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Digital Subscriptions > MusicTech > Jun 2019 > EXTERNAL LOOP PRODUCTION PT.2 IN REASON 10


Last time, we showed you how you can use Reason as an audio processor to take loops in from a hardware, analogue outside world and process them, using the classic Dr. Octo Rex. Time to take those effects much further…

Last time around, we extended this Reason Sound Design series to the outside world, opening up its very digital-processing heart to the modular world of analogue. With the advent (or return) of modular synthesis and the availability of much cheaper analogue synth hardware from the likes of Korg, Arturia, Modal, Novation and many, many others, people are exploring the wonders of analogue synthesis a lot more.

This doesn’t make software redundant, by any means; in fact, there is more great software around than ever before – we really are spoilt for choice when it comes to music-making. So one great direction for a more creative approach to music production is to blend the two worlds of software and hardware together, and the greatest app for that is Reason.

You might not use Reason as your main DAW, but that doesn’t matter, as last time around we used it more as an audio processor, taking in analogue loops and slicing them up to create all-new loops. In essence, we were using the software as a giant effects box, as it is full of features that make it very ‘loop friendly’, so we discovered how using the older Dr. Octo Rex instrument/sampler can really make working with loops both creative and fun.

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About MusicTech

In this issue, we look ahead, and analyse two massively exciting innovations that are already fundamentally affecting the music-making and listening worlds. In our cover feature this month, we explore the history, science and music-production implications of virtual reality. VR headsets are becoming increasingly popular and with a wide range of music-themed VR applications available to buy or in development, we ask whether making music in virtual space will rival the traditional DAW-based method, and how composing with virtual reality in mind requires a whole new approach to mixing. Elsewhere, we explore the astounding new realm of hologram performance, speaking to those companies that have used modern optics technology to, in a sense, resurrect deceased musicians and send them back out to the live arena. We discuss the technology behind – as well as the ethical implications of – holograms. Also in this issue, we speak to the legendary Howard Jones, LA’s genre-defying Battle Tapes as well as video-game sound designer Matt Boch, who explains how, when working on the recent game Ape Out, he approached soundtracking in an incredibly unique way. We review the latest tech from Universal Audio, Elektron, EastWest and Korg and also bring you a buyer’s guide to turntables, should you want to try your hand at a spot of DJ’ing. I hope you enjoy the issue.