ASK ME ANYTHING (about music u dummy!)

[Tyree D.]

wuddup wall.... this is my last question for awhile lol.... do u kno how to Rewire Reason with Cubase SX 3?

its mad confusing and i cant find a GOOD explanation on how to do it

open Cubase first. Then Reason. Goto View and look for (the audio one). On one of your tracks set the audio to Reason. You can either separate the individual tracks or the entire reason file on one track.
Somebody else gotta tell you more, I don't have it in front of me.

 

[Sohail288]

how do u get that wah wah effect in reason, i tried to no avail. What i tried doin was outputing the malstrom mod cvs into various pitch cvs but it gave me some weird results, i know their was a thread on this but i cant find it in the search....any help??

 

[Tyree D.]

turn down the attack and add a reverb device.

 

[j.troup]

wuddup wall.... this is my last question for awhile lol.... do u kno how to Rewire Reason with Cubase SX 3?

its mad confusing and i cant find a GOOD explanation on how to do it

easy. Rewire is not a "program" that you have to control. It's a "feature" that works pretty much automatically.

1) Start Cubase. DO NOT open a project.

2) Start reason. You should get a "Midi Error". This is normal, as Cubase grabbed the midi drivers when you started Cubase. Just click ok.

3) Open any Reason project you want (if you have one)

4) Open your cubase project.

5) In Cubase, goto "Devices" and click "Reason". Hit the power button on the L and R Channels. These are your rewire channels. They correspond to the channels in Reasons Hardware Interface.

6) Create a device in reason (NN-XT for example), and make sure it's connected to the mixer. Choose a patch on the reason device.

7) In Cubase, on a Midi track, make sure your input is "All Midi Inputs", and make your output is your reason device (NN-XT for example)

8) Play!


Simple. And steps 1-8 just basically told you to enable the Rewire channel in Cubase.


(sorry walls, didn't mean to debo your thread)

 

[Proper-T]

I've been going through this thread and it's crazy!! Good job man!

How did you get on wall? Also, did you post some music already?

 

[Xpressive]

good post troup!

this thread is a beast.

i have a Cubase question:

system for this scenario: Cubase SL2. IBM P4 2.53 GHz, 640MB RAM. Roland Fantom-S keyboard workstation.

brief example:

1. i have a song that i've sequenced in my keyboard workstation.
2. i track the song in Cubase by recording the audio track after setting the cubase bpm to the bpm of my song.

problem:
when playing back the recording, the timing is slightly off after a while (after 10+ bars for example). when i'm done, after so many bars i have to manually timestretch to make the song fit in time. for example, after every 8 bars or so, i have to chop and timestretch to keep the song in sync with the sequencer in Cubase.

i've tried midi syncing using both clocks (cubase and workstation) alternatively as master/slave.

the only thing i haven't tried is midi sequencing solely in cubase. (tracking in my keyboard is really easy.)

sidenote 1: when i calculate the hitpoints within cubase of the audio that i've tracked in, it says my tempo is 92.07 for a song that is set at 92 in my workstation. (so there is some discrepancy)

sidenote 2: let's say i notice my audio bpm starting to drift after playing for 16 bars. if i stop playback from my workstation at that point and then restart the audio playback, it's back on track. so the problem doesnt seem linked to a particular point in the song. it's just that after so many bars of continuous playback it begins to drift.

anyone know what causes this? maybe it's not common to just my setup.

[sorry for writing a book]

 

[Mister Encore]

thanks for the help.... hate 2 be an annoyance but i cant figure out where 2 change the latency in Cubase because its lagging now once i tap the keyboard

 

[Wallbangerz]

thanks for the help.... hate 2 be an annoyance but i cant figure out where 2 change the latency in Cubase because its lagging now once i tap the keyboard

The answer is:
Devices>Device Setup>VST Audiobay(Or VST Multitrack depending on which ver. you have)>ASIO device(this would be your soundcard) then finally control panel. Swith the Latency to something lower. Hit apply. Done!

