Tutorial Native. Volume- music. Issue Sound. Edition Dash. Absynth3 Cakewalk. I Riff. II Riff. Sound Bitshift. Synth Sibelius. Tutorial-AVI David. CD Art. Mac Native. ISO Steinberg. Xpansion Steinberg. Xpansion Waves. QuarkXPres 4. Adobe After Effects v4. Adobe Illustrator v7. Adobe Photo DeLuxe?? Adobe Illustrator v8. It could also be useful to provide an independent feed to the vocoder from audio that's also part of the main Reason mix. These are welcome tweaks.
But what makes this update special is the collection of new devices, so let's take a look at them. It's a mystery to some how the vocoder, provider of many a cheesy pop record solo or special effect, has managed to maintain its air of coolness. Perhaps that's because for every novelty track there's an ironic or clever usage by the likes of Devo or Wendy Carlos, or something truly other-worldly or ear-catching on a club-bound white label. Vocoders classic and modern have been used creatively by dance-oriented artists for as long as the genre has been to the cultural fore, making the device a logical addition to Reason's rack.
The back panel of BV offers more connectivity than expected due to the way in which control voltages can be derived from, and sent to, each of 16 frequency bands. The vocoder was developed as a telecommunications research tool early in the last century, eventually finding its way into electronic music studios and becoming most audible on radio and movie soundtracks.
Essentially, it allows the timbre and texture of one sound to be superimposed onto another. The classic effect, if you can imagine it, involves speaking or singing into one side of the vocoder as the modulator signal which then articulates a sustained pad sound the carrier. Vocoding results from the modulator being analysed by a bank of filters, the spectral fingerprint thus derived being replicated in the carrier's own, duplicate, filter bank.
In BV shown at the top of the page opposite , there is a choice of four, eight, 16 or 32 fixed filter bands or a special point FFT fast fourier transform process, which is equivalent to bands of vocoding — hence the device's name.
Four bands produces a fairly coarse sound, with increasingly faithful tracking as more bands are used. Each band has a level control in the shape of an on-screen slider though there are not sliders for FFT mode! Note that BV's modulator input is mono, though the carrier is stereo. Unfortunately, the processing necessary to analyse the audio when using the high-quality FFT option introduces a definite delay, of around 20ms, onto the signal passing through BV This is logged in the manual, but is still a bit irritating.
The delay is most noticeable on percussive or mixed audio; in normal circumstances where a voice is being vocoded, you may not really hear the problem. If it is audible, switch to band mode.
If Reason's sequencer had greater resolution, performances could be shifted by the right amount to eliminate the delay. The frequency band level-adjust sliders take up the bottom half of the BV's display; the top half shows modulation levels — a dancing bargraph, with a bar corresponding to each frequency band, shows the relative level in each band of the modulator signal.
This graph shows roughly the location of all the active frequencies in a signal, so you'll have a fair idea of what moving the level sliders will do to the signal. Other controls include a 'Hold' button. This fixes the vocoder's response, applying the frozen spectral pattern to the on-going signal. Using Hold creatively — and the Hold control can be triggered by an external gate — causes strange effects that sound rather like formant manipulation.
Envelope-followers are used to control signal levels passing through the modulator filters, and simple Attack and Decay controls allow you to tailor their response. The audible result is that the shape of the vocoded sound can be manipulated in a synth-like fashion, softening the attack or adding a decay effect. The last significant parameter is high-frequency emphasis, which boosts the carrier's high frequencies.
This is particularly useful when vocoding voices or vocals, where it can help to improve intelligibility. Route them to any CV input to add parameter changes on another rack device that follows the vocoder rhythm. The Ins allow the bands to be automated directly. Even more interestingly, the Outs can be routed to the Ins on the same BV, allowing you to completely subvert the way the vocoder treats its signal, with the level of one band affecting the output of another.
