The Main Mixer

The channel will get Edit Focus (see “Channel Header section”) and be scrolled into view in the Main Mixer. If you have both the sequencer and Main Mixer in view, or the rack and Main Mixer, clicking a track in the Track List, or on a Mix Channel/Audio Track device in the rack, will flash the corresponding channel strip in the Main Mixer.

#Managing mixer channels

#Creating and deleting channels

Mixer channel strips are automatically created when you create Audio Track and Mix Channel devices. In most situations, a Mix Channel device (with its channel strip) is also automatically created when you create an instrument device (see “Creating devices”).

To delete a channel, proceed as follows:

Select the channel strip in the Main Mixer, or select its device in the rack, and press [Delete] or [Backspace].

Alternatively, select “Delete Channels and Tracks” from the Edit menu or context menu.

This will delete the channel strip, device and associated track. An alert appears asking you to confirm deletion.

If there are devices connected to the Mix Channel device you delete, and “Auto-group Devices and Tracks” is selected on the Options menu, the alert will ask if you want to delete only the selected device, or all devices in the Device Group (see “Creating devices” for more information).

#Selecting channels

To select channels in the mixer you can use any of the following methods:

Clicking anywhere on a channel strip (including parameters) will select the channel.

If you are not editing parameters but want to select a channel, the channel header is a good place to click. You could also click anywhere on the channel strip background (where there are no parameters or displays).

If the Main Mixer has focus, you can use the left and right arrow keys to select channels.

The selection will move to the next adjacent channel (left or right) with each keystroke.

It is possible to select several channels, by using standard [Shift], or [Ctrl](Win) or [Cmd](Mac) selection techniques.

This allows you to e.g. change the Fader levels of all selected channels simultaneously (see “Changing Fader section parameters on multiple channels simultaneously”), or move or delete several channels in one go. The last selected channel will be given edit focus which is indicated by a red strip in the channel header (see “Channel Header section”).

To select all channels, use the “Select All Channels” item on the Edit menu or channel strip context menu.

The Main Mixer must have focus for this item to be available.

#Moving channels

To move channels in the Main Mixer, simply select them and use standard drag and drop method. A red insertion line will show the insertion point, exactly like when moving devices in the rack or tracks in the sequencer.

Moving a channel. The thicker red line indicates where the moved channel will be inserted.

#Displaying channels, devices and tracks in the same order

Channel strips in the mixer, Audio Track and Mix Channel devices and tracks can be independently re-ordered. This allows you to set up the main work areas according to your preferences.

Should you wish to display mixer channels, devices in the rack and tracks in the same order, proceed as follows:

Select the area where everything is in the order you want reflected in the other areas.

This could either be the Main Mixer, the sequencer or the rack.

Use the “Select All” Edit menu item.

This menu item would be “Select All Devices” if the rack is selected, or “Select All Channels” if the mixer is selected. You could also select channels, tracks or devices manually.

Select the “Sort Selected Device Groups” Edit menu item.

Channels, devices and tracks will now all be presented in the same order as the area you selected in the first step.

#Copying and duplicating channels

#Cut, Copy and Paste functions

Selected channels can be moved or copied using the “Cut/Copy/Paste Channels and Tracks” functions on the Edit menu or channel strip context menu. This allows you to copy one or several channels from one Song document to another. The following rules apply:

Cut and Copy affects all selected channels, and behaves according to the standard procedures.

Cut moves the channels to the clipboard, removing them from the rack, sequencer, and mixer, while Copy creates copies of the channels on the clipboard, leaving the originals as they were.

If the “Auto-group Devices and Track” option is activated on the Options menu, this will copy the channel’s entire Device Group, including tracks and clips - see “Creating devices”.

If no channel is selected when pasting, channels will be added to the left of existing channels in the Main Mixer.

If a channel is selected when pasting, the copied channel(s) will be inserted to the right of the selected channel.

#Duplicating channels

To make a duplicate copy of a mixer channel, with its settings and Insert FX (if any), hold down [Ctrl](Win) or [Option](Mac) and drag the channel to where you want it.

Several selected channels can be duplicated. You can also select “Duplicate Channels and Tracks” functions on the Edit menu or mixer context menu.

If the “Auto-group Devices and Track” option is activated on the Options menu, this will duplicate the channel’s entire Device Group, including tracks and clips - see “Creating devices”.

#Copy channel settings

If you wish to copy mixer channel settings from one channel to another you can use this function.

Select the channel you wish to copy settings from.

Copy channel settings only works when a single channel is selected, if several (or no) channels are selected the function is not available.

Select “Copy Channel Settings >” on the Edit menu or channel context menu.

On the submenu you can select to copy channel settings from a single section (Dynamics, Filters and EQ, Insert FX or FX Sends), or “All”, which copies everything including any Insert FX devices with their settings.

To paste the settings, select the channel you wish to copy channel settings to, then select “Paste Channel Settings” on the Edit menu or mixer context menu.

The type of settings you copied will be reflected in the paste menu item, e.g. “Paste Channel Settings: EQ” if you only copied the EQ section.

The copied channel settings remain on the clipboard (until you cut or copy again) so you can paste them to other channels if you so wish.

This can only be done with one selected channel at a time - pasting channel settings is not possible if several channels are selected.

Copying channel settings can also be done by selecting an Audio Track or Mix Channel device in the rack.

The procedure is the same. You can copy settings from a device to a mixer channel or vice versa.

#Resetting channel settings

Resetting channel settings initializes all channel strip parameters to default values and removes any insert effects (see “Insert FX section”) from the channel.

To initialize a mixer channel (or Mix Channel/Audio Track device), select “Reset All Channel Settings” from the Edit menu or channel/device context menu.

Channel settings reset is not possible if several channels are selected.

Any Output Bus routings are not affected (see “Output Busses”).

#Naming mixer channels

New Audio Tracks will by default be named “Audio Track + number”. When creating an Instrument, the Mix channel will take its name from the patch of the connected Instrument device.

To enter a new name for a channel, double-click the name in the channel header.

A text field opens allowing you to enter a name for the channel.

Channel names are reflected - and can be changed - in all areas; the Track List., the Main Mixer and in the device. Mix Channel source devices and tracks have independent names from the Mix Channel device/channel strip. By default, a Mix channel takes its name from its source device (typically, the instrument device connected to it). If you change the name of the source device, the Mix channel name will change too.

If you want the source device and Mix channel to have different names, change the name of the Mix channel. To return to the default state (and use the source device name for the Mix channel), just delete the Mix channel name.

There are special naming conventions when you are using Parallel Channels, see “Naming Parallel Channels”.

#Coloring mixer channels

Mixer channels are shown with the same color as their corresponding rack devices and tracks. The color is shown in the channel header and channel strip section headings:

A channel strip with all sections folded, except for the Fader section.

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You can change the color for a channel by selecting it and using the Channel Color submenu on the Edit menu or context menu. This will also change the color of the corresponding rack device and track (and vice versa).

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For Mix Channels connected to a source device (e.g. an instrument), the Channel Color submenu has a special setting called "Mirror Source Track Color". If this is on, any color settings you make will be reflected both in the source device (the instrument device and track) and in the channel strip.

This is true regardless of whether you change the color in the mixer, in the rack or in the sequencer.

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To make independent color settings for Mix Channels, turn off "Mirror Source Track Color" first.

For example, this is useful if you have a Redrum with separate outputs connected to different Mix Channels, and want these to have different colors in the mixer.

If you change the color of an Output Bus channel, this will be reflected in the Output areas on all other channels connected to that Output Bus, see “Creating an Output Bus”.

#The channel strip

The channel strip is divided into sections, each marked with a section header. Mix Channel and Audio Track channel strips have identical parameters. Here is a detailed rundown of the parameters and functions in each section.