 

[Wallbangerz]

good post troup!

this thread is a beast.

i have a Cubase question:

system for this scenario: Cubase SL2. IBM P4 2.53 GHz, 640MB RAM. Roland Fantom-S keyboard workstation.

brief example:

1. i have a song that i've sequenced in my keyboard workstation.
2. i track the song in Cubase by recording the audio track after setting the cubase bpm to the bpm of my song.

problem:
when playing back the recording, the timing is slightly off after a while (after 10+ bars for example). when i'm done, after so many bars i have to manually timestretch to make the song fit in time. for example, after every 8 bars or so, i have to chop and timestretch to keep the song in sync with the sequencer in Cubase.

i've tried midi syncing using both clocks (cubase and workstation) alternatively as master/slave.

the only thing i haven't tried is midi sequencing solely in cubase. (tracking in my keyboard is really easy.)

sidenote 1: when i calculate the hitpoints within cubase of the audio that i've tracked in, it says my tempo is 92.07 for a song that is set at 92 in my workstation. (so there is some discrepancy)

sidenote 2: let's say i notice my audio bpm starting to drift after playing for 16 bars. if i stop playback from my workstation at that point and then restart the audio playback, it's back on track. so the problem doesnt seem linked to a particular point in the song. it's just that after so many bars of continuous playback it begins to drift.

anyone know what causes this? maybe it's not common to just my setup.

[sorry for writing a book]

You are going to continue to have problems if you are trying to sync using only midi clock. Midi clock only sends a "start/stop" message. You need something like MTC (Midi Time Clock) or SMPTE to lock your two devices together. What workstation are you using by the way?

 

[Wallbangerz]

what i wanna know is what type of setup were you using b4 u discovered reason and what happend to yo soundclick i was feelin that lil 15 yr old chick, that was some good music i heard u got jacked or something but i wanna hear some more **** like dat.1

I still ahve 3 different MPC's a Kurzweil 2500, Roland 5080, All the EMU synths... But its all collecting dust!!! HAHAH!

 

[Xpressive]

You are going to continue to have problems if you are trying to sync using only midi clock. Midi clock only sends a "start/stop" message. You need something like MTC (Midi Time Clock) or SMPTE to lock your two devices together. What workstation are you using by the way?

Fantom-S

 

[j.troup]

You are going to continue to have problems if you are trying to sync using only midi clock. Midi clock only sends a "start/stop" message. You need something like MTC (Midi Time Clock) or SMPTE to lock your two devices together. What workstation are you using by the way?

If I may...

Try doing your sequences in Cubase. What I do (which is a pain, but it works) is do all my sequencing in Cubase...

My Triton has 4 mono outs, or 2 stereo outs. So in cubase, I create as many audio tracks as there are midi tracks...

I solo 2 midi tracks at a time, and set the same 2 tracks on the triton to output to either 1/2 or 3/4.

Then in cubase, set an audio track to record off of 1/2 or 3/4, depending on what midi track you wanna record.

Hit the record enable on the 2 tracks you want to record to in cubase, go to the beginning of the track, and hit record.

Cubase is now playing your Fantom for you, and recording the output onto the audio tracks. Since it's in stereo (presumably) midi track 1 is being output to the 1/2 and being recorded on audio track 1, and the midi track 2 is output to 3/4 and being recorded on audio track 2.


Or, what you may be running into is your Hard Drive getting behind in recording. Check the internet to see how to optimize your system (processor, and windows settings) with Cubase.


(sorry for the interruption again!)

 

[3rdeyeKnight]

Yo Wallz. In one of your earlier posts, I noticed that you use a stereo-expander. How does that work exactly? I've done some research on my own and I've seen some interesting rack pieces(DBX,Drawmer,Aphex) that I may add later. I'm still new to the game and for now, I work mainly out of my DAW using Sonar 5 P.E. Would it be to my advantage to invest in one of these rack- units or use a soft-app of some sort?

 

[Tyree D.]

(sorry for the interruption again!)

If you know the answer, go for it. Somebody asked a question on doing hip-hop in another country and after 3 pages of no answer, I gave my insight. I still wanna know Walls' impression if he got one. But depending on the country, all of y'all would be a shoe-in for deals! DaNOC said he got huge in Japan before he went back to New York. I gotta go back to Cali but I will have Thailand production credits to my name. That can sound huge. Game made one mixtape verse in Spanish and even this board was like "ooooooooooh!".
Unless Walls says, "No, this is my thread, b*tches", go ahead and answer.

