Hi and welcome to this introduction to Falcon, the new powerhouse instrument from UVI. Falcon is a powerful hybrid synthesizer, featuring virtual analogue, wavetable, phase distortion and FM synthesis types, and even venturing into physical modelling
with the Pluck oscillator. Falcon also features a fully fledged sample playback engine however, capable of loading UVI libraries with full support for scripts and custom interfaces, as well as your own content. Samples can be manipulated further
with the powerful granular and stretch oscillators . while drum loops can be automatically chopped up and mapped to the keyboard using the Slice oscillator. Falcon is a multitimbral instrument with an internal mixer, and 17 pairs of outputs available to your DAW, so you could build an entire song
using just one instance Falcon also features a dedicated performance tab which allows you to set up keyboard or velocity splits, or key switches, and allows you to quickly assign midi channels and audio outputs for each part. Falcon comes with a large library of both synthesis and sample based presets,
available via the browser section to the right of the scalable interface. The browser can also be used when building sounds instruments from scratch however : you can drag samples directly to the Mapping window to build multisample . drag oscillators instead to build synth patches .
or mix those with the same instruments, drag LFOs or envelopes directly onto parameters to create a new modulator and assign modulation in one step . or drag filters and effects into the effects sections. Most modules come with a selection of starting point presets,
How to mix vocals Reason Tips
Hey this is Mattias with Propellerhead Software and in this tutorial I'll talk about some useful tips for mixing vocals. Before you get into mixing vocals, though, they likely need to be recorded. This is important since it's very hard to fix something in the mix if the recording wasn't very good to begin with. Since recording is a topic in itself, I'll refer you to this great article by Gary Bromham on vocal recording. Just follow the link in the description and read up. Okay then, let's get started. Vocals are often the center of attention in a mix, especially in pop music where the lyrics many times carry the song. Therefore one of the most important things when mixing vocals is to make sure they're heard. So what do you do if you feel the vocals are a bit too quiet and not cutting through enoughé
The number one thing to try is to turn some other tracks down to let the vocals through. This way you can achieve a good overall balance and not make your track a race to be the loudest, even before using any kinds of effects or mixing tools. I recommend getting the vocals into your track as soon as possible. When you have vocals you can hear it occupy its own space while you work, making it less likely that you add tons of cool instruments that might actually completely overpower the vocals. When it comes to mixing, the EQ is your very best friend. You could say mixing is like laying a puzzle, making sure all pieces fit together and create a complete picture.
This often means different sounds should occupy slightly different frequencies so they don't step on each other too much. For vocals, the frequency that's most crucial. the presence. is often at around two to four kilohertz. Leaving some space here or boosting these frequencies will make your vocals come through a lot clearer. Another frequency range to keep in mind is what's often called the quot;airquot; of the vocals. Ten kilohertz and over is where you can really open up a vocal track. To get familiar with your EQ I recommend trying to boost and cut the different frequencies and hear for yourself. It can make a lot of difference. Another thing you might want to do is what's known as quot;DeEssing.quot;
You do this to make the sharp 's' 'p' and 't' sounds less pronounced so they don't stick out too much, like they do here: A DeEsser is basically a compressor that only reacts to sounds of a certain frequency. In our case we want that to be somewhere around four and nine kilohertz, where the sharp consonants kinda sit. This is actually easy to do with Reason's big mixer. First we'll use the two filters to isolate the sibilance. There it is. Now if we click the quot;Filters to Dynamic Sidechainquot; button this will actually send this filtered signal to the compressor on the channel, telling it to only react to what you just isolated. The threshold of a compressor is basically the level where the compression occurs.
Signal below this threshold will not be compressed. This way we can make sure that only the loud S's get compressed. It's probably also a good idea to set the compressor to quot;PEAKquot; mode, which results in an instant attack time. That's much more suitable for sounds like these S's that have a really fast attack. Then just experiment with the ratio and the release until you've evened out the vocals a bit. You can see the compressor reacting to the S's here and you can hear it's working too. If you feel that compression and DeEssing is a bit too complicated and you don't mind a bit of manual labor, you can simply automate the level of your vocal track. This way you can just move the fader down a bit when you get a sharp 'ess' sound.
This is also great for adding some emphasis to a word or two. That's it for this tutorial. Hopefully you got some tips to help you on your way to better vocals. Until next time.