#Input section

#Input Gain

| Parameter

| Description

Gain

This sets the input gain for the channel. Range is +/- 18 dB. If Gain is set to any other value than the default 0,0 dB or Invert Phase is on (see below), a LED is lit to the right in the section header to indicate the section is active.

INV (Invert Phase)

This inverts the phase of the input signal to correct eventual phase problems. For example, using multiple microphones during recording can sometimes cause phase-cancellation between microphones picking up the same sound source but at slightly different distances. Phase problems are most noticeable when signals are summed to mono. Out of phase signals are indicated by a lack of lower frequencies and a generally “hollow” sound quality.

#Signal Path section

The Dynamics, EQ and Insert effect sections will by default process a channel signal in that order, i.e. the order of the sections as shown in the channel strip (from the top down). By using the buttons in this section, the signal path order can be changed internally.

| Parameter

| Description

Insert Pre

If this button is activated, the Insert effects are placed before the Dynamics and EQ sections in the signal path.

Dyn Post EQ

Activating this button places the EQ before the Dynamics and Insert sections in the signal path.

Insert Pre + Dyn Post EQ

If both buttons are activated, the order will be Insert, EQ and lastly Dynamics.

FILTERS TO DYN S/C

See “About the Filters To Dynamics Sidechain button”.

#Dynamics section

Each channel strip has a powerful dynamics section featuring compression/limiting and gating/expansion. The upper part of the section (with a white background) is the compressor/limiter, and the lower part (gray background) is the gate/expander. The compressor and gate processing can be independently switched in or out of the circuit.

#Compressor/Limiter

Compressors reduce dynamic range by evening out the difference between loud and quiet signals. This makes signal levels easier to balance, and can add punch and sustain to the sound.

The Main Mixer’s compressor/limiter is a flexible processor which has soft-knee (a gradual, smooth onset of compression) characteristics but can be switched to peak limiting, where levels above the set threshold are instantly reduced. The compressor also features automatic make-up gain.

The parameters are as follows:

| Parameter

| Description

Comp “ON” button

Activates/deactivates the compressor.

RATIO

Sets the amount of gain reduction applied to the signal above the set Threshold. The Ratio can be set from 1:1 (no reduction) to Infinite:1.

PEAK button

When activated this changes the signal detection from RMS to Peak, which results in an instant attack time. Peak mode is suitable for compression of sounds with fast attacks like drums.

THRES (Threshold)

This sets the level at which onset of compression occurs. Signals below the Threshold setting are unaffected, but when the level exceeds the threshold, compression kicks in.

Range: -52 dB to 0 dB

Automatic make-up gain (based on the Ratio and Threshold settings) is applied to compensate for level reduction caused by compression and maintain a steady output level.

REL (Release)

Release determines the time it takes before the compressor lets the sound through unaffected after the signal level drops below the set threshold. Set this to short values for “pumping” compressor effects, or to longer values for a smoother change of the dynamics. Range: 100ms to 1000ms.

FAST button

Attack - the time it takes for the compressor to react when signals rise above the set threshold level. If the FAST button is activated the attack will be fixed at 3ms for 20 dB gain reduction.

Meter

The right LED meter shows the gain reduction applied by the compressor.

#Gate/Expander

Gating or expansion will attenuate signals below a set threshold; the opposite of compression. It can be used to reduce or eliminate unwanted background noise that may be present when there is no signal to mask it. Gating is also commonly used to reduce microphone “bleeding”, e.g. when recording a close-mic’ed drum kit you can use gating to silence the tom microphones when the toms aren’t being played to tighten up the sound, and for special effects like “keying” (see below).

Higher expansion ratios (10:1 and above) are referred to as noise gating, where the channel is completely silenced if the level drops below the set threshold.

The Gate/expander has the following parameters:

| Parameter

| Description

Gate “ON” button

Activates/deactivates the gate.

RANGE

Sets the amount of gain reduction applied to signals below the set Threshold. The Range can be set from 0dB (no reduction) to -40dB. If the EXP button is on (see below), the RANGE knob sets the expansion amount.

EXP button

When activated this changes the operating mode from Gate to Expansion. The RANGE knob (see above) then sets the expansion amount.

THRES (Threshold)

This sets the level at which the gate opens or closes. Signals below the Threshold setting are gated, but when the level exceeds the threshold, the gate opens.

Range: -52 dB to 0 dB

Note that the threshold for closing the gate is slightly lower than the threshold for opening the gate. This is to avoid undesirable gate triggering with signal levels close to the set threshold.

REL (Release)

Release determines the time it takes for the gate to go from open to fully closed. Fast release times will fade the signal abruptly once the level falls below the threshold, and longer release times will slowly fade out the signal.

Range: 100ms to 1000ms.

FAST button

Attack - the time it takes for the gate to open - is normally1.5ms per 40dB. If the FAST button is activated the attack will be 100µs (microseconds) per 40 dB, which is useful for percussive material were the waveform rises steeply in a very short time.

HOLD

This determines the time the gate stays fully open after the signal falls below the threshold. Hold interacts with the Release parameter such that Release only starts acting after the set Hold time.

Range: 0ms to 4000ms.

Meter

The left LED meter shows the gain reduction applied by the gating/expansion.

#About the Filters To Dynamics Sidechain button

When this button (found in both the Input and EQ sections) is activated, the Low Pass and High Pass filters can be used to filter the channel sidechain signal before the dynamic processing.

The channel signal itself will not be directly affected by the filters, only the sidechain signal. The filtered sidechain signal is what triggers the dynamic processing, but the dynamic processing is applied to the channel signal. This allows you to use frequency sensitive compression.

By trimming low and/or high frequencies you can specify which frequency range should trigger the compressor or gate. A typical application of frequency sensitive compression is “de-essing” where harsh sibilants in vocal material are reduced or eliminated. This is done by filtering the Sidechain signal so that only high frequencies (“s” noises) will trigger the compressor.

When the “Filters To Dyn S/C” is active, the LPF and HPF buttons are not available in the Spectrum EQ Window, see “The Spectrum EQ Window”.

#The Key button and the Dynamics Sidechain inputs

You can use external signals to trigger the Dynamics section. This is done by connecting an external signal output to the Sidechain inputs on the back of the Mix Channel or Audio Track rack device.

The Sidechain inputs.

When a cable is connected to the Sidechain inputs the “KEY” button is activated automatically and the Dynamics section for the channel will now be “keyed” i.e. triggered by the external signal instead of the channel signal.

For example, you could use a drum loop to trigger the gate for a channel playing a synth pad to create rhythmic chord effects.

See “Using compression sidechaining” for a description of further uses of sidechaining.

#About Gain Reduction CV

The Gain Reduction CV out connector on the back of a Mix Channel or Audio Track rack device can be used to modulate other parameters with the amount of gain reduction applied by the compressor/gate. The gain reduction CV out can be used as an envelope follower as the CV follows the dynamics of the original signal.

For example, try using gain reduction CV to control filter frequency for “auto-wah” effects.

#EQ section

This is a four-band EQ with parametric midrange controls and high and low frequency shelving bands. The EQ can be switched between two operating modes, each with slightly different curve characteristics. There is also a filter section with low pass and high pass filters.

The EQ can be placed before or after Dynamics in the signal path - see “Signal Path section”.

The parameters are as follows:

| Parameter

| Description

Spectrum EQ Window button

Click this button to bring up the Spectrum EQ Window where you can edit the EQ and Filter parameters graphically, see “The Spectrum EQ Window”.

LPF “ON” button

Activates/deactivates the low pass filter. A low pass filter lets low frequencies pass and cuts out the high frequencies.

HPF “ON” button

Activates/deactivates the high pass filter. A highpass filter is the opposite of a lowpass filter, cutting out lower frequencies and letting high frequencies pass.

