No system is I guess. But I think the Props are taking great big strides to try to give users what they want. And rather than fight it, may as well go with it and enjoy it.
Or just keep using Reason the way you always have. No harm in doing that either. In the end, I hope we all continue to keep making some amazing music. Intresting to see your thoughts on 6. Im a new user, just bought 6 about three or four months ago and ive been going crazy with it. I love it, and love watching the lessons. I downloaded the update for 6. It installed. So, of course the program would not open and it said to try it again.
I did several times. Im a little miffed. Any thoughts or ideas on this? Have you posted your question on the Propellerhead user forum? They are usually pretty helpful over there and should be able to help you with your issue. Only other thing I can think of is to reboot your computer and reinstall the 6. Note that you also need to download the rewire software to make it all work. You only need to install Reason 6. Then you can use Buffre inside your Reason installation. Make sense? Your email address will not be published.
Save my name, email, and website in this browser for the next time I comment. Leave this field empty. Skip to content With the latest Propellerhead Reason 6. In other words, Korg, U-He, Arturia, Peff, or any other developer or instrument company keen on developing a Reason Rack device can now do so. Figure On the one hand, Figure is the first real outing for Propellerhead into the world of Mobile devices. Big plus in a mobile environment It brings some of Reason into the mobile realm.
Never a bad thing. Even if you only want to try it out a few times and never use it again. I spend more on a cup of coffee.
So yeah. Like most other iOS music apps, it looks like great toy, and should be fun to tinker with, but is it as functional as Nanostudio or Beatmaker?
Not sure yet, but doubtful. You finally have your dream of plugin instruments and effects inside Reason, as long as they get developed. The Re Store is a great implementation. You have a single location where you can try out or buy any of the Re devices.
With one click, you purchase the device and it gets downloaded and installed on your computer. For example, this means that the Props are the ultimate arbiters of which devices make it inside the store and which are left out of the store. Is that a good thing or a bad thing? Anytime you switch from a closed-architecture to an open-architecture or rather, like Thor, this seems like a semi-modular Rack system now , you also open yourself up to the potential of having lots of poorly constructed devices.
So are we going to see hundreds of poorly contructed devices? Or are we going to see only the best of the best? Or some combination of both?
This ties in with 3 above. On the other hand, as Ernst said in the above video, this does make it easier for musicians to a get Plugins downloaded and installed on their systems, and potentially allows for an easier experience sharing music and collaborating. As their names imply the biggest difference between the 6mm Creedmoor and the 6. The 6. The Eagle Eye 6. Comparatively, the Eagle Eye 6mm Creedmoor shoots a gr hybrid projectile with a. While the lower mass of the 6mm bullet results in a higher velocity it also results in a lower ballistic coefficients than the heavier 6.
As we noted in a previous blog on Loading for Long Range Precision Shooting 1 each Eagle Eye Precision Match cartridge is loaded to its maximum potential without sacrificing accuracy to optimize long range precision and 2 there is a trade off between ballistic coefficient and velocity. The overall ballistic performance is dependent on the interaction of both ballistic coefficient and velocity.
We compare the ballistic performance of each Eagle Eye cartridge and other generic factory loadings. Both the 6mm Creedmoor and 6. The limiting factor in accuracy with both cartridges will be atmospherics ie. The picture below shows 5-shot groups from Eagle Eye 6mm and 6. Eagle Eye 6mm Creedmoor and 6. When comparing the trajectory of the two cartridges, the 6mm Creedmoor is the clear winner.
The considerably faster velocity of the 6mm Creedmoor means that the amount of time gravity is influencing the flight path is less. The flatter trajectory of the 6mm Creedmoor can be seen immediately and grows considerably with distance. At 1, yards the Eagle Eye 6mm is approximately. For shooters engaging targets at unknown distances the flatter trajectory provides an additional cushion for errors in range estimation.
