Propellerhead Reason 6 Workshop with Hank Shocklee & Falty DL

Propellerhead Software’s Reason audio production platform made a massive leap in 2011. Reason 6 brought features such as the integration of Record (the acclaimed recording and mixing software), new instruments, new effects, a new mixer, and a sexy new audio interface called Balance. Add to this list a pay-what-you-want upgrade option for owners of Reason and Record and you’ve got an impressive music production platform that hit many best of 2011 lists in recent weeks. Reason 6 is a totally new beast.

To help you understand the depth and possibilities of this new production platform we are pleased to preset a special Reason 6 workshop at Dubspot NYC on Monday January 30th from 7-9pm EST. The event will feature production luminary Hank Shocklee (Bomb Squad, Public Enemy, Def Jam), dubstep / bass producer FaltyDL, and vocalist Cody Geil. Dubspot’s Chris Petti and Propellerheads’ James Bernard will host a series of discussions and demonstrations that will introduce you to new workflow and features in Reason 6 using the Balance Controller (read more on Balance below). James Bernard and Hank Shocklee will kick off the event with a short discussion on effecient production methods with Reason and they will quickly segue into producing a track from scratch in front of the audience. If you’d like to join us for this discussion and workshop, please RSVP on our Facebook page. In addition, we will be streaming the workshop live on out site, so bookmark this page if you’d like to catch the workshop online!

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About Hank Shocklee

Hank Shocklee is one of the godfathers of hip hop and modern music production. Through his early work as a DJ on Adelphi University’s 90.3 FM radio station and as a nightclub manager, Shocklee started to meet the individuals who would later be transformed into the groundbreaking group Public Enemy. As Shocklee’s work with Public Enemy started to gain momentum and airplay, a then lesser-known Russell Simmons summoned Shocklee to work on remixes for artists on his Def Jam roster. It was Shocklee’s creative vision and energy that landed him a position with Def Jam Recordings where he served as Vice President of A&R and staff producer from 1986-1988, while he was still developing the Public Enemy Concept. Shocklee also eventually became the Publicity and Marketing point person for Rush Artist Management and handled touring projects for artists such as Run DMC, Beastie Boys, LL Cool J, and Jazzy Jeff and the Fresh Prince. With the signing of Public Enemy to Def Jam Recordings and the group’s rise to stardom, Shocklee’s efforts shifted to full time studio work. He served as Producer and Executive Producer for the group and led them to the success of 1 Double Platinum, 4 Platinum and 2 Gold Albums. Shocklee also managed Public Enemy along with Russell Simmons and Public Enemy soon became Def Jam’s biggest global act and went on the road for a series of successful world tours.

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About FaltyDL

Drew Lustman’s releases as FaltyDL encompass IDM, drum’n’bass, hardcore techno, house, garage, and dubstep. Full of abstractions and abrupt changes, the majority of his output was nonetheless intended for active dancefloors. The New York-based producer debuted “FaltyDL” in 2007 but gained serious traction in 2009 with a pair of singles on Ramp, as well as an EP and an album — titled Love Is a Liability — for Planet Mu. More short-form releases on Rush Hour, Planet Mu, Ramp, and Swamp81 were issued across 2010 and 2011. You Stand Uncertain, a second album, was also released on Planet Mu in March of 2011.

Balance Audio Interface

• 2-in by 2-out audio interface
• USB 2.0 – bus powered
• Hi-end pre-amplifiers
• Hi-end 24-bit ADC/DACs, 44.1 to 96kHz
• Low latency design
• Clip Safe —  “built-in recording engineer” automatically heals any clipped recordings.
• Mac OS class compliant (no driver on Mac OS).
• ASIO drivers for Windows.
• Built-in Propellerhead Ignition Key
• Direct monitoring (for stand-alone or DAW use)
• Two XLR microphone inputs w. 48V phantom power
• Two 1/4″ guitar inputs with padding
• Four 1/4″ line inputs (two stereo pairs)
• One 1/4” headphone output
• Two 1/4″ TRS balanced main outputs
• Hardware input source selection
• Input level control
• Separate output and headphone level control
• Output muting

Links : Balance and Reason – Propellerhead – Balance and Reason Essentials
Balance Design and Features – Propellerhead – Balance – Design and Features

Master Reason & Record with our complete program of courses culminating in a four track EP ready for release.  In addition to achieving a complete overview of the composition process in Reason & Record you’ll also earn the Dubspot Producer’s Certificate in Reason & Record. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, a Refill ready to share, and the Dubspot Producer’s Certificate in Reason & Record.