LPF Frequency

The Low Pass filter (LPF) removes high frequencies from the signal, making the sound less bright. The LP filter has 12dB/Octave roll-off curve. Range is 100 Hz - 20 kHz.

HPF Frequency

The High Pass filter (HPF) removes low frequencies from the signal, causing a thinner sound. The HP filter slope has a 18 dB/Octave roll-off. Range is 20 Hz - 4 kHz.

FILTERS TO DYN S/C

button

See “About the Filters To Dynamics Sidechain button”.

EQ “ON” button

Activates/deactivates the EQ. (This does not affect the LPF/HPF filters.)

“E” button

When the “E” button is activated the EQ will have slightly different curve characteristics.

In normal mode (E button deactivated), the Gain setting will also affect the bandwidth (Q) for the HMF and LMF EQ sections. The higher the gain, the narrower the bandwidth and vice versa. With E mode activated, bandwidth is constant at all gain settings. (Check out the difference in “The Spectrum EQ Window” if you like.)

HF Gain/Frequency

The HF section provides high frequency shelving equalization. Frequencies above the set corner Frequency will be cut or boosted by the set HF Gain amount.

The HF Gain control can cut or boost the selected frequency range +/- 20dB and the HF Frequency can be set between 1.5kHz - 22kHz.

HF BELL mode

When this button is activated, the HF EQ will switch to peaking characteristics. This means it works like a regular parametric EQ band, cutting or boosting the signal around the set frequency. Bell mode has a fixed bandwidth or "Q" (see below).

HMF

Gain/Frequency/Q

The high medium frequency EQ is fully parametric. HMF Gain is adjustable +/- 20dB. Center frequency range is 600 Hz - 7 kHz. The “Q” parameter adjusts the bandwidth around the set center frequency. Q range is 0.70 - 2.50. The higher the Q value, the narrower the affected frequency range - except in “E” mode (see above).

LMF

Gain/Frequency/Q

The low medium frequency EQ is also fully parametric. LMF Gain is adjustable +/- 20dB. Center frequency range is 200 Hz - 2 kHz. The “Q” parameter adjusts the bandwidth around the set center frequency. Q range is 0.70 - 2.50. The higher the Q value, the narrower the affected frequency range - except in “E” mode (see above).

LF Gain/Frequency

The LF section provides low frequency shelving equalization. All frequencies below the set Frequency will be cut or boosted by the set LF Gain amount.

The LF Gain control can cut or boost the selected frequency range +/- 20dB and the LF Frequency can be set between 40 Hz - 600 Hz.

LF BELL mode

This works in the same way as described above for the HF filter, but affects the LF filter.

#The Spectrum EQ Window

The EQ section can also be displayed and edited “visually”. This is done in the Spectrum EQ floating window. Besides the EQ functionality, the Spectrum EQ also features a spectrum analyzer which displays the audio frequency content of the selected mixer channel in real-time. Here is how you can work with the Spectrum EQ:

Select “Show Spectrum EQ Window” from the Window menu (or press [F2]), or click the Spectrum EQ Window button on the desired channel strip (see “Spectrum EQ Window button”) or on the device in the rack:

The Spectrum EQ window shows up and the (pre-Fader) frequency content of the currently selected mixer channel is displayed in gray during playback:

The Spectrum EQ Window with audio playing back.

The LPF and HPF buttons are only present when the “FILTERS TO DYN S/C” button is off.

Click and drag the Spectrum EQ window frame to resize the window horizontally and vertically as desired.

Select the desired mixer channel for the Spectrum EQ by selecting it from the drop-down list at the bottom of the window.

If “Master Section” is selected, no controls are available in the window, since the Master Section lacks these.

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If the “Follow Selection” checkbox is ticked, changing sequencer track, Mix Channel/Audio Track device in the rack, channel strip, or editing parameters on other channel strips will automatically change the Spectrum EQ Window focus to show the signal of the corresponding mixer channel.

Tick the “EQ On” box to activate the EQ in the channel strip and bring up the parameters in the window.

You can also activate the HPF and LPF Filters, E Mode, HF Bell mode and LF Bell mode for the selected mixer channel by ticking the corresponding check boxes in the window. The pictures below shows how the different objects in the Spectrum EQ window correspond to the channel strip parameters:

The Spectrum EQ Window with the Filters, EQ, E Mode, Bell Mode and Analyzer functions active during audio playback.

The Spectrum EQ editing objects (points) and what parameter(s) they affect in the mixer channel strip.

Click and drag any of the points in the window to change the frequency (and gain for the EQ points) value(s).

Dragging sideways changes the frequency value and dragging vertically changes the gain (of the EQ points). As you edit the points, the corresponding channel strip parameter(s) are updated in real-time - and vice versa. The white line in the window shows the resulting EQ (and Filter, if activated) curve.

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Hold down [Shift] and drag to constrain the movement to vertical and/or horizontal.

This allows you to change either frequency or gain without affecting the other.

[Ctrl]-click (Win) or [Cmd]-click (Mac) on an EQ point to reset its Gain value to 0dB.

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When you hover over a point, its current values are displayed numerically in the Frequency, Gain and Q fields below the graph. The parameter’s (or section’s) name is also displayed at the bottom left in the window:

(The point remains selected until you touch another point with the mouse or click on the window background.)

The HMF EQ point is selected and highlighted in the window.

Note that the Analyzer always shows the audio frequencies before the Fader section. This means that any Filter and/or EQ changes you make will affect the displayed frequency content. Also, if you use any Insert FX, these could also affect the frequency content.

Hold down [Alt](Win)/[Option](Mac) and drag an EQ point vertically to change its Q-value.

This is only valid for the HMF and LMF EQ points, since these are the only ones that have a Q parameter.

It is possible to record parameter automation in the sequencer by dragging the points around in the Spectrum EQ Window during recording. Just make sure you have created a sequencer track for the channel you want to automate. See “Parameter automation recording procedure” for more details.

#Insert FX section

The channel strip Insert FX section allows you to add effect devices to be used as Insert Effects in the channel strip. You add Insert effect devices to the Audio Track or Mix Channel device in the rack. Insert effects process the whole channel signal, as opposed to Send effects where the effect is shared among all channels and the balance is individually adjustable for each channel. Typical insert effects are compression, distortion and modulation effects such as chorus.

The Insert effects can be placed ahead of the Dynamics and EQ sections in the signal path, see “Signal Path section”.

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See “Insert FX” for descriptions of how to create and work with Insert effects.

The Insert FX section in the channel strip contains the following parameters:

| Parameter

| Description

Bypass

Bypasses the Insert effect(s).

Edit Inserts

This will bring the channel’s rack device into view with its Insert FX container opened, allowing you to edit the effect devices.

#FX Sends section

Send effects, which are global for all channels in the Main Mixer, are connected to the Master Section rack device. Up to 8 Send effects can be used simultaneously. For a description of how to use Send effects, see “Send FX”.

The FX Sends section contains the following parameters:

| Parameter

| Description

FX Send On 1-8

Activates the Send for the channel.

Level 1-8

The Send Level knobs control the amount of channel signal that is to be sent to the effect connected to the corresponding Send.

PRE button

Send channel output is normally taken post channel fader, so that changing the channel's volume also changes the send level. By activating the PRE button, the send output is taken pre channel fader. In this mode, the send level is independent of the channel fader.

#Fader section

The Fader section is used for controlling the level of the channel and its stereo placement in the mix. The section has the following parameters:

| Parameter

| Description

Pan L/R

Use this control to set the left/right position of the channel in the stereo field. [Ctrl]-click (Win) or [Cmd]-click (Mac) the Pan knob to reset to the default “0” (center position). The pan law is "-3dB compensated", with “compensated” meaning that the signal becomes +3dB louder when it's panned hard left/right compared to when it's completely centered.