When engaging multiple targets at varying distances, the flatter trajectory makes for faster adjustments or smaller holdover corrections. The video below shows the extremely flat trajectory of the Eagle Eye 6mm Creedmoor gr Hybrid ammunition at yards. With the higher elevation of 3, feet above sea level only 5. Watch for the bullet trace. For extreme long range shooting, both the Eagle Eye 6mm and 6.
Both cartridges will being to enter subsonic velocities at approximately 1,, yards depending on atmospherics. The extended range to which both cartridges remain supersonic contributes to enhanced bullet stability and increased hit probability at longer distances past 1, yards.
The higher velocity of the 6mm bullet means that the amount of time wind will be imparting a force on it is less. However, because of the heavier mass and higher ballistic coefficient of the 6. In the case of the Eagle Eye loadings, the two are nearly identical with only 0. Some heavier higher BC gr class 6. Although 1. Focusing on the transport section for a moment, a pair of L[eft] and R[ight] markers define Reason's playback loop region, and an E[nd] marker indicates where a song finishes when it's exported bounced as an audio file.
There are no user-definable markers, though, so if you like to label up song sections you'll be out of luck. The metronome click is simple and effective, though, and offers a one- to four-bar count-in option. The back of Reason 6's virtual rack, with its audio and modulation cabling, is still one of its most distinctive and powerful features.
In case I haven't made it clear enough already, Reason 6 has audio recording — woo-hoo! And one of its headline features is real-time time-stretching, so you can record at one tempo and play back at another, with no change in pitch and surprisingly little impact on quality.
Audio Track devices in the rack have a Stretch Type parameter with three different values optimised for different types of material: Allround, Melody and Vocal. However, there's no audio quantising, of transients or anything else, and no manual manipulation of the waveform like Logic's Flex Time.
Entirely new in Reason, though, is real-time transposition of audio clips, which can be shifted by up to an octave higher or lower, making successfully harmonising loops and samples taken from multiple sources a much more viable option.
The Reason 6 mix architecture is still very much stereo-only, and you can neither mix in surround nor import surround files. Audio tracks can, of course, be mono or stereo, and along with a hardware input menu on every audio track there's also a handy tuner function, so no more excuses for sick-sounding guitar takes.
The very clear input monitoring scheme is worth a special mention. A Preferences window option lets you choose one of three different monitoring modes: Automatic, Manual and External. These control how the monitor enable buttons on audio tracks interact with the record-enable button — or, indeed, whether 'software' monitoring is enabled at all.
Suffice to say that it's extremely easy to understand in use, and easily adapts to pretty much any conceivable hardware setup and monitoring requirement. Previous versions of Reason had to make do with a input mixer for all mixing duties, but in Reason 6, the mixer is a separate entity that's also modular — it gains channels as you add tracks.
Rather than rigidly emulating hardware practice in having virtual audio cables running from each device to a patchbay, the rack sends audio to the mixer via Audio Track and Mix Channel devices. That keeps audio cabling local to individual devices, which is very sensible. There's nothing compact about Reason's mixer. This composite image shows a single channel strip, next to the master section.
I notice that association seems to have evaporated nowadays, but still, the Reason 6 channel strip is appropriately feature-packed, and absolutely huge. There are also user-configurable knobs and switches for directly controlling parameters that are part of a track's insert effects. A built-in stereo mix-bus compressor supplies some 'glue' and punch when necessary.
Impressively, there's also a proper Control Room section, which, as well as having a separate monitoring level control, also lets you monitor any of the aux sends or returns. That's a fantastic feature for setting up really good headphone monitor mixes for individual musicians. Because the channel strip is so long, buttons are provided to let you show or hide individual sections of it.
Each channel also gets dedicated Seq and Rack buttons that instantly locate and display the sequencer track or rack device associated with the channel when you click them.
This makes navigating a really complex mix much easier. Installed along with the Reason 6 application are two bundled patch and sound libraries: the Factory Sound Bank and Orkester.
The former is 1. Orkester occupies around half a gigabyte. The factory patches do a good job of showcasing each device — I particularly like the Signature Patches for the Thor synth, which include some stunning sounds from the great and the unhinged of the electronic music world. Orkester is a bread-and-butter orchestral sound set, and certainly useful to have, but the number of instrumental articulations provided is limited, and it's far from state-of-the-art.