And of course, everything on the front panel can be automated. So if you feel the urge to madly draw and redraw the positions of the level sliders during the course of a track, you can — editing the result will not be for the faint-hearted, however! It has to be said that vocoders tend to be a performance tool for treating live vocals or other instruments. Reason as yet has no audio input, so any modulator, vocal or otherwise, will have to be provided in a less than spontaneous way.
Any external audio to be vocoded requires sampling elsewhere, to be imported into one of Reason's sample playing devices. The new BV is really two devices in one, since it will also function as an EQ, with the audio to be processed connected to the stereo carrier inputs. This isn't really a graphic EQ, as you might think, but a bank of fixed-frequency low-pass filters.
Once again, there are choices of four, eight, 16 and 32 bands, plus the band FFT option. The BV as equaliser also suffers from the vocoder delay in FFT mode mentioned elsewhere in this review. As an equaliser, the BV is a fairly precise tool, with filter bands so steep that treated audio can have parts completely stripped from it. It's a 'by ear' process, since none of the bands has its centre frequency listed, but the result is that, for example, one can isolate the bottom end of mixed audio, or the hi-hat part, or various middle parts.
Or, of course, give audio a completely new spectral fingerprint, creating resonances by boosting bands as much as cutting that bring implied musical material to the fore.
You hear parts and lines that weren't there when you created a given piece. I soon got into the habit of setting up loop points and exporting treated audio as loops and textures for re-importing into Reason as samples or REX loops. The EQ can even be used somewhat to attenuate vocals and other inconvenient parts of a fully mixed track. The BV's bands are perhaps not quite as surgically precise as the best hardware tools, but it remains a brilliant facility to have.
FFT mode, in spite of its delay which isn't a problem when offlining the processed results as samples , is audibly the best mode for creative EQ'ing. That said, band mode is fine if you need the effect live on anything but the overall mix. Tweaking the HF Emphasis parameter can add a little brightness to the processed signal that might be lost when using fewer frequency bands.
VST or indeed any other plug-ins can't be used within Reason, so the shortcomings of the CPU-efficient but basic RV7 reverb have been apparent since the software's release. Enter RV, which is everything a reverb simulation should be, with an immediately impressive, much smoother, sound. Propellerhead could market this device as a stand-alone reverb plug-in — it's that good. This great sound has been matched with comprehensive and accessible editability via an intuitive and nicely designed interface.
Like the NNXT super-sample module, RV folds down in two ways: with the full package visible, a large, friendly remote programmer window allows you to be quite precise with your reverb tailoring. Editing is further aided by the remote programmer's graphic reverb plot, which changes dynamically in response to parameter tweaks. If you fold the programmer it's connected to or disconnected from the main panel via a nifty animated cable , you still have a collection of four knobs and two buttons that allow simple tweaks of the current effect.
And of course, it'll also fold one more time to the standard Reason space-saving sliver. RV is a major step forward when it comes to Reason effects: most people would pay good money to access this sophisticated effect as a stand-alone product. RV comes equipped with a healthy library of factory presets. This is quite unlike other Reason effects, apart from the new Scream 4 device.
You can, of course, save custom edits at any time. The presets are great, offering several fine vocal treatments. And if you want to be sure RV can handle percussion, reassure yourself by setting up a Redrum loop and patching it through the 'Drum Hall' factory patch. The new reverb is the only 'true stereo' effects device in the Reason rack: its processing of stereo signals involves no internal summing or mixing, producing a better, more natural-sounding result than RV7, which sums everything to mono and fakes a stereo output.
In order to get the most out of this facility, Remix, as mentioned earlier, has a new stereo auxiliary send system. Adobe creative suite cs5 Design premium 5. Adobe Premiere Pro CS5. CS5: Adobe Creative Suite 5. Adobe Flash Professional CS5. Adobe Creative Suite 5. Adobe After Effects CS5. Adobe Dreamweaver CS5. K DataBase Magic v. Sony cd architect 5. Adobe Creative Suite Master Collection 5.
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