Width

Width will only be available on stereo channels. It allows you to control the width of the stereo field for the channel. Normally this is fully on (value 127) which represents full stereo. By decreasing this value the stereo width is narrowed. Turned fully off the channel output will be in mono.

MUTE/SOLO buttons

Note that the Mute and Solo functions in the Main Mixer are NOT the same as Mute and Solo of sequencer tracks (see “Muting tracks” and “Soloing tracks”).

Clicking a channel’s Mute button silences the output of that channel. Click the button again to unmute the channel.

Clicking a channel’s Solo button silences all other mixer channels, so that you only hear the soloed channel. Several channels can be soloed at the same time, but if this is the case, note that soloed channels can’t be muted with the Mute button. To mute one of several channels in solo mode you simply “un-solo” it. There are also Mute All Off/Solo All Off buttons in the Master Section - see “Master Section Header”.

If you are using Output Busses (see “Output Busses”) and/or Parallel Channels (see “Parallel Channels”), the Solo and Mute functions affect the other concerned channels in an intelligent way, see “Solo, Mute and Send FX logic”.

Channel Fader

The channel fader is used to control the output level of each channel.

By adjusting the faders, you can set the desired mix (balance) between channels.

If a channel is an Output Bus (see “Output Busses”), the Fader section background is colored and the Fader knob is red.

Channel Meter

The meter is a graphical representation of the channel output level. Stereo channels have two level bars and mono channels have one. If the signal level pushes the meter into the red, to avoid distortion try lowering either the output level of the device connected to the channel device or the channel fader itself. The meter is a VU meter, taking into account any VU offset set in the Big Meter of the Reason Hardware Device - see “The Big Meter”.

Output Bus Selector

Here you can route the channel to an Output Bus (sub-mixer) instead of to the default Master Section, see “Output Busses”.

#About Level/Pan CV

On the back of the Programmer section of a Mix Channel or Audio Track device you will find CV inputs for the channel Level and Pan controls. These allow for automatic level and pan control from sources that output CV signals.

Press [Tab] to flip the Rack around, then click the “Show Programmer” button to access the CV jacks.

#Changing Fader section parameters on multiple channels simultaneously

In the Fader section you can change parameter values in a “ganged” or “linked” fashion on several selected Mix Channels. You can change the Mute, Solo and Level fader parameters this way. The example below shows seven selected channels, where the Level is reduced on the KorgBass channel and the rest of the channels’ Faders follow along (with the same amount of level change in dB for each channel):

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If you don’t release the mouse button you can change the level back and the other channel faders will follow along as expected.

If you lower the level to minimum (or raise to max) so that all faders reach their end values, and then release the mouse button, changing the level again will move all faders together equally.

#Channel Header section

The Channel Header is always visible at the bottom of the channel strip. It contains the following items:

The Edit Focus indicator - When you select a channel, the horizontal strip at the top of the Channel Header lights up red to indicate Edit Focus. The channel most recently clicked will have edit focus, regardless of how many channels are selected. When using [Ctrl](Win)-click or [Cmd](Mac)-click to deselect previously selected channels, edit focus will be on the most recently deselected channel.

Edit Focus also reflects the last selected track or Mix device, which is useful when moving between work areas because the channel with Edit Focus will always be in view in the Main Mixer. For example, if you select an ID8 track in the sequencer, the Mix channel to which it is connected will be scrolled into view in the Mixer, and will be given Edit Focus.

The top strip is lit to indicate Edit Focus.

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When you are using the Spectrum EQ Window, and the “Follow Selection” box is ticked, the channel with Edit Focus is displayed in the window, see “The Spectrum EQ Window”.

The Remote Base Channel indicator - To the left in the same horizontal strip area a small yellow arrow symbol can be shown. This is the Remote Base Channel indicator, which shows which channel is considered the first or base channel when using Remote Control - see “Setting the Remote Base Channel”.

The Remote Base indicator.

The RACK and SEQ buttons allow you to switch to a channel’s rack device or sequencer track directly from the mixer - see “Switching between channels, rack devices and tracks”.

The Channel Header area reflects the selected Track Color (see “Coloring mixer channels”).

You can rename the channel by double-clicking on the name (see “Naming mixer channels”).

Note that the Channel Header is a little shorter if the channel is a Parallel Channel (see “Parallel Channels”).

#The Master Section strip

The Master Section is where all your audio track and mix channels are mixed down to the Master Out bus. The Master Section strip contains a bus compressor and Insert FX section, both of which process the master bus, as well as send/return master level and pan controls for the eight FX Sends. Any processing applied to the master bus affects all channels that are routed to the Master Section.

#Master Compressor section

The Master Compressor is perfect for providing the final “fairy dust” to your mix. It can add punch and cohesion, and generally make the mix sound bigger and more powerful. The compressor is very straightforward in operation and features make-up gain as well as program-adaptive Release.

The Master Compressor can be applied pre or post Master Insert section - see “Master Inserts section”.

The parameters are as follows:

| Parameter

| Description

| Range

On button

Activates/deactivates the Master Compressor.

Meter

The meter shows the amount of gain reduction in dB.

0dB - 20dB

Threshold

This sets the level at which onset of compression occurs. The lower the Threshold, the more compression will be applied.

-30dB to 0dB

Ratio

Ratio specifies the amount of gain reduction applied to signal levels above the set threshold. A 2:1 compression ratio effectively means that a signal level 2dB above threshold will have a signal gain of 1dB.

Fixed Ratios:
2:1 / 4:1 / 10:1

Attack

This governs how quickly the Master Compressor will react when signals rise above the set threshold.

Fixed settings (in ms):
0.1 / 0.3 / 1 / 3 / 10 / 30

Release

When the signal level drops below the set threshold, this determines how long it takes before the compressor lets the sound through unaffected.
If set to “Auto”, the Release time will be program adaptive, so the Release time is automatically increased following long peaks and decreased following short peaks.

Fixed settings (in s):

0.1 / 0.3 / 0.6 / 1.2 /Auto

Make-Up

Make-Up gain compensates for level reduction caused by compression and helps maintain a steady output level.

-5dB to 15dB

KEY button/External Side Chain

When a cable is connected to the Sidechain inputs on the back of the Master Section device, the KEY button is activated automatically and the Master Compressor will now be triggered by the external signal instead of the master bus signal. When a sidechain source is connected you can turn the KEY button off to monitor the sidechain signal.

See “Using compression sidechaining” for a description of how sidechaining can be used.

#FX Send section

This section controls the master levels of the FX Sends. Send effect devices are connected to the Master Section via the eight FX Send and eight FX Return connectors on the back of the rack device.

See “Send FX” for a description of how to set up an use Send FX.

The Send bus can be monitored via the Control Room output - see “Control Room output section”.

The section contains the following items:

| Parameter

| Description

Level 1 - 8

Adjusts the FX Send master level. The master send levels are normally left at default 0dB. if you wish to increase/decrease the effect balance, this is best done by increasing/decreasing the send levels for the individual channels using the effect.

Meter

Shows the signal level of the send bus.

EDIT button

This brings the connected effect device in the rack into view for easy editing of its parameters.

Name label

This automatically shows the name of the connected effect device. If you enter a new name for the label, this overrides the automatic naming. Deleting a manually entered name will bring back the automatic naming.

#Master Inserts section

The Master Inserts Section is identical to the Insert FX section in the channel strips, except that it affects the master bus, i.e. the whole mix. Master Insert effects are ideally used to apply mastering effects, such as compression and limiting/maximizing for finalizing the mix.

Master Insert effect devices are added to the Master Section device in the rack.