• Reason Level 1: Sketches, Beats, and Remixes
• Reason Level 2: Dissect and Reconstruct
• Reason Level 3: Sound Design
• Reason Level 4: Advanced Sound Design
• Reason Level 5: Recording and Mixing
• Reason Level 6: Beyond the Rack

This program is about learning Reason by going through the entire process of being an artist, from developing your sound through a series of sketches while getting familiar with the application to creating a fully-fleshed out four song EP. You will create a remix and submit it to an active remix contest, create a refill, and learn valuable insider tips and techniques.

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

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Here it is, you hooligans. You thieving scoundrels. My precious Maschine mapping for Traktor. Why don’t you just take my wallet? Or key to my car? Why don’t you spit in my food and tie my shoelaces together? Why don’t you shave off my eyebrows and paint on new ones with a magic marker? Have you no decency? Have you no compassion? Where is your common courtesy? Stealing a man’s Maschine mapping (even though he’s willingly giving it to you for free)? For shame! For Shame!!! FOR SHAME!!!!!!!!!!!!!!!! – Shiftee

The music playing in the background at the beginning of this video tutorial is the lead track from Rx & Shiftee’s Space Ace EP. Earlier this week, the remix edition of Space Ace Remixes came out courtesy of Rad Summer. You can stream the entire EP here.

Rx & Shiftee – Space Ace by Rad Summer

Related Dubspot Courses Starting Online & in New York City:

Digital DJing w/ Traktor Pro 2 Program starts February 5th Online.

MASCHINE Program starts in NYC January 30th and Online the week of January 22nd.

DJ Extensive Program

Immerse yourself in the complete art of DJing from beatmatching to stage presence. Whether you’re a beginner in search of the fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing. Learn more about our DJ courses and programs.

What’s Included:

• DJ Level 1: Rookie Sessions | Essentials I
• DJ Level 2: Phrase Mixing | Essentials II
• DJ Level 3: Beyond The Blend | Intermediate Skills
• DJ Level 4: Preparation | DJ Psychology
• DJ Level 5: Classroom to the Club | Advanced Techniques I
• DJ Level 6: Club to the World | Advanced Techniques II

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college   teachers  were more like these two!” – Leandro Martinez, Chicago IL

Native Instruments MASCHINE redefines hardware and software integration for music production and creative performance. Upon completion of this program, you will have written a full original track using multiple plug-in instruments and effects, produced a remix based on rearranged source material with your own musical additions, and made recordings of yourself improvising with both projects while creating break downs, build ups, and effect manipulations.

What’s Included:

• MASCHINE Level 1: Programming and Beat Making Basics
• MASCHINE Level 2: Sampling, Slicing and Composing
• MASCHINE Level 3: Advanced Production and Performance Techniques

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

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Rising UK-based electronic music producer and DJ Krystal Klear took a break from a recent US tour to visit Dubspot NYC and talk to us about his early influences, music technology, retro-synths, Manchester’s Hoya:Hoya collective, and much more. The Hoya:Hoya resident is one of the most refreshing and exciting producers and DJ’s coming up. Heavily influenced by late ’80s and early ’90s electro funk and disco boogie and hip hop beats, he’s now crafting his own unique jams like “Tried For Your Love” and “Greensilver” which are absolutely undeniable on the dancefloor. In our interview, he also offered invaluable advice for other up and coming producers.

Krystal Klear – Tried For Your Love (ACKK12×1) by allcitydublin

Krystal Klear was also a participant at the 2011 Red Bull Music Academy event which took place this fall in the Spanish capital Madrid, where he had the opportunity to listen and learn from industry legends and heavyweights like Frankie Knuckles, Erykah Badu, and DOOM. And also collaborate with other rising artists using the latest music production and performance technology.

