windows on the parameter on the device panel. D By using the Controller pop-up menu on the sequencer toolbar, you can hide or show individual controllers from the sequencer. Shown controllers are indicated by a tick mark on the pop-up menu - select a controller to show it or hide it. Controllers for which there is data automation in the track are indicated with an asterisk next to the controller name.
D When using the line tool, you can hold down [Shift] when drawing to restrict movement to horizontal only.
D If Snap is on, the controller value change you enter will snap to the nearest Snap value position. The reason is that as soon as you enter a controller value, the rest of the track will be filled with the original value of the parameter the value set on the device panel. This works exactly the same as when recording controllers - see page 6.
If Snap is on, the selection will be magnetic to the Snap value positions, just as when selecting notes. D By holding down [Shift] and dragging, you can select multiple, discontinuous sections of the controller subtrack.
If you select Groups or sections of the controller lane in the Arrange View, this section will be selected when you got to Edit View and vice versa. D To move a selected controller section, click and drag it to another position on the same subtrack. D To duplicate a selected controller section, hold down [Option] Mac or [Ctrl] Windows , click and drag it. Moving or duplicating controllers will replace the controller values at the new position just as if you had edited them with the Lineor Pencil tool.
You can move or duplicate selected controller sections using the Cut, Copy and Paste commands on the Edit menu. D When you paste, the controller data appears at the song position, on the original subtrack.
D By making a selection as described above and pressing [Backspace] or [Delete] or by selecting Delete from the Edit menu. If Snap is on, you can single click to immediately erase the shaded area which corresponds to the set Snap value e. You can also make a selection range by clicking and dragging. The controller value just before the deleted selection will remain until the end of the selection.
To remove all automation, use the Clear Automation function:. D The context menu for the controller subtrack. This appears when you [Ctrl]-click Mac or right-click WIndows in the subtrack.
Requires that the controller subtrack has focus. Click in the subtrack if you are uncertain. D The parameter context menu. This appears when you [Ctrl]-click Mac or right-click WIndows on the parameter on the device panel. It is possible to copy controller data e. This works as follows:. Select the controller subtrack you wish to paste the copied data to on the same track or on a different track by clicking on it so that it gets focus.
Place the song position where you want the section to be pasted in. The data is pasted in on the selected subtrack, and the song position is moved to the end of the pasted section. As described above, the subtrack with selection focus determines where pasted controller data ends up. If there is no subtrack selected when pasting, the data will appear on the original subtrack s at song position. This is useful when repeating automation, i.
D To deselect subtrack focus, click in an empty area in the track list, or on a device panel in the rack. You can use [Shift] to select and copy controller automation data on several subtracks.
The following applies when you paste:. D The data on the uppermost subtrack when copied will be pasted in at the song position on the subtrack with selection focus. D Data on other subtracks will keep the same vertical order in relation to the uppermost subtrack when pasted.
When pasting controller data from one parameter to another, this should obviously be taken into account. Any values below zero are outside the range for the new parameter and is simply disregarded. When you record pattern changes, they are automatically positioned on downbeats at the beginning of new bars. This is especially useful if you are using a main pattern and want to insert changes to variation pattern here and there. Activate Snap and set the Snap value to the note position where you want to insert pattern changes.
However, if you are working with patterns of another length, it can make sense to use other Snap values. Pull down the Pattern pop-up menu to the left in the Pattern lane, and select the pattern you want to insert. The patterns are listed with the bank letter and pattern number A1, A2, A3, and so on. Click with the Pencil tool at the position where you want the pattern change to happen, and keep the mouse button pressed. When you drag, you will see the previous or original pattern being replaced by the pattern you insert.
To select a section of Pattern lane, click and drag a selection rectangle with the Arrow tool. D By holding down [Shift] and dragging, you can select multiple, discontinuous sections of the Pattern lane.
If you select Groups or sections of the pattern lane in the Arrange View, this section will be selected when you got to Edit View. You can move and duplicate selected sections of the Pattern lane, just as when moving controller sections. You can also move or duplicate sections using the Cut, Copy and Paste commands on the Edit menu. Again, the same rules apply as when editing controllers.
The pattern before the deleted section will remain selected until the end of the section. Again, make sure Snap is activated. To remove all pattern automation, use the Clear Automation function:. The Quantize function moves recorded notes to or closer to exact note value positions.
Select the notes you want to quantize. Only notes will be affected, so you can select Groups or complete Tracks if you like. Pull down the Quantize pop-up menu on the sequencer toolbar and select a Quantize value. This determines to which note values the notes will be moved when you quantize. For example, if you select sixteenth notes, all notes will be moved to or closer to the closest sixteenth note position.
