Propellerhead Reason - 4.0 Instrukcja Operacji Pobierz pdf (Strona 108)

THE REGROOVE MIXER

106

Creating your own ReGroove patches

To create your own ReGroove Patch, proceed as follows.

1. Create a clip containing notes with the desired timing and dynamics

(velocity).

Alternately, you could import a MIDI File with the desired effect, or use the “To

Track” function on a Dr.REX device to extract the notes from a REX loop.

D Note that some MIDI clips will make better grooves than others.

To learn some of the characteristics of a good groove-making clip, see “Tips for

selecting the best Groove-Making Clips” below.

2. Select the clip.

3. In the Tool Window's Groove section, select an unused Groove Channel.

4. Click the “Get From Clip” button at the bottom of the Tool Window's Groove

section.

Alternately, you could select “Get Groove From Clip” from the clip's context menu.

5. Set the various impact parameters as desired.

For a good starting point, you can simply leave them at their default settings.

6. Click the Save Patch button in the Tool Window's Groove section and specify

a name and location.

Your ReGroove patch is now ready to use. As discussed in Applying grooves to your

music, simply route one or more note lanes to the ReGroove channel assigned to your

new groove, and pull up the Groove Amount fader on that channel.

Tips for selecting the best Groove-Making Clips

The following tips will help insure that your custom grooves work their best:

D Include as many sixteenths notes as possible in the source clip.

If there are any sixteenth note gaps in your source material, there will be corre-

sponding gaps in your groove patch. This means, when you apply the groove to a

note lane, some notes will be grooved and some (those that fall in the gaps) will

not.

D Grooves use the relative differences between note velocities, not their abso-

lute values.

If you don't want dramatic shifts in dynamics, avoid having widely varying velocities

in your source clip.

D Groove patches are always an exact number of bars, so if your source clip

has an uneven length, the groove will be extended to the next bar.

We recommend that you adjust your source clip to an exact number of bars before

creating a groove patch.

D In general, you should use source clips whose length is an even multiple of 2

(for example, 1-bar, 2-bars, 4-bars, etc.)

You can create and use grooves that are an odd number in length (3, 7, 13, etc.),

but unless you're well organized and plan to use these grooves in specific poly-

rhythmic pieces, their general effect on most tracks will be somewhat unpredict-

able.

Groovy tips & tricks

• Because you can route each track (or note lane) to any of the 32 ReGroove chan-

nels, the key to creating really dynamic grooves is to spread your instrumentation

across multiple tracks and lanes.

For instance, where you might normally create a ReDrum sequence with kick,

snare, and hi-hat all on the same track, putting these elements into different lanes

will let you apply different grooves to them. For example, you might have a kick lane

routed to a ReGroove channel with a slight shuffle feel, and you might send the

snare to a ReGroove channel that slides the notes earlier in time to “push” the

backbeat a little. Breaking things into lanes will definitely enable you to create

beats that are more loaded with feel and personality than if you simply apply one

groove setting to everything.

• When building a groove, start simple. Experiment with adjusting the slide parame-

ter to move just the snare or hi-hat forward or backward in time. Try applying

slightly different amounts of shuffle to different percussion instruments. Small

changes can sometimes have a big visceral effect, so use your ears (and not your

eyes) when adjusting the various groove settings.

• Try applying the same groove patch to multiple lanes, but by varying amounts. You

are, of course, free to apply different groove patches to different lanes. Though,

more often than not, your results might result in something that sounds more

clumsy than groovy. The hottest grooves often have the most subtle of humaniza-

tion.

• Don't forget to try sending sequenced REX files through the ReGroove mixer. De-

pending on the material in the file and how it's sliced up, this can create all types of

results-ranging from unusable to downright inspiring.

• If you're doubling instruments-that is two instruments play the exact same part-try

sending one of the instruments to a ReGroove channel that has a small amount of

random timing applied. Random timing (which is accessible in the Groove Set-

tings section of the Tools Window) will put some separation between the two in-

struments, making their performance sound more human. For example, if you have

a clap doubling a snare, apply a little bit of random timing to the clap track, and it'll

stand out more clearly in the mix.

• As described under the Anchor Point heading above, grooves restart whenever a

new time signature appears. You can use this knowledge to force a groove to re-

start, which might be required if your music contains sections of odd lengths. Sim-

ply add in a time signature event, with the same type of time signature as you

already have in the song. The groove will restart where the event starts.

• Remember that groove patches have separate timing and velocity impacts and, as

such, you can apply them independently. For example, if you already have a track

that has just the right groove timing, but you want to experiment with different dy-

namic feels, you can apply just the velocity portion of a groove by setting its Timing

Impact parameter to 0. A groove's timing and velocity impact parameters can be

accessed by clicking a ReGroove channel's Edit button, which opens the Groove

Settings section of the Tools Window.

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