Pistol Chauffeur – without Talkbox by KrystalKlear

To Cotti, music is music, he’s not just interested in dubstep. But that’s his home, and he works to keep the genre versatile. The producer and rapper came up bringing a heavy reggae sound and grime element mixed in with his dubstep. Growing up in a family partial to reggae and starting his own musical journey as a grime emcee, this all comes as no surprise. As of late, he’s been heavily influenced by hip hop, and has even released a free mixtape through his Sum Ting New label featuring his own vocals on most tracks paired with a number of other emcees. The South London native came to New York last weekend to play at Bass Fueled Mischef and talked to us about the influence of money on music in the UK, pirate radio, diversity of sound in dubstep and more.

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What’s your setup?

I use Reason 4, Cubase, a USB keyboard, Triton sound station with Korg and that’s it. A couple of VSTs, a load of Reason plugins and I’m good to go. I use more Reason refills than VSTs to be honest. Most of the time I choose the sounds by random when working on a tune. Unless it’s a specific idea I’ve got. But I do have a load of sounds I’ve tweaked and saved them down and I use them a lot. For DJing I’ve recently been using CDJs more than turntables because it’s the way the music is going now. I’ve been using dubplate acetate vinyl since like 2000 when I cut my first one. I used them up until 2009 when I started using CDs more. I haven’t pressed dubplates lately, but that’s not to say I won’t again.

What inspired your move into the free mixtape game?

It’s just the culture. You guys do it over here, and we do a lot of it in the UK as well now. It’s a way for me to get more music out there too. Because as a dubstep producer, I probably have like two or three releases a year, so that’s not really much material getting out there. And it’s a way to get different types of material out there. Stuff I might not be known for. Like people might not really know me for hip hop. I’m not just into dubstep man. I’m into music.

How long does it take you to make a track?

I’ve been known to make a whole song in like three hours from scratch. Write the instrumental, write a chorus and verses, and the whole track is done. An instrumental can take like an hour. All that’s left is mixing.

What makes for a good vocalist?

There’s a couple key points. Number one is versatility – you’ve got to be able to handle different types of beats, different music. Creativity as well, like what you’re saying. And originality, with word play and flow.

So you’re a fan of Big Pun?

He’s just a wicked lyricist man. The way that he flowed? Like wow. And the way he put his words together?? He’s just well creative. He wasn’t just saying the same average bullshit. He was being quite creative. A bit flashy and that, but creative. He was popular in London back in my day when Capital Punishment came out. But I think Fat Joe is probably more popular because he’s more commercial.

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Is it still the case that being a DJ helps producers trying to come up?

Yea. Loefah from DMZ gave me the idea. Chef, too. They were really into to productions. And they said you should really DJ to get yourself out there. Then they invited us to come play their night, which was our second gig, and I never looked back.

What role did pirate radio play when you were coming up?

I think pirate radio was a very important part of it. I spent maybe four years on pirate radio. I’d test my early productions on there. Get my DJs to play them and we’d spit some bars over them and then maybe we’d take them home and tweak them. I’d take my crew up there, there’d be about six of us (four emcees, two DJs). And we’d decide based on the reaction of the DJs and the other emcees. And obviously we’re on air, and people are locked in. People would call up and text. We’d have the phone line poppin, like text, text, text. Like hundreds of texts for a two hour show.

What’s replaced that role?

I personally think the whole music industry has changed and it’s affected everything, not just pirate radio. Not just underground clubs and labels. It’s all money motivated now. Business oriented. Pirate radio has gotten pushed to the back. Mainstream radio kinda got a few DJs in, and they’re trying to cater to the underground. Somehow they’ve locked off all the good underground radios. I don’t know what’s happened. It’s gone from underground to overground. It’s a good thing and it’s not a good thing. It’s good in the sense that more people can listen to it, it’s more accessible to the masses and there’s a chance to make a living off of it. But the worst aspect of it is that anybody with money and a couple of links can just step into the music scene in the UK now, and you’re the top boy. Just because of money and who you know rather than talent, which is a real shame. There’s so much shit out there these days.

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Does having a grime element help you stand out?