The Quantize. Select a value from the Quantize Strength pop-up menu. This is a percentage, governing how much each note should be moved. If this is selected when you quantize, the notes are moved towards sixteenth note positions, but with the Shuffle applied. The amount of Shuffle is set with the Pattern Shuffle control on the transport panel. Quantizing to Shuffle is useful if you want to match the timing of recorded notes with pattern devices in the song if Shuffle is activated in the patterns.
D The Quantize Strength setting applies as when quantizing to regular Quantize values. These are three different, slightly irregular rhythmic patterns. If you select one of these as Quantize value and apply Quantize, your notes will be moved towards the note positions in the Groove pattern, creating different rhythmic feels.
You may for example record a drum pattern, or use the notes playing the slices in a REX loop. Select the notes you want to include in the user groove.
You can have Reason quantize notes automatically when they are recorded. The Change Events dialog contains some special editing functions. Proceed as follows:. Select the events to which you want to apply the editing functions in the Arrange view or Edit view. The Change Events functions are mainly used with notes, but the Scale Tempo function will also affect controllers and pattern changes see below.
Select Change Events from the Edit menu or the context menu for the selected events. Make settings for one of the functions in the dialog and click the Apply button next to the settings. All settings can be made by clicking the spin controls or by clicking in a value field and entering a value numerically.
The functions are described below. If you like, use other settings in the same way. You can use the transport controls as usual while the dialog is open. This allows you to play back the events to check out the changes. When you are done, close the dialog. This function transposes the selected notes up or down, by the specified number of semitones.
D The Add field lets you add a fixed amount to the velocity values. To subtract, enter a negative amount. Note that the possible velocity range is 1- Adding an amount to a note with velocity will not make any difference. D The Scale field allows you to scale velocities by a percentage factor. This function will make the selected events play back faster Scale factor above.
This is achieved by changing the position of the events starting from the first selected event and adjusting the length of the notes accordingly. This function alters the properties pitch, length and velocity of the selected notes, in a random fashion. For example, if you have selected notes within a specific pitch interval, the altered notes will remain within this pitch interval. Similarly, only velocity values and note lengths that were already used in the selection will be applied by the Alter function.
This means that the less variation there is among the selected notes, the less the effect of the Alter function. D You can adjust the amount of Alteration with the Amount value. This function is especially useful for experimenting with REX loops.
Select some notes on a Dr. Rex track and use Alter Notes to create instant variations, without losing the timing and rhythmic feel of the loop! These are probably the most common values used, simulating double tempo and half tempo. This function affects all types of events: notes, controllers and pattern changes!
Reason can import and export standard midi files SMF. The tracks will have their original name, with their original MIDI channel added. This means that pitch bend, volume and modulation wheel data are preserved properly. When you have connected a sequencer track to a device, you may therefore need to remove some unwanted automation from the track. D The new tracks will not be connected to devices in the rack.
You will need to connect the tracks manually to the proper devices, by using the Out pop-up menu in the track list. Green frames will appear for the automated parameters in the device panels. This helps you locate any unwanted controller data. In the file dialog that appears, specify a name and location for the file. Under Mac OS, this is not required. This chapter describes the various ways you can route signals in Reason.
The following signal types are used:. Apart from the Matrix Pattern Sequencer, all devices have audio connectors on the back. D Audio Effects devices, which are used to process audio, have both audio inputs and outputs. You do not have to use both outputs for devices with stereo outputs.
Use the left output to get a mono signal from a stereo device. D To monitor audio outputs from devices, the signals can be either be routed via a mixer - or directlyto the physical outputs of your audio hardware. Typically, if you are using audio hardware with standard stereo outputs, you will most probably use one or several mixers in Reason to mix the audio signals to the master outputs.
CV control voltage signals are used to modulate parameter values, and do not carry audio. D CV is typically used for modulation purposes. For example you could modulate one parameter with the value produced by another parameter. If you have made many connections in Reason, the cables can sometimes obscure the view, making it difficult to read the text printed on the back panels of the devices. You can hide all cables in the following way:.
When cables are hidden, connections are indicated by a colored connector. Repeating the above procedure make the cables appear again. D When hidden, you can still connect or disconnect cables in the same way as when they are shown.
See page 36 for a description of the available routing methods. It is possible to check to which device a jack is connected useful if the cables are hidden, or if the connected devices are located far apart in the rack :.
