Ella Walter
Panning in Reason is a process that allows users to adjust the stereo field of their audio by moving the sound from left to right or vice versa. This is achieved by assigning an LFO or Mod Envelope to control the pan position. While Reason offers flexibility in panning, it lacks a pan law setting, which can cause clipping if not carefully managed. Users can also automate the panning process, allowing for creative combinations of waveforms, filter frequencies, and EQ adjustments. Additionally, the Unison device in Reason helps stereo-ize monophonic sounds, enhancing the panning experience.
| Characteristics | Values |
|---|---|
| Panning in Reason | Run a device in mono or split the stereo into 2 tracks in the mixer so each side of the stereo field can be independently panned L or R |
| Selig Gain | Dual L/R pan controls allowing for better control of stereo panning |
| Mono tracks | Can be made "stereo" by busing them to Aux tracks |
| Output | Likely to be mono |
| Panning knobs | Present on each instrument as well as the mixer |
| Faders | Used to set relative track levels |
| EQ | Used to give each track its own sonic space by shaping sounds with equalization |
| Reverb | Used to give each track its own apparent distance from the listener by adjusting reverb levels |
| Dynamics | Used to smooth out peaks, eliminate background noises, and bring up the level of less-audible phrases |
| Gain control | Used to set the levels of tracks, prior to adding dynamics EQ, panning, or anything else |
| Auto-panning | Can be achieved by using the LFOs of the Reason synth devices or a Matrix pattern device |
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What You'll Learn
Using the mixer to adjust the pan
Panning in Reason allows you to move your sound from left to right or vice versa in the stereo field. To do this, you must set up something that signals the audio to move from one side to the other. This usually means assigning an LFO or Mod Envelope to control the pan position of your audio.
The mixer channels in Reason have pan pots that mimic the pan pot on the mixer channels. At the centre, you have the foundational sounds, and to either side are the accompanying sounds that balance each other out. For example, drums, bass, two electric guitars, an organ, horns, and percussion instruments can be placed on either side to make the mix sound balanced from left to right.
The gain knob or trim control is at the top of each channel on your mixer. You use the gain control to set the levels of your tracks before adding dynamics EQ, panning, or anything else. When setting up a mix, your first goal is to get a good static mix, using only the gain controls.
To adjust the pan on the mixer, you can turn the panning knobs on each instrument, as well as on the mixer. You can also adjust the level of an effect across all channels by tweaking the Return master pots at the top right of the mixer.
If you're working in Reason 3, you can adjust the panning by swapping out your RV7000 or DDL1 delay with one of the new Combinator delay-based effect patches.
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Converting mono to stereo
Using the Haas Panner
The Haas Panner is a combinator that adjusts the Haas effect according to the pan settings. This method involves using the Pulverizer device to create a stereo flange effect. First, set the filter type to Comb and adjust the Filter Frequency and Peak (Resonance) to your desired taste. Next, enable the Tremor section (LFO) to affect the filter frequency. Now, enable Spread so that the left and right channels have inverse LFOs. Finally, adjust the Squash and Wet/Dry parameters to blend the stereo flange effect with the original mono signal.
Using the Alligator Device
The Alligator device in Reason can be used to split the mono signal into three lanes. To do this, connect the CV cables from Gate 1 out to Gate 2 in, Gate 2 out to Gate 3 in, and Gate 3 out to Gate 1 in. Now, you can pan the High and Low lanes hard left and right while adjusting the delay, phaser, and drive knobs to taste. You can also experiment with the Eq of the Alligator, but this may significantly change the character of the sound.
Using the Stereo Imager
The Stereo Imager in Reason can be used to split the mono signal into left and right channels. Simply dial the imager to split the frequency left and right. This technique works well in combination with the Haas effect. Additionally, you can split the signal and apply different effects to each side, such as room reverb or chorus/unison.
Recording with Multiple Mics
Another method to convert mono to stereo is to set up a stereo pair of microphones in a room and record the same mono source with both mics. This creates a true stereo recording that captures the spatial characteristics of the room. You can experiment with different microphone placements and speaker setups to achieve the desired stereo image.
Using Tape Echo in Kong
In Reason's Kong device, you can create a stereo effect by using Tape Echo with the Haas effect. Dial in some wobble to enhance the stereo imaging. Adjust the Reso and Freq parameters to taste, keeping in mind that the Kong output level may be higher than the original signal. You may need to adjust the levels accordingly.
Remember that when converting mono to stereo, you gain the spatial benefits of stereo, but it is important to ensure that your mix translates well to mono as well. Many playback systems and devices may not reproduce stereo effects accurately, so always check your mix in mono to ensure compatibility and good sound quality.