It did, but not anymore, because people with a lot of money came along and are doing the same thing. They put more money into it and get more exposure. Competition is fierce now. Dubstep and grime, they’re basically the same scene now. They’ve been taken over by groups of labels or people, and they’ve kind of just cornered the market. It’s all about money now. Three years ago, it wasn’t like that. 2008. You could just make a really good record and then use the internet to get people all around the world listening to it through places like dubstepforum. But now there’s a million dubstep forums. There’s a million dubstep producers. The only thing that’s really separating people is money and PR. It doesn’t seem to be about good music anymore, which is sad. You got so much shit music right now and the kids are going crazy for it, because it’s the latest thing, the new fad.

Do you think dubstep has lost it’s versatility?

No, I think it’s still versatile. I mean, what most people are listening to isn’t – that brostep, noisy kind of bullshit. But that doesn’t mean that’s all dubstep is. You got so many aspects of it. You got people like Cluekid, who I don’t really work with anymore. He’s got a jungle vibe to it. Then you’ve got people like Coki and Kromestar. They’ve got a mid range kinda thing going on with their tracks. And recently I’ve been making some hip hop influenced dubstep. And then there’s like the original reggae type of dubstep. There’s loads of influences that make it versatile. I think brostep is the biggest right now though. And it’s still another part of it. But don’t get stuck on one bit.

Do you see much of a difference between brostep and the metallic mid range sounds from London?

If you’re asking is there’s a difference between Skrillex and Coki, then yea. Hell yea. Coki’s stuff is more coherent. It’s more of a vibe rather than just hype. The brostep seems like it’s all about getting excited. Like who can make their track do the mad craziest thing. Music’s not about that. To me, music’s about what can give me the good vibes. It’s not all about the mayhem. I can’t explain it, you’ve just got to come and listen.

Electronic Music Production and Sound Design Instructor Evan Sutton explains how to make basic connections and building a subtractive synthesizer using Native Instruments Reaktor’s Built In Modules in this new tutorial. There are many levels to Reaktor’s hierarchy. In the last tutorial, we spent most of our time on the Instrument level, making small changes and swapping out effects. If you missed the first tutorial, you can find it here.

In the second installment, we’ll go even deeper and build our own instrument from the ground up. We’ll be using Reaktor’s Built In Modules, which are tools that range from simple math to complex signal processors. Many of these modules are the basic tools used in modular synthesis. We’ll use these to build a simple synthesizer with one oscillator and an amplitude envelope. Remember to keep the volume down while you’re setting up your modules.

It’s important to explore basic signal flow in Reaktor. There are infinite possibilities for experimentation, but these concepts are the starting point for building larger and more complex ensembles.

The track playing at the beginning of this tutorial is “I’m So Digital” by Astrolith, which is Evan Sutton’s new music project. Check him out on SoundCloud.

Become fluent in the language of sound design with this comprehensive program. This six-level Sound Design & Synthesis program uses Native Instruments’ Komplete 7 as a platform for learning synthesis and sampling techniques. Starting with an introduction to the properties of sound, this comprehensive series of courses covers most common synthesis methods available for music production in the DAW of your choice.

Discovering the right sound is like finding a needle in the digital haystack. Learn the fundamentals to make this easier, and gain the depth of knowledge to make a good sound better. Factory content is great, but everyone has it – your mix needs something special.

What’s Included:

• Sound Design Level 1: Introduction to Komplete 8
  
• Sound Design Level 2: Synthesis with Massive, FM8 and Absynth
• Sound Design Level 3: Sampling with Kontakt and Battery
• Sound Design Level 4: Advanced Sound Design
• Sound Design Level 5: Reaktor Ensembles and Instruments
• Sound Design Level 6: Reaktor Programming

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

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Space Madness is a dazzling collection of songs showcasing Sarah White’s remarkable songwriting skills, vocal abilities and her knack for dropping incredibly hypnotic, well refined, electro-acoustic soul bangers. The album is tightly reinforced with stylistically inventive and deep-leaning, future soul-funk productions from Dubspot staff member, multi-talented musician and producer Rico Simon Mendez (a.k.a. DJ Don Cuco) with additional productions from Hadyn, Teddy G, and PoLo (PapaJazz) and vocal contributions from Cecilia Stalin and Nicholas Ryan Gant. Space Madness is an emotionally honest, life-affirming, and gorgeous record, full of unrelenting positive messages. Album opener “Reachin’ Up” is a compellingly sombre yet blues melting jam which beautifully highlights Sarah’s understanding and sense of classic American soul, while songs like “Fam” and “Nu Life” are positively woozy, future boogie electrosoul transmissions, absolutely lush with impressive synths, string orchestration, and tastefully distorted guitars. All this suspended atop propulsive rhythms and percussions, and Miss White remains consistently arresting, on point, and elegant throughout. It’s truly a beautiful collaboration; a brilliant voice with a forward-leaning, unique musical vision.