The Master Insert effects can be placed ahead of the Master Compressor in the signal path. By default, the Master Insert effects are placed after the Master Compressor in the signal path. This makes sense, as you usually add a Maximizer or Mastering Combinator as a Master Insert effect, and this must be last in the signal path to avoid clipping on the output. However, if necessary, you can place the Master Insert effects before the Master Compressor, by activating the "Inserts Pre Compressor" button.

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See “Insert FX” for descriptions of how to create and work with Insert effects.

The Inserts section in the Master Section contains the following parameters:

| Parameter

| Description

Bypass

Bypasses the loaded Insert effect(s).

Edit Inserts

This will bring the Master Section device into view in the rack, with its Insert FX container opened, allowing you to edit the effect devices.

Signal Path button

If activated, the “Inserts Pre Compressor” button will place the Inserts before the Master Compressor in the signal chain. If the Master Insert effects contain a maximizer or limiter, the inserts should normally be last (this button should be left in the off position).

#FX Return section

This section controls the master levels of the FX Returns. Send effect devices are connected to the Master Section via the eight FX Send and eight FX Return connectors on the Master Section device. See “Send FX” for a description of Send FX.

Send/Return connectors on the Master Section device.

You can monitor the Return bus via the Control Room output - see “Control Room output section”.

The section contains the following items:

| Parameter

| Description

Level

Adjusts the FX Return master level. The master return levels are normally left at the default value, 0dB. If you wish to increase/decrease the effect balance, this is best done by increasing/decreasing the send levels for the individual channels using the effect. You can, however, use the FX Return level to change the overall balance of a send effect in the mix.

Pan

Pan adjusts the return signal stereo balance.

Meter

Shows the signal level of the return bus.

EDIT button

This brings the connected effect device in the rack into view for easy editing of its parameters.

Mute (M)

This mutes the return signal for the send effect.

Name label

This automatically shows the name of the last effect device in the send signal path. If you enter a new name for the label, this overrides the automatic naming. Deleting a manually entered name will bring back the automatic naming.

#Master Fader section

The Master Fader controls the final output level of the mix to be recorded or exported to a file. It should normally be set to 0dB. The Master Fader should never be used to adjust the monitoring level - this is what the Control Room bus is for (see below).

The section contains the following items:

| Parameter

| Description

Master Fader

Adjusts the level of the Master Out bus.

Meter

Shows the level of the Master Out bus.

Mode

The Mode button switches the meter between VU/Peak/PPM modes - see “The Big Meter”.

Reset

This resets the meter, deleting any registered peaks.

#Spectrum EQ (Spectrum Analyzer) Window button

Below the Meter is a button for bringing up the Spectrum EQ Window. Since there are no Filter or EQ sections in the Master Section, the Spectrum EQ Window is used only for displaying the frequency content of the Master Section.

#Control Room output section

The Control Room outputs are located on the back of the Master Section device. To use the Control Room output section, the outputs have to be connected to your monitor system. This can be done by manually patching cables from the “Ctrl Room Out” connectors to a separate output pair on the Reason Hardware Device - see “Manual audio routing”.

The Control Room outputs, which are separate from the Master Out bus, are the outputs that you should monitor (listen) from. This allows you to monitor the main mix and to adjust your monitoring level without affecting the Master Out bus. You can also monitor the FX Send or Return buses in this section.

The section contains the following items:

| Parameter

| Description

Monitor display/selector for Master/FX Send 1-8/FX Return 1-8

Click the display to bring up a list where you can select what to monitor on the Ctrl Room Out jacks. You can select between Master, FX Send 1-8 and FX Return 1-8. One bus can be monitored at a time.

Control Room Out Level

Adjusts the level of the Control Room Out bus.

#Delay Comp

Click the Delay Comp button (or display) to activate delay compensation in the Main Mixer.

The total delay of the Main Mixer signal (at the Master Out) is displayed below the display. See the “Delay Compensation” chapter for more information about delay compensation in Reason.

#Master Section Header

The Header is always visible at the bottom of the Master Section. It contains the following items:

| Parameter

| Description

SEQ / RACK

buttons

The RACK and SEQ buttons allow you to switch to the Master Section rack device or automation track directly from the mixer - see “Switching between channels, rack devices and tracks”.

Mute/Solo All Off

This allows you to switch off all channel Mute or Solo buttons in one go.

DIM -20dB

This simply dims the Master Out level -20dB. Use this to temporarily lower the output level when answering the phone, etc.

#Automating mixer parameters

Automating mixer parameters works in the same way as for other parameters. Automation is part of the audio track or Mix channel track. See “Recording parameter automation”.

A quick way to automate a parameter is to right-click (Win) or [Ctrl]-click (Mac) on the parameter and select “Edit Automation” from the context menu.

This will create an automation lane (and track if needed) where you can record or draw automation.

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When you select a sequencer track, the “Record Enable Parameter Automation” button is automatically enabled, allowing for parameter automation to be recorded. However, when recording automation for Audio Track channel strip parameters, you may want to disable the regular Record Enable button to avoid recording audio by mistake.

#Working with effects

#Insert FX

By definition, insert effects are inserted in the signal chain and process the whole channel signal, as opposed to Send effects (see “Send FX”) where the effect is shared among all channels and the balance is individually adjustable for each channel. Typical insert effects are dynamics, distortion, chorus etc., plus mastering effects for the Master Section.

As mentioned earlier in this chapter, the channel strips and Master Section strip have a “slot” dedicated to insert effects - the Insert FX section. In the Insert FX section, you can create effect devices and use as insert effects.

A very flexible way of using Insert FX is to have the effects in separate mixer channels and utilize parallel processing, see “Parallel Channels”.

#Adding Insert effects

To add an effect device as an insert effect, proceed as follows:

Select a channel strip in the Main Mixer, a Mix Channel or Audio Track device in the rack, or an audio track or Mix Channel track in the sequencer.

Select the desired effect device from the Create menu or from the context menu.

The effect device is created and automatically routed in the Insert FX container in the channel's rack device.

A Scream 4 device created as Insert FX in an Audio Track device.

If you need to re-route any connections, press [Tab] to flip the rack around.

The “To Device” and “From Device” connections in the Insert FX slot in the Audio Track device.

Note that the Mix Channel/Audio Track device must be unfolded to show the connections.

If desired, re-route the connections according to the standard routing procedures (see “Manual routing”).

The signals always travel from the “To Devices” outputs, via the desired effect devices, to the “From Devices” inputs on the Mix Channel/Audio Track device.

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When the Show Insert FX button is on, you can add devices directly in the insert FX container area, drag devices in or out, etc. - just like with a Combinator (see “The Combinator”).

Note that if you add, load or route insert effects in stereo, and the Mix Channel/Audio Track device (and channel strip) is in mono, the channel will automatically switch to stereo.

#Using Effect Combi patches as insert effects

It’s possible to load Effect Combi patches as Insert FX as well. First you either need to create a Combinator device in the Insert FX container of the channel - or drag an Effect Combi patch from the Browser and drop in the Insert FX container.

You could also add several Combinators/Effect Combi patches to the same Insert FX container, e.g. by dragging and dropping. This makes it possible to have multiple Combinators in series, for even more complex effects processing:

Three Effects Combinators serially connected in the Insert FX container.

#Bypassing Insert effects

Click the “Bypass” button at the top of the Insert FX section on the channel strip, or on the device in the rack, to bypass the insert effects for the channel.

The “Bypass” buttons on the channel strip and on the device.

#Deleting Insert effects

Deletion of insert effects can be done either in the rack or with a mixer channel selected in the Main Mixer:

Select a Mix Channel or Audio Track device in the rack or a mixer channel in the Main Mixer.

Select “Clear Insert FX” from the Edit menu or context menu.

This will disconnect and delete all Insert FX devices of the selected channel. The deleted devices will be replaced by an internal straight-through connection.