D Positioning the pointer over a connector. A tool tip appears after a moment, showing the device and the specific connector at the other end. Cables are color coded in the following way, making it easier to discern between the various connections:. Auto-routing is when devices are automatically routed according to default rules.
Auto-routing is performed in the following circumstances:. D The first created mixer device will be routed to the first available input pair in the Hardware Device. D When an Instrument Device is created, it is auto-routed to the first available mixer channel s.
Examples of effects that lend themselves well for use as send effects are reverb and delay. D If there are no free Aux Sends on the mixer, the effect will be routed as an insert effect, after the mixer. That is, the master output signal from the mixer will be routed through the effect. D When you have an instrument device selected and create an effect, that effect will be connected as an insert effect. That is, the signal from the device will pass through that effect and to the mixer or to another effect.
D If you select the hardware interface at the top of the rack and add an effect device, it will be routed as an insert effect between the main mixer and the hardware interface. Here follows some additional rules about auto-routing devices that are already in the rack:. D To reroute a device already in the rack, you can select it and use Disconnect Device and Auto-route Device, both on the Edit menu.
D If you delete a device connected between two devices, the connection between the two remaining devices is automatically preserved. A typical example would be if you have an effect device, connected as an insert effect between a synth and a mixer.
If you delete the effect, the synth will be routed directly to the mixer. D When you move a device, connections are not affected. If you instead would like the program to re-route the device according to its new location in the rack, hold down [Shift] when you move it. D When you duplicate devices by dragging or use copy and paste, the devices are not auto-routed at all.
If you would like them to be automatically routed, hold down [Shift] when you perform the operation. D If you wish to create a new device, without any auto-routing taking place, press [Shift] when creating the device.
On the back of each device you will find connectors of two different types: audio and CV. Click on the desired input or output jack on one of the devices, and drag the pointer away from the jack with the mouse button pressed. Drag the cable to the jack on the other device. The cable is connected. If both input and output are in stereo and you connect the left channels, a cable for the right channel is automatically added. D You can change an existing connection in the same way, by clicking on one end of the cable and dragging it to another connector.
Click or right-click on a connector. Move the pointer to the desired device the device to which you want to create a connection. For example, if you clicked on an audio output on a device, the hierarchical submenus will list all audio inputs in all other devices. D If a device is greyed out on the pop-up menu, there are no connections of the suitable kind. Select the desired connector from the submenu. D Click on one end of the cable, drag it away from the jack and drop it anywhere away from a jack.
A few points should be mentioned though:. The Matrix Pattern Sequencer can be used in many other ways, besides creating melodic patterns. For example you could use it to modulate any CV controllable parameter, with the added advantage of the modulation being synchronized to the tempo.
D Conversely, if you would like to apply Gate or CV modulation to more than one voice, you should not use the Sequencer Control inputs, as these only function monophonically. D Feel free to experiment: Use Gate signals to control parameter values and CV signals to trigger notes and envelopes, if you like. By routing CV to the rotary controls on a Combinator, you can CV control virtually any parameter on any device - see page All CV inputs have an associated Trim knob. The further clockwise a voltage trim knob is set, the more pronounced the modulation effect.
This chapter describes how you use Remote to set up your master keyboard and control surfaces, allowing you to play Reason devices, adjust parameters and control various Reason functions. D Using the External Control Bus inputs. This is mainly used if you control Reason from an external sequencer, etc. MIDI from control surfaces keyboards, remote control units etc. The Remote protocol allows for seamless integration between Reason and control surface devices.
It is basically a mapping system that provides direct hands-on control of parameters for each Reason device - including transport and sequencer track selection! At the time of this writing, Reason supports a large number of control surfaces and keyboards - the knobs, faders and buttons on the devices are automatically mapped to parameters on each Reason device.
Remote drivers for more control surfaces will be added continuously. Set up your control surface once and for all for use with Reason - the program handles the rest! Open the Preferences dialog and select the Control Surfaces and Keyboards page.
Reason scans all MIDI ports and tries to identify the connected control surfaces. Note that not all control surfaces support auto-detection.
To add a control surface manually, click the Add button. Select the manufacturer of your control surface from the Manufacturer popup menu. Select the model of your control surface from the Model pop-up menu. An image of the selected control surface model is shown, often along with some information text - read this carefully. For some control surfaces, you need to select a specific preset to use the surface with Reason - this is noted here. If in doubt, you can click the Find button and then tweak a control or play a key on the control surface to have Reason find the correct input port for you.