You can stream the entire album below, and purchase it at a pay-what-you-can rate on her Bandcamp.

1 – Reachin’ Up
2 – Fam
3 – Nu life feat. Nicholas Ryan Gant
4 – Limitless
5 – Miss Bliss
6 – Warrior feat. Cecilia Stalin
7 – Mama Tierra
8 – Seek Elevation
9 – Why Cry?

Navigating beauty and pain with deep, mesmeric, off-centered beats, soulful, dub-wise electronic impressions, twirling synthlines, and reinforced sub-bass, 1000 Sunrises is a perfectly balanced album. The six tracks presented here are meticulously and lovingly put together, and they move with an unhurried, reassuring pace. From the opening “Feel It,” with its extra-bouncy thump and unrelenting, catchy synthline to the meditative “Tayyib,” which maintains a solemn and contemplative mood with eerie voices but holds a propulsive groove, and the staggeringly beautiful, mind-expanding title track “1000 Sunrises,” DJ Kiva remains remarkably self-reliant and uncompromising in aesthetic throughout the entire album. Album closer “City Of The Dawn” is the uplifting, post-future, and soulful electronic music you can only get from an experienced and self-assured electronic music producer, whose style and range go far beyond arbitrary and trendy sub-genres. Electronics, melody, dub, and soul come together – same as it never was.

You can preview and buy the full album on Bandcamp. We’ve also included the album’s tracklist and DJ KIVA’s video for the song “Tayyib” that he created using Modul8 VJ software along with the Akai APC 40 as a video controller. This song is also available for free download on his Soundcloud below.

1000 Sunrises
1. Feel It
2. Tayyib
3. 1000 Sunrises
4. Angels + Illusions
5. Lost In The Sauce
6. City Of The Dawn

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In July Dubspot hosted a live streaming workshop with Brazil’s Percussivo Mundo Novo (which translates into “New World Percussion” in English.) Lead by the band’s songwriter and video game controller wiz Mikael Mutti, PMN truly embodies the vision their band name suggests. In this video re-cap of PMN’s Dubspot workshop you’ll witness Mutti perform synth magic on his iPad-driven Guitar Hero controller before taking to the Nintendo Wii controller for a drum solo. In addition to demonstrating his 21st century production techniques, Mutti discusses how his roots in Afro-Bahia rhythms are an integral element in PMN’s sound. By capturing a vast array of sonic possibilities with new technology, PMN maintains the irreplaceable sound quality and energy that comes with live drum performance.

On their song “Shogun,” it may be virtually impossible to discern between PMN’s live percussionists and Mutti’s joystick drumming, but when his iPad synthesizer enters, you’ll know it’s from the future. The rest of the track hops and skips through infectious drum interludes while sauntering piano melodies introduce the repeating “shogun.”
Percussivo Mundo Novo – “Shogun”

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In this video performance of “Iansa,” Mutti begins the performance faced away from the crowd, kneeling in front of a djembe drum. It appears that Mutti is actually playing the instrument, however as he rises from the drum, you notice the Wii controller in his hands. A voice comes over the speaker describing the drum’s ancient history, its ancestral roots to Africa, and a reminder that this past is what brought us to where we are now. The voice ends by saying, “Traditions and modernity, contradictions that make us who we are today.”
Percussivo Mundo Novo – “Iansa”

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In this tutorial Dubspot instructor and electronic musician Chris Petti takes you through three very powerful uses and applications for the versatile new Pulveriser effect processor in Propellerhead’s Reason 6.