Still, plenty of add-on libraries — Refills — are available from Propellerhead and other developers to supplement these two starting points.
Access to sound banks is through a patch-recall system common to all devices that offer presets some of the half-rack effects and 'problem solvers' don't. The patch-browser dialogue window has good search and audition facilities and a favourites system, and it maintains a list of Recent Patches. While all effects settings are, as you'd expect, saved along with a Song file, it's possible to save patches separately too, in which case they exist outside of the read-only sound banks as separate files.
There's clear information available about audio files and samples too: the Tool window and an associated main menu command make it clear which samples are actually in use in a song, and which are 'self-contained': in other words, actually saved with a Song file rather than merely being referenced from somewhere else on your hard disk. Getting up to speed in Reason 6 is not hard. If you previously used Record as well, it's essentially the same application, albeit with some new features.
For Reason upgraders, there are new concepts to absorb — especially the use of Mix and Audio Track devices to interface with that exciting new mixer — but nothing that couldn't be mastered in a few minutes.
Complete newbies should be all set, too. Reason is notably easy to grasp, and doesn't have that overwhelming, labyrinthine quality that many heavyweight DAWs do.
A helpful first-run procedure discovers what MIDI controller devices you're intending to use. Thereafter, the up-front graphical nature of the rack and mixer positively encourages tweaking and experimentation. Other factors are important here too. Having EQ and dynamics on every mixer channel feels like a real luxury compared to DAWs where you have to instantiate dozens of separate plug-ins to achieve the same thing.
And Reason 6 maintains the excellent CPU efficiency of previous versions, letting users really pile on the tracks, instruments and effects without fear of running out of grunt. Of course, it'll happen eventually, but you'd have to have a colossal rack cough before it became any sort of problem. As for specific improvements, Reason 6 has plenty. Going hand in hand with the new mixer is improved overall sound quality. Previously, the mixer had been associated with a distinct character of its own, prone to a sort of glassy opaqueness.
The new mixer doesn't seem to suffer from this, and now, I think, sounds as transparent as any other DAW's mix bus. Audio time-stretch and transposition quality is amongst the best you'll find, and is implemented in a remarkably easy-to-use fashion. Then there's the new effects devices.
The Echo is really vibey, with a genuine old-school flavour, and I imagine its intriguing Triggered and Roll modes, which allow you to really 'play' the effect, will keep experimental users happy for a long time. I think Alligator is even more remarkable: it offers deep programmability, and can really transform pads, loops and drum patterns in very contemporary-sounding ways. Its gates can also be triggered manually, opening up possibilities for glitchy vocal treatments and selective delays.
By default all segments are inside a single window. You can detach them using an icon located at the right upper corner. Every screen segment can be sub divided in to smaller segments.
To learn these things one should really dig into the operation manual or watch some video tutorials on how people use the program. Just ask a few Reason users the same question, and you will most likely get a difference answer in return. At the same time this is also the beauty behind a program like this. For those who are new to the Reason Rack, or people who are used to other digital work station, the Rack is probably something to figure out in the long run. However, in the short run, the Reason Rack is not really that hard to understand.
Think of it as being a virtual Rack where you would normally stack devices into. This large rack will eventually have all sorts of loose end components in it, but can also interact with each other when needed. If you are new to this, I would recommend just using the Rack as single devices.
Every device will be an instrument to play with. There are a few instruments we can choose from where each have their own function from my initial point of view :. Thor is an all in Synthesizer that basically does everything you need regarding to sound design. If you are into Sound Design, Thor will be your primary device to use.
The NN digital sampler is a 'simple' sample player module. Initially, loading patches from the factory sound bank or Refills is probably the way to go in the early days. The Redrum is a sample player for playing Drum samples. It is an easy to use tool, yet some may find it hard to use the patterns. We will get back to that one pretty soon. Kong is a Designer thing. If Sound Design is not your thing, you can still browse Kong patches and have a go with it.
0コメント