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This meant that lapsed users, who may still have held a soft spot for Reason despite defecting to other DAWs, could reconnect with its hardware-inspired devices without having to fully upend their workflow. It was a smart decision on the part of Reason Studios (formerly Propellerhead), making Reason feel more relevant than it had in a decade.
Two years later, version 12 is here. Understandably, it’s far less of a paradigm shift as updates go, focused on new and revamped devices rather than any fundamental changes to the design of the DAW.
Mimic features multiple timestretch modes, including granular and formant-focused Vocal capabilities. Each sound – or multi-slot – also has access to effects, a filter and amp, plus LFOs and envelopes for modulation.
• Ableton Live
Live 11’s new additions here have been smartly implemented. It retains its place at the cutting edge of DAW technology.
• Image-Line FL Studio
FL Studio is a powerful and inspirational application – and a welcome addition to the Mac realm!
• Apple Logic Pro
Logic Pro X 10.5 adds a wealth of empowering features and systems, including grid-based clip launching and an embarrassment of sampling riches.
Adding samples is a simple case of drag-and-drop, and Mimic features automatic root note detection – although in our tests this proved rather hit-and-miss when used with anything other than clean and simple tones. As a whole, it doesn’t do a lot that we haven’t seen before from samplers in rival DAWs, but it’s nicely designed and fills a notable hole in Reason’s toolset.
The other major update comes to Reason’s Combinator, which is used to house and save multi-device patches. The updated device allows users to combine and store any assortment of Reason Rack devices and – in DAW mode – third-party VSTs. Instruments can be arranged to create layers, keyboard splits, velocity zones and have their parameters assigned to top-level macro controls.
So far, so standard, but Combinator sets itself apart with a highly customisable interface that allows users to create their own custom UI. This includes adding and arranging an assortment of hardware-style controls, resizing the device panel and even importing a custom image for use as the interface backdrop.
It’s a really nice update in all, one that adds a sense of real excitement to designing and customising your own instrument and effect patches.
On the visual front, Reason 12 also benefits from updated graphics. While this doesn’t really add value, the devices were beginning to look a little ‘low-res’ and, with its iconic hardware-style design, if any DAW deserves HD visuals it’s Reason. There’s also a sizeably expanded soundbank and some tweaks to the browser – although this latter element still feels a little dated compared to other DAWs.
Is it worth the £130 update price? For those that use Reason as a primary DAW, Mimic is a must-have, although if you use Reason mainly as a plugin there’s a good chance your existing DAW has a similarly tooled sampler. The Combinator update is fantastic, particularly for building Rack tools for plugin-mode, although it’s debatable if it’s worth the update price alone. That aside, for the Reason-curious or lapsed users there’s probably never been a better time to take Reason for a spin.
It’s difficult to shop for a digital audio workstation, or audio editing software in general, without coming across Propellerhead Reason. Born out of an expanded version of Rebirth, itself one of the first comprehensive virtual synthesizers for PCs in the late 1990s, Reason delivered a full-fledged software studio, complete with a virtual representation of rack-mounted instruments and effects boxes and a complete mixer. Now in version 10, Reason still has plenty to offer—including a nice bundle of new synthesizers. If you were put off by Reason before, know that not much has changed; its user interface idiom has aged considerably in an era of brilliantly usable software workstations. But existing fans—or anyone intrigued by a software portrayal of a room stocked with hardware synthesizers and samplers— should take a close look.
Propellerhead recommends either a Windows 7, 8, or 10 multicore machine, or a Mac running OS X 10.7 or later, both with 8GB RAM and 12GB of free hard disk space. The company also recommends an audio interface with an ASIO driver for PCs (Macs’ built-in sound hardware works fine), along with some type of MIDI controller keyboard. For this review, I tested Reason 10.4 on a quad-core MacBook Pro 15-inch (2017) laptop with 16GB RAM, a 256GB SSD, a Focusrite Scarlett 6i6 second-generation audio interface, KRK Rokit 6 G3 powered studio monitors, and an M-Audio Axion 61 mk2 MIDI controller keyboard.
The Reason interface has matured over the years, but the basic format hasn’t changed much. The Browser on the left lets you choose instruments to add to your Rack, which sits on the top right by default. The bottom right usually contains the Sequencer window, for adding, recording, and editing tracks. It’s still possible to flip the rack around and virtually re-cable the instruments, a charming if now almost-archaic concept—especially since populating the mixer in Reason is much more automated these days, compared with the Mackie 1202-like, rack-mount original that was found in the program.
Reason lets you customize the heck out of this; you can put the rack on a second monitor, for example. A dual-screen Reason setup across a pair of 1440p monitors would be amazing. New Blue and Dark themes give the program a more contemporary look, though the mixer and all the dialog boxes remain unaffected, and you have to quit and restart to see each one. More importantly, zooming, scrolling, and otherwise navigating a track while editing it remains obtuse. It’s too heavily mouse-based and disorganized, and as a result, it’s tricky to find exactly the region you want to work on.