Pulveriser brings together crunchy compression, dirty distortion, a multimode filter and flexible modulation in a single sound-crunching effect. Crush, mangle, and destroy your sounds. Apply careful parallel compression to bring out the details of a sample or recording. Use the envelope follower when recording live instruments for responsive, expressive filter effects.

First Use on Sub Bass

In the first example, the Pulveriser will be applied to an already heavy and solid Sub Bass patch. Listen as the Pulveriser brings a new level of depth and dimension to the bass thru its compressor , distortion, and parallel processing capabilities

Second Use on Synth Lead

In this second example, the Pulveriser will be applied to a lead synth patch. This example focuses on the Tremor’s spread functionality and parallel processing to add width and animation to the sound

Third Use on Synth Pad

In this final example, the Pulveriser will be applied to a synth pad sound. This example uses the Tremor and Spread functions, and shows how the Tremor’s rate can be controlled dynamically by incoming volume thru the Envelope Follower. The result is a pad/texture sound that now lives and breathes.

Here is a track that Chris Petti co-produced with up and coming producer and Dubspot staff DJ Koolis.

Chris Petti & Brian Kullas – Clocking Error by Dubspot

Reason & Record Producer Certificate Program

Starting November 29th, 2011 and April 18th, 2012 in New York

ONLINE Classes coming soon

Master Reason & Record with our complete program of courses culminating in a four track EP ready for release.  In addition to achieving a complete overview of the composition process in Reason & Record you’ll also earn the Dubspot Producer’s Certificate in Reason & Record. After completing this program, you will leave with a new EP, a remix entered in an active remix contest, a Refill ready to share, and the Dubspot Producer’s Certificate in Reason & Record.

Learn to use Reason & Record at Dubspot with our 6-level Reason & Record Certificate Program featuring courses that include:

• Reason & Record  Level 1: Sketches, Beats, and Remixes
• Reason & Record  Level 2: Dissect and Reconstruct
• Reason & Record  Level 3: Sound Design
• Reason & Record  Level 4: Advanced Sound Design
• Reason & Record  Level 5: Recording and Mixing
• Reason & Record  Level 6: Beyond the Rack

Check out this video interview with Dubspot instructor, Chris Petti on using Reason in  the classroom:

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Like much of the architecture in the streets of New York, a rich history is always present in DJ Chicken George’s new Dubspot mix. His ode to the city takes a variety of soulful influences and brings them together with a modern glow through remixes and edits, resulting in a style he calls ‘jazztronica’. Like a cool breeze on a warm city night, the mix rolls by with a joy that persists in the face of a world weariness. All of these selections are from vinyl 45s and include artists tied to New York in some way. Chicken George, who received his name in middle school, has released two compilations on Stockholm’s Swedish Brandy Productions and throws a weekly party called Jazztronica! Saturdays in Austin, where he was voted best club/party DJ for the Austin Chronicle’s “Best of Austin” readers poll. The DJ has performed alongside Sharon Jones and the Dap Kings, Saul Williams, The Roots, The Neptunes, and more. Once you’ve downloaded this mix, grab more of his jazztronica blend of soul, jazz, grooves, funk, Latin and dub fused with updated beats on his own podcast page.

Peddlin’ 45s for Dubspot (Ode To NYC)

1. Nina Simone – Four Women (DJ OBaH’s Recycled Funk Remix)
2. The Ambassadors – Ain’t Got The Love of One Girl (On My Mind)
3. Menahan Street Band – Make The Road By Walking
4. Aretha Franklin – One Step (Featurecast Re-Edit)
5. Q-Tip – Gettin’ Up
6. Ocote Soul Sounds and Adrian Quesada – Vendendo Saude E Fe
7. Beastie Boys – Electric Worm
8. Rob Tex Presents The Red Method – How High
9. Boogie Down Productions vs. Greedy G – Extra Raw
10. Jimmy Castor Bunch – It’s Just Begun (UBB Mix)
11. Nickodemus feat. The Real Live Show, Rabbi Darkside, Illspokinn & Sadat X – New York Minute
12. GRC Bailables Vol. 2 – Puerto Rico
13. CSC Funk Band – A Troll’s Soirée (Brooklyn Chimp Remix)
14. O.C. – Time’s Up (The Powerful Beacon Remix)