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Using Selig Gain for better stereo panning
When using Reason, a digital audio workstation for creating and editing music, panning is a crucial feature that allows you to adjust the stereo positioning of your audio tracks. Panning can create a sense of space and depth in your mix, making it an essential tool for music producers and audio engineers.
While Reason offers flexible panning options, one notable challenge is the lack of a pan law setting. This can result in clipping when panning mono signals to one side. Selig Gain, a Rack Extension for gain control, offers a solution to this issue.
Selig Gain provides independent left/right pan controls, allowing for precise stereo panning adjustments. It addresses the "+3 dB sides" pan law in Reason, which causes a 3 dB increase when panning to one side. Selig Gain maintains a constant level, reducing the likelihood of dropouts during extreme left or right pans.
By using Selig Gain, you can automate the left and right panning limits individually, giving you better control over your stereo field. This is particularly useful when working with stereo mix channels, as it allows you to balance the left and right channels effectively. Additionally, Selig Gain's selectable pan law options, such as 0 dB linear, -3 dB linear, and cosine and square root, offer further customization to suit your specific needs.
In conclusion, Selig Gain enhances stereo panning in Reason by providing independent left/right pan controls, reducing the chances of dropouts, and allowing for precise automation of the stereo field. It is a valuable tool for anyone looking to improve their panning capabilities within the Reason environment.
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Using the width knob for flexible panning
The width knob is a feature in Reason that allows for flexible panning. It is one of the more flexible DAWs in terms of panning, except for the lack of a pan law setting. The width knob can be used to achieve a similar outcome as dual mono channels when it comes to panning.
When using the width knob, it is important to note the difference between a pan knob and a balance knob. A pan knob divides a single/mono signal between the left and right channels. In the middle position, the volume is the same on both channels, and in the far left position, the signal comes solely from the left channel. In between settings gradually adjust the signal on both channels. On the other hand, a balance knob already has a stereo signal coming in, and turning it to the left or right adjusts the volume of the left or right channel accordingly.
When using the width knob in Reason, it is important to put the width all the way down and then pan hard to get the same result as panning two separate channels for L/R to the same side. This is because, with a stereo signal, the width knob acts as a balance control, and panning left or right will remove the opposite signal entirely. By putting the width all the way down first, you can achieve true left or right panning.
The width knob in Reason also allows for automation of width and centre point, giving you more control over your stereo image. This flexibility in panning can help you create a wider or narrower sound stage, depending on your needs.
Overall, the width knob in Reason provides a flexible and powerful tool for panning, allowing you to create a variety of stereo effects and manipulate the sound stage to your liking.
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$19.8
Using the faders to set relative track levels
When adjusting the relative levels of your tracks in Reason, you might be tempted to start by moving the big channel faders. However, at this point in the mixing process, you should instead use the gain knob or trim control, which is usually located at the top of each channel on your mixer.
The first goal when setting up a mix is to get a good static mix, using only the gain controls. A static mix means that the levels of all track signals are static and not being manipulated as the song plays. All the channel faders should be lined up on 0, or unity gain. To achieve a static mix, use your ears and the channel meter to decrease or increase the gain of each track until most of its material is hitting around -7 dB. You can do this by soloing tracks, listening to tracks in pairs or other groups, or making adjustments while listening to all the tracks simultaneously.
Once you have each track at -7 dB, you can move on to using other tools in your mix, such as EQ, dynamics, effects, and panning. As you make changes, you may need to revise your static mix levels. To do this, continue using the gain control rather than the faders, until it’s time to craft your final mix.
Reason 10.2 introduced the ability to link together multiple faders and adjust them all from any individual in the group. This makes it easier to write fader automation and trim levels for multiple tracks at once. However, when adjusting a group of faders, keep in mind that they don't track linearly, so your mix will change as you move the faders if they are not all at the exact same level.
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Frequently asked questions
To pan in Reason, assign an LFO or Mod Envelope to control the pan position of your audio. You can also use the Selig Gain feature, which has dual L/R pan controls.
Selig Gain is less prone to dropouts and maintains a constant level. SSL Pan can 'clip' if the pan pot is extreme left or right.
You can create a stereo mix channel in the SSL mixer by using the pan pot to balance the L and R channels.
You can automate panning in Reason by drawing in the automation for the panning knob on the mixer channels. This gives you full control over drawing in the panning curves in the sequencer.
To pan a mono signal in Reason, you can use the Unison device to "Stereo-ize" your monophonic sound. This will also fatten the sound by creating multiple detuned voices.