This is the case if the control surface uses MIDI feedback - motor fader, displays, etc. If you like, you can rename your control surface in the Name field. Click OK to add the surface. D Depending on the surface model, alerts may appear, reminding you to select a specific preset etc.
In some cases, Reason can restore a preset in the control surface to factory settings for you - you are then informed of this. Finally you return to the Control Surfaces and Keyboards Preferences page, where your added surface is now listed. However, the program supports generic keyboards and controllers. Select this is you have a MIDI keyboard without programmable knobs, buttons or faders.
This is used for playing only including performance controllers such as pitch bend, mod wheel, etc. Select this if you have a MIDI controller with programmable knobs, buttons or faders but without keyboard. If your control surface has templates or presets for different Reason 2. Select this is you have a MIDI keyboard with programmable knobs, buttons or faders.
After selecting a model, proceed with selecting MIDI input port as described above. One of the control surfaces can be the master keyboard. This is like any other control surface, but it must have a keyboard and it cannot be locked to a specific Reason device in other words, it always follows the MIDI input to the sequencer.
This is the surface you use to play the instrument devices in Reason. D The first surface with a keyboard that is added or found by auto-detect is automatically selected to be the master keyboard. D To edit a surface, double click it in the list or select it and click Edit.
D To delete a surface, select it in the list and click Delete. This could be useful if the surface is connected to your system but you only want to use it with another program, etc. There are several possible variables when it comes to what type of setup you are using. Please read on. With this setup, the keyboard is your master keyboard, which means it is always routed via the sequencer it controls the device connected to the sequencer track with MIDI focus.
To control another device, you move MIDI focus the keyboard symbol in the In column in the track list to another sequencer track.
You can, however, use Remote Override to control parameters on other Reason devices or global Reason functions such as transport. Here, the basic MIDI keyboard is your master keyboard - it is used for playing and recording via the sequencer. You can have the control surface follow the master keyboard - this lets you tweak the parameters of the device you are playing just like in the example above.
You can also lock the control surface to another device in the rack - this lets you play one device while adjusting the parameters of another. This is the ideal setup! The keyboard is routed via the sequencer and you can use its controls to tweak the parameters of the device you are playing. The additional control surfaces could be locked to different devices in the rack. For example, if you lock a control surface to the main mixer, you will always have control over levels and pans.
Parameters and functions for each Reason device are mapped to controls on supported control surface devices. As soon as you have added your control surface s in the Preferences, you can start tweaking parameters! You can bypass this functionality by locking a control surface to a specific device - see page Or you can simply use Remote Override mapping see page 45 for specific parameters - these will then be mapped to the selected controls regardless of MIDI input. D The Reason device connected to the track with MIDI input will have its parameters standard mapped to logical controls faders, buttons etc.
There are standard mapping variations for most devices as well - see page D Supported control surfaces with dedicated transport controls will be standard mapped to the equivalent transport controls in Reason.
If you do not have transport controls on your control surface you can still map transport controls to controllers using Remote Override mapping - see page There is nothing the user needs to set up to remote control any Reason device. You can, however, use Remote Override mapping to map a specific parameter to a specific control if you should want to.
D By using standard mapping the remote mapping for each device will be the same for any new song created in Reason, given you have the same set of control surfaces online.
D Which parameters and functions that are standard mapped for each Reason device depends on the control surface s. But you can also activate Remote Override Edit mode to see which parameters for each device are mapped to your control surface s - see page D Note that if you have several control surfaces connected, some parameters could be mapped to controls on more than one control surface.
This is not a conflict of any kind, but simply a consequence that stems from the fact that all control surfaces by default follow Master Keyboard sequencer MIDI input. By using Surface Locking see below or Remote Override see page 45 you have full control over your control surfaces. Since there are often more parameters on a device than there are controls on the control surface, there are standard mapping variations available for most devices.
When selecting a standard mapping variation, a new set of parameters will be mapped to the controls on your control surface for a selected Reason device. For example, if you have a control surface with 8 rotary knobs routed to a Subtractor, the knobs may control filter parameters by default. Selecting variation 2 may make the knobs control the oscillator settings, variation 3 may control LFOs and so on.
How many mapping variations are available depends on the control surface and the Reason device selected. The variation selected will stay active until you switch MIDI input to another device or select another variation. If you switch back to the same device it will have its default standard mapping variation [1]. D For control surfaces that have dedicated controls for selecting mapping variations these are used instead of keyboard shortcuts.
D Locked devices see below can also be locked to a specific mapping variation. This enables you to play and record notes for one device and at the same time control parameters for another device from a control surface. D The master keyboard device cannot be locked!
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