 

[Beatsmyth20]

Hey Wallz,

The way I've been making beats lately is by recreating old songs with my Roland workstation instead of sampling the actual recording. I would like to understand how difficult it will be for a label to get clearance for these beats, before I start spending a lot of time making beats this way. Is it correct to say that, in this case, the label would only need permission of the song writer, and not the person or entity that owns the sound recording copyright. And is getting the songwriter's persmission just as difficult and/or costly as getting the permission from the owner of the sound recording?

Thanks mang

 

[Tyree D.]

now I asked this question earlier and didn't get the answer. But I do know the partial answer. I've been on indy labels that have said, "Absolutely no samples. We don't have the money." And I do know Kanye does get the sample money deducted from his royalities. He claims to be $600,000 in debt.
Depending on the sample, it can cost anywhere from 12 cents a second to $6,000 per loop. I do know when Curtis Mayfield was alive he wanted $6,000 up front plus royalities. Bohannon wants over $12,000 according to Diamond D. I've been there when others tried to get samples cleared. But I do wanna know how Walz has gone about this.

 

[Mister Encore]

good looking out to those who answered my questions

 

[Wallbangerz]

now I asked this question earlier and didn't get the answer. But I do know the partial answer. I've been on indy labels that have said, "Absolutely no samples. We don't have the money." And I do know Kanye does get the sample money deducted from his royalities. He claims to be $600,000 in debt.
Depending on the sample, it can cost anywhere from 12 cents a second to $6,000 per loop. I do know when Curtis Mayfield was alive he wanted $6,000 up front plus royalities. Bohannon wants over $12,000 according to Diamond D. I've been there when others tried to get samples cleared. But I do wanna know how Walz has gone about this.

I use DMG to clear samples. Samples cost money. Don't get it twisted it has nothing to do with how much you use. This is a popular misconception. In 2004 a major piece of law was written that make ANY use of a sample, be it a kick or a snare or entire phrase ILLEGAL if its not cleared. The cost of clearing can literally cost ANYTHING!! It totally depends on the owner of the copyright and master recording. I sampled a record from the Ojays that is costing 5000 up front and 60 percent of the publishing. I sampled other records that didnt ask for anything upfront, but wanted all the publishing. Depends on who the sampled artist is, and who actually sampled it. I know Aftermath and Def Jam pay much more because their records sell more. Its very subjective and there are no set rules that the sampled artist has to follow.

 

[Wallbangerz]

Hey Wallz,

The way I've been making beats lately is by recreating old songs with my Roland workstation instead of sampling the actual recording. I would like to understand how difficult it will be for a label to get clearance for these beats, before I start spending a lot of time making beats this way. Is it correct to say that, in this case, the label would only need permission of the song writer, and not the person or entity that owns the sound recording copyright. And is getting the songwriter's persmission just as difficult and/or costly as getting the permission from the owner of the sound recording?

Thanks mang

Replaying a sample is less expensive because you only have to deal with the person(s) who WROTE the song. These kinds of covers are common and are relatively painless. The hurt comes in when u sample and loop the MASTER RECORDING from a CD record or the net. Its never been a problem replaying songs, it has only really become a serious issue because the Beatles (and Jay-Z) went nuts over the Grey Album. THANKS DANGER MOUSE!!!!

 

[Wallbangerz]

Yo Wallz. In one of your earlier posts, I noticed that you use a stereo-expander. How does that work exactly? I've done some research on my own and I've seen some interesting rack pieces(DBX,Drawmer,Aphex) that I may add later. I'm still new to the game and for now, I work mainly out of my DAW using Sonar 5 P.E. Would it be to my advantage to invest in one of these rack- units or use a soft-app of some sort?

Stereo expanders move the sereo image out past the normal capabilities of the speakers resulting in a percieved "wider" stereo sound. Using a stereo expand in SMALL doses helps a mix to sound as if it is bigger. Using too will make the center of your mix (where all the kick and bass is disappear. So use in moderation...