Propellerheads Reason 5: Creating Sub-Mixes with the Combinator

Propellerheads Reason is a fantastic piece of software. While I use a number of different programs for music creation and mixing, where possible, I try to keep everything within one program. Now one problem that arises when creating music within Reason, is that the large mixers only allow for 14 channels of audio. Now where this can be sufficient for many projects, it does limit your control over the session, and can become a bit of a problem when trying to map MIDI devices. There may be other ways around this, and everyone has their own preference. This is my method of solving the problem.

Lets use the example of a very simple dubstep session:

Channel 1: Drums with Redrum or Kong
Channel 2: Percussion loops in Dr Octo Rex or NNXT

Channel 3: Hits and FX from Redrum, NNXT or Kong

Channel 4: Sub Bass

Channel 5: Wobble Bass 1

Channel 6: Wobble Bass 2

Channel 7: Atmospheric Pad Synth

Channel 8: Lead Synth 1

Channel 9: Lead Synth 2

Channel 10: Vocal Loops with Dr Octo Rex or NNXT

Now my Novation ZeRO SLMKII device only has 8 faders, which are not motorised. This means that to map the control surface to the device on screen, I either have to nudge the controls, map rotary control to some faders or only use the controller for 8 channels while using the mouse for the others, which pretty much defeats the purpose of the control surface. This also means that due to having no motorized control on the faders, nudging the control mapping can either result in a sudden jump in levels when in read mode, or having to move the fader to the existing level in latch mode. This becomes annoying very quickly.


When mixing, it can also become tiresome in Reason having to flick through devices to edit levels. Lets say that you've arranged your track and have simply kept everything at a reasonable level throughout. It's come time for the final mix, and you realise that each of the drum hits need to be changed. However, in creating that killer drum sound, you have used 3 kick drum samples; 2 snares and a clap; 2 hi-hat samples, 2 rides and 2 crashes. In Reason 5, this could be achieved in one instance of Kong, but in earlier versions you are limited to 10 tracks in Redrum, which could result in you having to use separate instances of the device for kicks, snares and cymbals. On top of this, you have effect sends to reverberation and delay devices, as well as EQ and compression being used to blend the multiple sounds. Even if you have used combinators to keep these devices tidy, adjusting levels will involve scrolling through many devices which is inconvenient and can become confusing. This is where creating group mixes or sub-mixes comes in handy.

The technique that I intend to discuss is best done when first setting up a session, otherwise there will be a lot of routing to do which can get rather confusing. Luckily, you can save the mix template, making it possible to recall quickly when starting new sessions. Another quick tip is to hold down shift when creating any of the devices stated to create it without connecting it to anything. It is unlikely that any of the devices created will connect to the desired device by default. Also, name your devices as you go along, because as fun as it may be to play with the wires in a session, as it grows, it can be difficult to see where things are going. If devices are correctly named, you can always right click the connection and select its destination without confusion.

Step 1: Creating The Combinator And Main Mixer

Open a new, completely blank session. Create a mastering suite, set it to bypass and ensure that the output is routed to outputs 1 and 2 of the hardware interface (Press the tab key to see the back of your devices and check the wiring). Next, create a combinator, and ensure that the output is routed to the input of the mastering suite combinator. Name the mastering suite combinator "mastering suite" and name the empty combinator "mixing suite." Now, right click the mixing combinator and select "Delete track for Mixing Suite," as this will keep your arrangement window tidy. Select "show devices" on the mixing combinator, and right click within it to create a Mixer 14:2. Name this mixer "Main Mixer," and wire the output of the mixer to the "from devices" connection on the mixer combinator. It should look like this:

Step 2: Main Mixer Auxiliary Effects

From here, your actions are variable depending on your session. I generally use the same template for every session just in case I require certain devices. Devices can always be removed or added depending on your needs. Generally, I don't use a lot of auxiliary effects on this mixer as they will be effecting a group of instruments at once, though in electronic based music it can be useful to have control over multiple sends at once. For this example, create an RV7000 Reverb device, 2 DDL-1 Digital Delay Line devices and 1 MClass Compressor device and ensure that the Name these devices "Main Mix Reverb," "Main Mix Delay L," "Main Mix Delay R," and "Main Mix Parallel Compression." Your placement of these units visually is down to your own preference, but placing them above the main mixer will allow you to see the sub-mixes easier later. I'm not going to go into too much detail on the use of these effects in this article since it's based on sub-mixing and not on effects, but as a quick explanation:

Reverb unit: There's no specific advanced reason for using this, it is simply a reverb unit. I'll cover reverb in another tutorial if requested. Your main use for this will either be for making everything sound like it is being performed within the same space, or as a creative tool for DJ style transitions.