The UI idiom is clearly geared toward sound designers, or synthesizer enthusiasts that are thrilled to have a virtual, unlimited, free rack of modules that would have cost prohibitive amounts of money not many years ago. That makes it less well suited to someone coming over from, say, Reaper or Apple Logic Pro X, or moving up from GarageBand. I realize some Reason fans may take issue with me calling the UI a con, but I’ve always found it rather fiddly. And I was making electronic music in the late 1980s and 1990s, back when rack-mount modules were omnipresent. I’m glad to get away from that in modern DAWs!
Instruments New and Old
Since we last looked at Reason with version 10.1, Propellerhead has gone and released several new point updates with significant features. The sequencer side of the program is bolstered, with new multilane MIDI editing, adaptive snap-to-grid, the ability to move multiple faders, and clearer solo and mute buttons. For 10.4, Propellerhead added a new Monotone Bass Synthesizer and Rytmik drum machine, both of which are geared toward the mobile Compact edition of the program but are welcome additions nonetheless.
Several other instruments remain standouts. Europa, which Propellerhead bills as a “shapeshifting synthesizer,” excels at massive synth stabs, aggressive leads, and textured pads to which you can apply various filters. You can use any sample as a wavetable, and you can also load samples into its Spectral Filter to use as a multiplier when filtering sounds. The other module is Grain, which lets you take samples and use them as the basis for granular synthesis. Both modules are stocked with presets that sit nicely in a mix and also continue to evolve and change over time.
What do you like best?
Reason is fantastic to quickly get started in music production. You can jump in and start messing around with loops, eventually building up to a full track. Samples are easily imported and it’s incredibly effective as a programReview collected by and hosted on G2.com.
What do you dislike?
Sequencing isn’t the easiest compared to it’s competitors like ableton. However its still works great and is worth taking the time to get acquainted withReview collected by and hosted on G2.com.
Recommendations to others considering the product:
I would recommend using Rewire with Reason and also sequencing direct into Ableton. It’s easy once you get used to it – and the effects are mind blowing. Also make sure your VSTS are up to dateReview collected by and hosted on G2.com.
What problems are you solving with the product? What benefits have you realized?
I’ve been able to discover more about playing live using pre-recorded loops and samples. something which previously I didn’t think would be achievable
Reason Crack Key Features
- Easy to use for new to expert users
- Powerful music tools
- Arranged and well-placed instruments and sequencers
- Flashing LED with fader effects
- Integrated buttons and knob tools
- The highly super graphical user interface looks like a real instrument
- Pre-configured and integrated no setting required
- You can store your projects in the available rack option
- Add, remove or edit any project from a rack
- Manual routing options to connect anything to anything
- Reason Crack also performs auto-routing for your instruments and effects
- Two-hole cable connections same as a real studio
- All controls and objects designed like a real studio
- Buttons, handles, cables, or any other object performs like real
- The user feels like real hardware controls
- No hidden flip menus or back end screens
What are the system requirements?
To run Reason, you need a computer that meets or exceeds the following specifications:
- Quick, stable web association for establishment and enlistment
- Intel Mac with a multi-center processor
- 4 GB RAM (8 GB or more suggested for huge ReFills or Rack Extensions)
- 4 GB free framework plate space required, in addition to 8 GB for discretionary substance.
- Also, the program may utilize around 20 GB of scratchplate space.
- Macintosh OS X 10.7 or later (64-bit)
- Screen with no less than 1280×768 determination
- CoreAudio agreeable sound interface or implicit sound equipment
- MIDI interface and a MIDI console suggested
Improved New Features (What’s New)
- Faster traffic, Create an audio clip from your instrument. Reverse MIDI and one-button automation.
- MIDI audio, Sing your music, and sing your bass line.
- Click to export a monochrome audio clip to MIDI.
- Use the Razor tool to split your notes.
- More lovely and friendly appearance.
- It is always necessary to show low light in the Reason studio.
- Choose a visible theme that suits your mood, defaulting to blue or dark.
- Clearer sound – with this update you get more sound quality.
- Faster progress – The reason for the ninth Last is completely optimized for your package.
- Audio to MIDI – Currently you will convert audio directly to MIDI.
- Reason 9 is currently being used wireless
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For composing quickly, Reason gets new Loop Supply and Drum Supply libraries that work with the program’s Kong drum machine and Dr. Octo Rex player. The formerly extra-cost Radical Piano blend samples with synthesis in a nod to mid-to-late 1980s early digital instruments, but in a much more realistic fashion than before. The Synchronous modulator lets you run just about anything through it and modify its delay, reverb, distortion, and other characteristics over time in a way that would be difficult to achieve with straight automation.