Another way of deleting Insert FX is by manually removing them from the Insert FX container in the Mix Channel or Audio Track device in the rack:

Unfold the Mix Channel/Audio Track device and click the “Show Insert FX” button.

In the Insert FX container, select the device(s) you want to remove.

Press [Backspace] or [Delete], or select “Delete Devices and Tracks” from the Edit or context menu.

An alert appears asking you to confirm the deletion. (See “Deleting devices” for more details).

#Copying and Pasting Insert effects between mixer channels

To copy the insert effect(s) from one mixer channel and paste to another mixer channel, proceed as follows:

Select the mixer channel which contains the Insert effect(s) you want to copy.

Select “Copy Channel Settings” from the Edit or context menu and then select “Insert FX” from the sub-menu.

If you select the Master Section, the “Copy Insert FX” item will appear directly on the Edit menu or context menu.

Select the mixer channel to which you want to paste the Insert effects and choose “Paste Channel Settings: Insert FX” from the Edit menu or context menu.

If you select the Master Section, the “Paste Insert FX” item will appear directly on the Edit menu or context menu.

#Send FX

Send effects are routed in parallel with the signal chain, and the effect balance can be adjusted - as opposed to Insert effects, which are inserted in the signal chain and process the whole channel signal (see “Insert FX”). Typical Send effects include reverbs and delays.

The Main Mixer can hold up to eight separate Send effects per Song. These eight Send effects can be used simultaneously by any or all mixer channels in the Song, at individually adjustable levels per mixer channel. The main Send FX controls, which include the FX Send and FX Return sub-sections, are located in the Master Section strip in the mixer. In these sections, you can control the FX Send and FX Return levels to and from all mixer channels, as well as panning for each of the Send effects.

In addition to the “global” Send FX controls in the Master Section, each mixer channel features a Send FX section, where you can control the levels to each of the Send effects for the specific mixer channel.

#Creating Send effects

Send effects can be added as follows:

In the Main Mixer, select a channel strip or the Master Section strip.

Select “Create Send FX...” from the context menu.

The Browser appears (if it was hidden) and the Send FX section gets browse focus. Now, you can now browse for and load effect devices. You can also browse for Effects patches and load these into their corresponding devices, e.g. Effect Combinators.

If all eight Send effect busses are already in use, the “Create Send FX...” item on the context menu is grayed out.

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Each FX Send and FX Return in the Master Section strip has a display that shows the name of the last effect in that send's signal path:

The names of three added Send effects are displayed in the Master Section strip.

If you need to re-route any connections, press [Tab] to flip the rack around.

The Send FX connections on the Master Section device.

Note that the Master Section device must be unfolded to show the connections.

As you can see, all Send effects are placed outside the Master Section device - as opposed to Insert effects, which are placed in the Insert FX container of the Master Section device.

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It’s also possible to manually connect devices to the FX Send and FX Return connectors according to the standard routing procedures (see “Manual routing”).

The signals always travel from the “FX Send” outputs, via the desired effect device(s), to the “FX Return” inputs on the Master Section device.

#Editing and saving Send effects

Click the “Edit” buttons in the FX Send or FX Return sections to get to the corresponding Send effect device(s) in the rack.

The Edit buttons for the Send effects in the FX Send and FX Return sections.

The corresponding Send effect devices are scrolled into view in the rack.

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Send effects can be edited from their device panels according to standard editing procedures.

Any edits you make will be automatically stored when you save the Song document. If you edit Effect Combi patches, these can also be saved separately as Combinator patches as usual.

#Muting Send effects

Click one of the “M” buttons in the FX Return section to mute the FX Return for the corresponding Send effect.

All channels that currently use the muted send effect will be affected.

The Mute buttons for the Send effects in the FX Return section.

The Mute buttons only mute the FX Return signals. If you should choose to route an FX Send output of the Master Section device to an effect, and then route the effect to a regular Mix Channel instead of an FX Return input, the Mute button will of course not have any effect.

#Deleting Send effects

Deletion of Send effects is done in the rack according to the standard device deletion procedures:

Select the device(s) you want to delete and press [Backspace] or [Delete] - or select “Delete Devices and Tracks” from the Edit or context menu.

An alert appears asking you to confirm the deletion. (See “Deleting devices” for more details).

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When a Send effect has been deleted, the name will automatically be removed from the displays in the FX Send and FX Return sections in the Master Section strip.

#Output Busses

Output Busses allow you to create sub-mixers. Sub-mixers can be very useful for pre-mixing a multi-mic’ed drum kit, or a horn section, for example. You can also use a sub-mixer configuration to route several external input signals (from separate microphones, for example) for recording onto a single audio track (see “Recording a sub-mix onto an audio track”). You can have as many mix busses as you like in a Reason song.

For multiple levels of sub-mixing, it’s also possible to create an Output Bus that is fed by an existing Output Bus.

#Creating an Output Bus

The fastest and easiest way of creating an Output Bus for several mixer channels is this:

Select all mixer channel strips that you want to route to the same Output Bus.

Press [Ctrl]+[G](Win) or [Cmd]+[G](Mac) - or select “Route to > New Output Bus” from the Edit menu or context menu of one of the selected channels.

A new Output Bus channel, named “Bus 1”, is created to the right and the selected channels are automatically routed to it as indicated on the channels’ Output labels.

The step-by-step instructions below show how you can assign individual channels to an Output Bus - one channel at a time. The picture shows a number of Audio Tracks in a song with individual recordings of the drums of a drum kit:

Audio Tracks with separate drum recordings routed to the Master Section.

Now, we want to create a sub-mixer which mixes only the individual drum channels. The advantage of doing this is that we can then control the sound and volume of the entire drum kit using only one single Mix Channel:

Click the Output selector (the gray name tag) on the Kick channel and select “New Output Bus”.

Alternatively, select the Kick channel strip and press [Ctrl]+[G](Win) or [Cmd]+[G](Mac).

A new Mix Channel is created in the Main Mixer and its corresponding Mix Channel device is created in the Rack. The Kick channel is now routed to the new Mix Channel via the internal P-Lan network.

The Output selector area on the Kick channel is colored and the name “Bus 1” is displayed to indicate the name of the Output Bus it is routed to:

The Fader section of the new Output Bus channel gets a colored background and a red Fader knob to indicate it is an Output Bus.

Click the Output selector on the Snare channel and select “Bus 1”.

The Output selector area on the Snare channel is now colored in the same color as the Bus 1 channel and the Output Bus name is displayed:

Repeat the procedure for the remaining drum channels in the Main Mixer.

If you like you could now rename the Output Bus channel, e.g. to Drum Mix, and drag the channel strip to the right of the individual drum channels for better overview:

The changed Output Bus name is automatically displayed in the colored Output area on all channels routed to that Output Bus channel.

If you look in the rack, you can see that the Audio Output display on the Audio Track devices for the individual drum channel now show “Drum Mix” instead of the default “Master Section”.

Output Bus destinations on the Audio Track devices in the rack (front and rear).

#Rerouting channels

If you like you can change the Audio Output destinations - or create new Output Busses - by clicking the Audio Output selector on the device front panel, or in the Audio Output display on the rear panel, or in the Output selector area on the channel strip in the mixer.

If you manually deassign all channels from the Drum Mix Output Bus channel, the Output Bus channel automatically becomes a regular Mix Channel. If you want to assign channels to this Mix Channel, and thus make it become an Output Bus channel again, click the Audio Output selector on the front panel, or in the Audio Output display on the rear panel, and select “All Channels > Drum Mix”. These routings can also be made in the Output selector area on the channel strip in the mixer.

#Deleting an Output Bus

To delete an Output Bus channel, select the Output Bus channel strip in the Main Mixer - or the device in the rack - and press [Delete] or [Backspace].