Delay units: The purpose for creating 2 delay units is that you can create stereo delay effects. On the first delay unit, turn the panning fully left, set the feedback rate to the desired level, and as a starting point, set the step length to 3 and 1/16. For the second unit, turn the panning completely right, set the feedback to match the first delay, and set the step length to 3 and 1/8. Also, both units should be set to 100% wet. By doing this, the delay rates for each side of the stereo field will be different, creating a wide, bouncing style rhythmic pattern. Adjust the parameters as desired. This effect can also be achieved by wiring 1 send into the 2 devices as opposed to having separate sends, but this removes control over just how much of the signal is sent to each side and limits your control over space in the mix.


Compression unit: This device is one for mixing and is not really a creative device like the others. The purpose I use this device for is to achieve maximum perceived loudness out of my drums without compressing them too much at source and sacrificing the dynamic range and feel of the drums. This technique is referred to as "parallel compression" or "New York compression." This effect really depends on the incoming levels of your drums, the dynamics of the performance and what samples are actually being used. For a good starting point, set the threshold around -30dB, the ratio between 30:1 - infinity:1, and a very fast attack with a very slow release. This will ensure that everything is very harshly compressed, achieving a very loud signal to blend with your original mix.


The effects units should look something like this:

Step 3: Creating The Sub-Mixes

The number of sub-mixes used is dependant on your session and the kind of genre you are producing. In deciding this, it is important to group the tracks that are to be used into sub-mixes that group similar instruments together. Here is an example of groups that I would regularly use:

Group 1: Drums
Group 2: Sub Basses
Group 3: Basses/Wobbles
Group 4: Lead Synths
Group 5: Orchestral Synths/Pads
Group 6: Vocal Samples

Using this example as our template, create 6 instances of the "Line Mixer 6:2" device. Name each mixer accordingly, IE "Drums Sub-Mixer." In a simple session, the sub-mixer combinator could be completed here by connecting the output of each line mixer to the appropriate inputs on the main mixer. However, by adding EQ, compression and such at this stage, it means that we can avoid having multiple instances of the devices processing each instrument individually. Generally, I will use mild compression and EQ filtering for each group in every session, but exactly what I use is variable dependant on the needs of the session.

Create 6 instances of the "MClass Compressor" device, and name them "Drums Sub Mix Compression" etc. From here, route the outputs of each line mixer to the inputs of the compressors. The purpose of these compressors is simply to keep each group controlled and sounding as if they belong together, and therefore a very mild ratio of round 2:1-4:1 should be used. All of the other parameters should be adjusted dependant on the instrument being used. Use your ears and use what sounds best, and if in doubt - leave this step out until you have a better appreciation of how to use the effects. Compression can ruin a mix as much as it can improve it. 

Next, create 6 instances of the "MClass Stereo Imager" and name them "Drums Sub Mix Filter" etc. Wire the outputs of the compressors to the inputs of the stereo imagers. The purpose of the stereo imager here is to use it as a single band EQ filter to clear up certain frequency ranges. Within Reason, I have found that the MClass Equalizer is pretty useless as a single band high pass or low pass filter as even if you use all 4 bands, you still can't completely filter something. This is the same case for the PEQ-2 2 Band Parametric EQ. An ECF-42 Envelope Controlled Filter or the EQ function on a BV512 Digital Vocoder could be used, but as the frequency control on the envelope filter states a MIDI value and not a frequency, and the frequency bands on the vocoder don't actually state their values, these will require a much keener ear. With the stereo imager, it is possible to select a frequency, and then solo everything above or below this frequency. This also means that you can ensure that the bass frequencies of your mix are completely centred, avoiding smearing across the mix. Your use of the stereo imager in this way depends on how you are mixing and what you are mixing, but generally I use them as following:

Group 1: Drums - I generally don't use any EQ filtering for this.
Group 2: Sub Basses - Provided that the sub bass tracks are only being used to fill out the low end and have no harmonic overtones giving them warmth, I will solo the low band with a crossover frequency of around 100-250Hz. I also set the low band to 100% mono.
Group 3: Basses/Wobbles - As long as the sub bass tracks are handling the sub bass frequencies, I generally solo the high band with a crossover frequency of around 100-200Hz. If you do not have dedicated sub bass tracks, don't do this.
Group 4: Lead Synths - Solo high band, and move the frequency dial until you start to hear it cutting into the sound of the synth. When you reach this point, roll it back to ensure the low end is cut without ruining the useful range of the synth. Cutting everything below 150Hz-200Hz is a general good starting point.
Group 5: Orchestral Synths/Pads - Same as Leads.
Group 6: Vocal Samples - Same as Leads.

By doing this filtering, you will ensure that the low end of the track is not too crowded and you can really get the kick and bass working together. This is the same for the high passing, you are ensuring that any frequency content in the subs that is not useful is not making the rest of the mix muddy. This frequency content may not sound obvious at arrangement stage, but when mixing and mastering, compression and EQ will make these frequencies far more apparent. The only problem that I have encountered with using the stereo imager like this, is that the crossover frequency is exactly that - the frequency at which the high and low ends cross over. By cutting one, you are not completely cutting it, as it is not a high order filter. If this proves to be a problem, a single band EQ dip just below the crossover frequency should help.

From here, wire the outputs of the stereo imagers to the inputs of the corresponding channels on the main mixer and you're done! Again, your visual arrangement of each effect is down to personal preference, but if you keep the compressors and imagers in order below the sub-mixes, you can easily see the sub-mixes and main mixer without having to scroll past devices that you are unlikely to change often. Now, simply wire the outputs of your instruments into the inputs of the line mixers and you will have organised control of every instrument within one device. If you solo a group on the main mixer and mix each instrument within the sub group so that they mix well together, in theory you should then be able to mix quickly by simply moving the group faders on the main 14:2 mixer, and if you need to hide the devices, you can easily just minimise the combinator! Easy, organised mixing! It should look something like this:

Step 4: Possible Advanced Effects

Now that you have the basis for your mixer combinator, now is time to think of potential advanced applications. I'm not gonna go too in depth with them at the moment, but if anyone would like me to create individual lessons for them, just email me and I will. This section assumes that you already have advanced knowledge of reason. Here are 2 examples:

Envelope Controlled Filters: Try adding separate filters to each of your sub-mixes, and another to your main mixer. This means that when creating electronic music, you can easily automate and control filter sweeps for each group individually as opposed to only applying them to individual instruments or only to the main mixer. If you want to easily control the parameters with a control surface, you could use the modulation routing within the combinator to control the filter frequencies of 4 different filters independently, or map 1 rotary to control multiple parameters. In the same way, you can use the buttons on the combinator to enable or disable the filters. 

Side Chain Compression: This can be used correctively or creatively. By using a side chain compressor on your sub or bass sub-mixes, you can have the signals reduce slightly whenever the kick drum plays to ensure that it makes maximum impact. Alternatively, in a creative purpose, you could use a side chain compressor to "pump" a group of synths or basses within a sub-mix, or simply create rhythmic variations of multiple channels without multiple devices.

Get creative, and if this inspires any new techniques, let me know! I do these blogs for free to help people in the same way that other articles and videos have helped me. Hope this article helps, and have fun!

K! x

Email: Kamihamiha@hotmail.co.uk
Listen here: http://www.reverbnation.com/kamihamiha
Facebook: http://www.facebook.com/kamihamihauk
Remix me here: http://www.ccmixter.org/people/kamihamiha

YouTube: http://www.youtube.com/kamihamihauk

Twitter: http://www.twitter.com/kamihamihauk