WWW.TRANCETUTORIAL.COM
Hannett Technique
Page 2
OK, so that
is the wiring done, but what is happening to the signal? The left Malström
signal simply goes into the mixer and then sends to the Hardware Device as
normal. However, the right Malström signal goes into the delay unit first,
before recombining with the left signal inside the mixer. If you play the synth
now, you will get what sounds like a standard delay effect, but that is not
what we are looking for.
8. Press TAB to flip the Rack.
The Mixer
14:2 Pan Knobs set a channel’s position in the stereo field.
9. Set Mixer1 Channel1 Pan to -64.
Sending Channel1 hard left.
10. Set Mixer1 Channel2 Pan to 63.
Sending Channel2 hard right.
The DDL-1
Pan Knob sends the delayed signal either left or right.
11. Set Delay1 Pan to 63.
With this
setting, only the delayed right signal is travelling to Mixer1 Channel2. If you
play the synth now, you have something a little more interesting, what would be
called a round robin effect if you were working with vocals. However, this is a
special effect and we want something simpler.
The
DDL-1’s Unit Button changes the delay time from synchronized step timing to
free millisecond timing.
12. Left Click the Unit Button to switch to milliseconds.
This is
the Delay Time Display. You use this to set the actual delay time of the copied
signal (time gap between the original and the copy).
13. Set Delay Time to 15ms.
And that’s
all there is to it, instead of having both left and right audio signals
happening at the same moment in time, you have the right signal coming in 15ms
after the left. Because the time lag is extremely short you don’t hear it as a
noticeable gap, instead your brain interprets the gap as ‘I am in an
environment’ or even better for your purposes ‘I am listening to a fat synth’.
If you are
in any doubt about the improvement feel free to A/B this and the original sound
by using the Delay1 Bypass Switch. You can fine-tune the delay time and
feedback settings for slight variation and use this effect on any stereo
source.
Sometimes
this method offers the key to improving elements you do not want to drench in
reverb. It is especially good on drum loops but sounds great on pretty much
everything. However, beware using this with Thor, it
won’t always work, as many patches are mono. Of course, there is a way to alter
this method for use with mono elements, but I’ll let you figure that one out on
your own.
Until next
time...RT
If you
want to learn more about the wonderful possibilities of delaying sound in
Reason, you can do so here.
Copyright
owned by TTIUK - Terms and
Conditions