When you delete an Output Bus channel which has other mixer channels already routed to it, the source channels will be automatically re-routed to the default Master Section again via P-Lan.

On the Mix Channel/Audio Track devices in the rack, “Master Section” is now shown in the Audio Output displays to indicate that the channels have been re-routed to the Master Section device.

#Recording a sub-mix onto an audio track

The example below shows an Output Bus (sub-mixer) configuration with four microphones connected to one input each on the audio interface and then routed from the Reason Hardware Interface to the Direct Inputs on four Mix Channel devices. The four Mix Channel devices are routed to the “Drums SubMix” Output Bus for sub-mixing:

Direct routing of individual Audio Inputs to Mix Channels which, in turn, are routed to an Output Bus for sub-mixing.

To record the sub-mixed signals from the “Drums SubMix” Mix Channel onto Audio Track 1, click the Rec Source button on the “Drums SubMix” Mix Channel device, and then select “Stereo Input” and “Drums SubMix” as Audio Input source on the “Audio Track 1” device:

The Rec Source button on the Drums SubMix device activated and “Drums SubMix” selected as Audio Input on the Audio Track 1 device.

See “Recording audio from Mix Channel outputs” for more details.

In the sub-mixer setups above, each source Mix Channel could also house individual Insert FX. See “Creating an input channel for recording with effects” for tips on how to record with FX.

#Parallel Channels

A very flexible way of working with insert effects is to use parallel channels that host the effects, while keeping the dry signal of the source channel intact. This way you can freely control the levels of the dry signal and the separate effects - and also control the sound of each effect individually from each of the parallel channels.

You could, for example, have one parallel channel with a compressed distortion effect, another parallel channel with a Delay, and so on. Then, you can freely EQ the effects in each of the parallel channels, as well as control their levels individually from each Fader.

#Creating Parallel Channels

Parallel channels can be created as follows:

Select the source Mix/Audio Track channel strip in the Main Mixer, or its device in the rack.

Select “Create Parallel Channel” from the Edit menu or context menu.

A new Mix Channel is created and placed to the right of your original channel in the Main Mixer:

A Parallel Channel created for Audio Track 1.

The parallel Mix Channel is automatically named “P1: <source channel name>” and its channel header is colored according to the source mixer channel header. Both the source channel and the parallel channel also get shorter channel headers to indicate they are routed in a parallel configuration.

If you want to add more parallel channels to your source channel, select the last created parallel channel and select “Create Parallel Channel” from the Edit menu or context menu.

This adds another parallel channel to your source channel:

Another Parallel Channel created for Audio Track 1.

In the rack, the Parallel out jack(s) of the source Mix Channel/Audio Track device are automatically connected to the Direct Input jack(s) of the first parallel Mix Channel. The second parallel Mix Channel is then connected to the first parallel Mix Channel, and so on:

Parallel Channels 1 and 2 for the Audio Track 1 source channel in the rack.

Since the Audio Track/Mix Channel device only has one pair of Parallel out jacks, any additional parallel channels have to be created from the last created parallel channel.

If your original channel is in mono, only the left parallel output is connected to the left input of the parallel channel.

Now, you can create Insert FX in each of the parallel channels and process the signal of your source channel separately, in parallel.

It might also be a good idea to create a separate Output Bus for the source channel and all parallel channels, see “Creating an Output Bus”.

#Creating a Parallel Output Bus

Parallel channels can also be created for Output Bus channels, for parallel processing of the entire Bus signal. The following example shows a drum kit, with a channel for each drum, that we want to assign to an Output Bus and apply parallel compression to:

[Shift]-select all drum channels in the mixer.

Press [Ctrl]+[G](Win) or [Cmd]+[G](Mac) to create a new Output Bus to automatically route the drum channels to.

A new Output Bus channel, named “Bus 1”, is created to the right and the selected channels are automatically routed to it as indicated on the channels’ Output labels.

Select the “Bus 1” channel in the mixer and select “Create Parallel Channel” from the Edit menu or context menu.

A parallel channel, the “P1: Bus 1” is created and the “Bus 1” Output Bus channel is automatically connected to it.

Activate the Compressor in the “P1: Bus 1” parallel channel and raise the Compression Ratio up high.

Raise the Level fader on the “P1: Bus 1” channel to gradually introduce the heavily compressed sound (in parallel with the dry signal of the “Bus 1” channel).

#Deleting Parallel Channels

To delete a Parallel Channel, select its mixer channel strip - or its device in the rack - and press [Delete] or [Backspace].

Confirm the deletion in the alert that appears.

#Naming Parallel Channels

When you create a Parallel Channel it is automatically named after its source channel according to: “P1: <source channel name>”, where “P” stands for Parallel and “1” for the first parallel channel. If you add on more parallel channels, the following channels are named “P2: <source channel name>” and so on.

If you change the name of the source channel, all the parallel channel are automatically renamed accordingly. You can then manually rename each parallel channel afterwards if you like.

To revert to the automatically generated name, double-click the parallel channel’s name, press [Delete] or [Backspace] and then [Enter].

#Solo, Mute and Send FX logic

The Solo, Mute and Send FX functions in the channel strips are very straight-forward when you work with mixer channels that are routed straight to the Master Section. However, when you are using Output Busses for sub-mixing and/or Parallel Channels for parallel processing, the Solo, Mute and Send FX functions need to work intelligently to provide the desired result. This has been carefully taken care of in the Main Mixer in Reason.

#Solo and Mute logic

The Solo and Mute functions are designed to work intelligently in the following special scenarios:

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When several mixer channels are routed to an Output Bus.

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When a mixer channel has one or more Parallel Channels.

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When Output Busses are routed to other Output Busses.

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When Output Busses have Parallel Channels.

#Solo and Mute examples

There are two ways a mixer channel can be soloed or muted:

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Manually, by clicking the corresponding Solo or Mute buttons.

In these situations, the buttons light up in green (Solo) or red (Mute).

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Automatically, according to the state(s) of the other mixer channels.

This happens when another mixer channel is affected by a manual Solo/Mute in another mixer channel. Automatically soloed/muted buttons light up in dimmed green (Solo) or dimmed red (Mute) color.

The examples in the figure below show how Solo and Mute work in different mixer channel configurations:

Below is another example of the Solo and Mute logic:

#Send FX level and mute logic

If you are using Send FX in your mixer channels, these need to behave intelligently when you are using Output Bus channels and/or Parallel Channels.

#Send FX level examples

Since the eight Send FX busses in the Main Mixer are shared between all mixer channels, including Output Bus channels, there has to be a way to compensate the Send FX levels for changes in Output Bus levels. Therefore:

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If a channel is routed to an Output Bus, its Send FX levels will follow the Output Bus level.

One example would be if you have a number of drum channels routed to a “Drums” Output Bus, and add a reverb to the Snare channel using an FX Send. Now, if you raise or lower the Drums Output Bus level fader, the individual Snare reverb Send level will automatically adjust, so that the effect balance is maintained.

Note that the automatic Send FX level adjustment is disabled if the Send FX PRE button is on.

Note that the individual FX Send level knobs will not move to reflect the automatic level compensations.

#Send FX mute examples

The example in the figure below shows how the Send FX behave when an Output Bus channel is muted:

The examples in the figure below show how the Send FX behave when you mute a Parallel Channel as well as a Parallel Channel plus an Output Bus:

#Remote controlling the Main Mixer

There are two ways of Remote controlling the Main Mixer: one channel at a time, for detailed control of the parameters of one mixer channel at a time, or multiple channels simultaneously, for balancing levels etc.

#Remote controlling a single mixer channel

You can control a single mixer channel, either by locking your control surface to the mixer channel, or by setting Master Keyboard Input to the mixer channel’s track in the sequencer.

For example, if you set Master Keyboard Input to the audio track you’re recording on, you will be able to adjust the monitor level and other parameters of the channels you're using when recording.

The extensive Remote control functionality in Reason allows for detailed control of the parameters of one mixer channel at a time.

#Remote controlling multiple mixer channels

The typical way of remote controlling the Main Mixer is to control the Master Section (by setting Master Keyboard Input to the Master Section track in the track list, or typically by locking your control surface). This lets you control the Master Section parameters plus mixer parameters for a number of channels (often 8 channels at a time, depending on the control surface). To define what channels to remote control at a given time, you need to set the “Remote Base Channel”.

#Setting the Remote Base Channel

The first (leftmost) mixer channel controlled by Remote is called the “Remote Base Channel”. The current Remote Base Channel is indicated by a yellow arrow symbol in the mixer channel strip Header section:

The Remote Base Channel indicator.

To change the Remote Base Channel, proceed as follows:

Select a mixer channel and select “Set Remote Base Channel” from the Edit menu or context menu.

The Remote Base Channel indicator will move to the selected mixer channel.

Alternatively, change Remote Base Channel via Remote (in steps of 1 or 8 channels).

Functions for changing the Remote Base Channel may already be mapped to buttons on your control surface - see the “Control Surface Details” pdf document. If not, you can set this up manually in the Additional Remote Overrides dialog on the Options menu - see “Additional Remote Overrides...”.

#Remote controlling multiple mixer channels - an example

If you want to remote control several channel strips at once from your control surface, you can proceed as follows:

Select the Master Section device in the rack or the Master Section Strip in the Main Mixer.

If you want to lock your control surface to the Master Section, select “Lock Xxxxx to This Device” from the Edit menu or context menu. (“Xxxxx” represents the name of your connected control surface.) This way, you can ensure that your control surface will always control the Main Mixer, regardless of where the edit focus is.

Selecting and locking the Master Section to the connected control surface.

Depending on your connected control surface, it may now be possible to control parameters of several channel strips at the same time. In this example, we’re using a control surface which has nine sliders. These sliders are configured to control one channel strip Level Fader each, plus the Master Section Level Fader.

In the picture below, the Remote Base Channel is currently set to Audio Track 1. This means we can control the Level Faders of Audio Track 1 through Audio Track 8, plus the Master Section Level Fader, with the nine sliders on the control surface:

Controlling Audio Track 1 through Audio Track 8 and Master Section from the connected control surface.

On our control surface it’s possible to select next and previous Remote Base Channel in steps of 8 channels. If we click the “Next” button on our control surface, the Remote Base Channel is set to Audio Track 9 and we can now control Audio Track 9 through Audio Track 12, plus the Master Section:

Controlling Audio Track 9 through Audio Track 12 and Master Section from the connected control surface.

If your control surface doesn’t have buttons already assigned for controlling Remote Base Channel selection, you can manually assign controllers for this by using the Remote Override function described in “Remote Override mapping”. Alternatively, select a channel strip and select “Set Remote Base Channel” from the Edit menu or context menu.

See “Remote - Playing and Controlling Devices” for more details about remote controlling Reason. See also the “Control Surface Details” pdf document for information about parameter assignments on various common control surfaces.

#Advanced routing tips and tricks

#Chaining Send effects from Redrum or Mixer devices

The Redrum Drum Module and the Mixer 14:2 and 6:2 devices have separate Send FX connectors where you can add send effects individually for each device. The Redrum and Mixer devices also have separate Send FX level pots for each drum/mixer channel so that you could set the send effect levels individually for each drum/mixer channel in the device.

Let’s say you want to add a Redrum device and use two of the Main Mixer’s Send FX, but with individual settings for each of the Redrum device’s internal channels. In the example below, we’re going to chain the two Send Outs from the Redrum device to two send effects in the Main Mixer:

Create two extra Mix Channel devices - one for each of the send effects we’re going to chain.

In this example we name the Mix Channel devices “FX 1 Chaining” and FX 2 Chaining”.

Activate the Send FX bus you want to use in each of the mixer channels and also activate the corresponding Pre-fader button.

In this example, we activate the Send FX 1 bus on the FX1 Chaining channel and the Send FX 2 bus on the FX 2 Chaining channel. The Send FX 1 has a reverb connected and the Send FX 2 has a delay connected.

The PRE buttons should be activated because we don’t want the mixer channel faders to affect the Send levels.

Lower the “FX 1 Chaining” and “FX 2 Chaining” mixer channel faders to zero.

This way, the effect signals won’t be mixed with the rest of the Main Mixer channel signals in the mix bus, but are kept isolated in the Send FX busses. Now, our setup should look like this in the rack and in the Main Mixer:

The device setup, plus two new Mix Channel devices added. To the right, the channel strips with activated FX Send busses.

Connect the Send Out 1 and 2 of the Redrum device to the Left inputs of each of the “FX 1 Chaining” and “FX 2 Chaining” Mix Channel devices.

Now, you should have a setup that looks something like this:

The Redrum Effect Sends chained to one Send FX bus each of the Master Section, via two new Mix Channel devices.

Set individual Send levels for each of Redrum’s internal channels.

Now, you have individual send levels for each of the Redrum device’s internal channels - and are still able to use the Send FXs in the rest of the Main Mixer channels like before.

#Using compression sidechaining

Compression sidechaining is a feature which lets you control the Compressor, not from the internal channel signal, but from an external signal. A typical use case would be to let the signal from a kick drum channel control the compression of the bass channel. The result would be that the bass signal is compressed each time the kick drum signal is present on the sidechain input, allowing the kick sound to momentarily suppress the bass sound.

#Compression sidechaining from an external channel

The example below shows an audio track with a kick sound that is tapped from the Kick Audio Track device’s Parallel output and routed to the Dynamics Sidechain input of the Bass Audio Track device.

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The Key button is automatically activated when you connect a signal to the Sidechain Input.

This will force the Compressor to be controlled from the Sidechain input signal rather than from the internal signal.

Compression Sidechaining of the Bass audio track from the Kick Drum audio track.

#About compression sidechaining of several channels from one source channel

If you want to use compression sidechaining of several (destination) channels from a single source channel, there are some options of doing that:

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If you are already using both Parallel outputs for sidechaining, tap an additional sidechain signal from one of the Insert FX “To Device” outputs of the source channel.

This is useful if you are not using both “To Device” outputs for insert effects in the source channel.

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Use a “Spider Audio Merger & Splitter” device to split the sidechain signal from the Parallel outputs and/or Insert FX “To Device” output into several signals.

Each of these signals can then be individually routed to each Sidechain Input of the desired destination Audio Track/Mix Channel devices.

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Create an Output Bus (sub-mixer) and route all (destination) channels you want to control to this Output Bus. Then, route the sidechain signal from the source channel device to the Sidechain Input of the Output Bus Mix Channel device.

See “Output Busses” for information.

#About internal compression sidechaining

Another typical application for compression sidechaining is to use the internal signal of the channel, filter it, and then feed to the compressor via “internal” sidechaining. This type of internal sidechaining can be used for de-essing, for example. No additional patching is required for this; you only have to activate the “Filters to Dynamics Sidechain” button in the Filter or EQ sections. See “About the Filters To Dynamics Sidechain button”.

#Using the Mix Channel and Audio Track devices’ Direct Outs

The Mix Channel and Audio Track devices feature Direct Out connectors. By patching cables into these outputs, you break the internal signal chain from the device to the Master Section, and can route the channel output signals directly to the Reason Hardware Device’s outputs. This is a very nice feature if you want to use outboard mixing or summing, to route individual channel signals to another application.

The example below shows how to route the Direct Outs of a number of Audio Track devices to separate outputs of the Reason Hardware Interface: