Expert’s Rating
Pros
Cons
Our Verdict
supersede racks of ironware instruments and drum machines with virtual software program ? When Reason 1.0 was first released nearly 10 years ago , the estimate was still largely dissident . Reason , which combine solid - performing racks of software program instruments and effect with mingle and sequencing , help change that perception . Part of Reason ’s popularity is its undetermined - end interface : get users can stick to its automatically configured front panel , while sophisticated users can hit the Tab key and repatch faculty into powerful tradition fishing rig . A firm stream of update over time has contribute module and polished functionality while adhering intimately to the original rule and keeping the use of system resourcefulness and screen real the three estates economical .
Version 4.0 introduced a vastly - meliorate sequencer , a rich , new synth , arpeggiator , “ rut ” editing , and usability tweaks . preceding releases have proven that subtle change can make a with child deviation in workflow , and now that the developer has set up a brand new fellow traveller covering calledRecord ( ) that fills some of Reason ’s gaps , it ’s a everlasting sentence to revisit Reason .
New modules: Thor synthesizer, RPG-8 arpeggiator
If you ’re not concerned in ripe sound excogitation , recent versions of Reason mirthfully hide their complexness . In fact , most of the meter , you could very quickly call up a gimmick , load a preset from Reason ’s friendly preset browser app , and start playing , with Reason handle frame-up for you . But when you do want more profundity , Reason ’s modules can be combined into monstrous sound - puddle environments .
The Modern synthesist , Thor , is a microcosm of this design . If you just require a library of spark advance and pads , Thor delivers a wide range of rich - sounding preset content . Hit the Show Programmer button , though , and you ’ll find a thick but powerful semi - modular synthesist . Thor has three oscillators , three filters , four envelopes , a moving ridge shaping machine , two Low Frequency Oscillators for inflection , refrain , and delay , and a step sequencer , all before you add in Reason ’s library of level-headed modules . Oscillators include wavetable sources in addition to the more - vulgar type , and the Ladder Filter , Comb Filter , and Formant Filter are peculiarly gorgeous .
Reason offer a wrack of virtual instruments , outcome , and pattern generators , alongside a sequenator and mixer . New in this version : a float window from which you may well choose modules ( powerful ) , a new arpeggiator module ( top ) , and a potent synthesiser ( Thor ) . you may route sign between Reason ’s devices , and Thor itself has a powerful semi - modular routing scheme for make complex sound designs .
Reason offers a rack of virtual instruments, effects, and pattern generators, alongside a sequencer and mixer. New in this version: a floating window from which you can easily choose modules (right), a new arpeggiator module (top), and a powerful synthesizer (Thor). You can route signal between Reason’s devices, and Thor itself has a powerful semi-modular routing scheme for creating complex sound designs.
Propellerhead name Thor as “ semi - modular , ” but its routing capability are sophisticated enough that you’re able to re - patch all its module into unusual signal routings and modulation that are normally impossible with a typical software synth . you’re able to also route sign in and out of a Reason rack , meaning you could habituate Thor as an effects processor or sign generator for other Reason module . ( That , in turn , makes it still more powerful when combined with audio stimulation using Propellerhead ’s new Record . ) This also score a compelling debate for Propellerhead ’s controversial no - male plug - ins policy : you could freely patch Thor both internally and outwardly with a degree of flexibleness not possible with plug - indium . The undetermined - terminate patching of control and audio signal in Reason and Record even rivals the deep Environment feature of speech in Apple ’s Logic Studio ( ) .
It ’s knockout to believe Reason did n’t learn an arpeggiator until now , given its electronica - cant features , but the RPG-8 single-channel arpeggiator is deserving the postponement . Using bank note and chords , arpeggiators generate rhythmic patterns . The RPG-8 is n’t a particularly unusual take on the construct , but it does put up ample ocular feedback as you encounter banknote , includes quick access to common controls , and also furnish the power to route modulation to any Reason modules . In fact , because you may route it to anything in Reason , it ’s a little unfair to call it an arpeggiator ; it becomes a “ Control Voltage ” pitch contour source for the entire program .
ReGroove mixer, improved sequencer, and usability changes
Reason ’s built - in sequencer has traditionally been spare - off-white ; many people used the ReWire functionality to combine Reason with outside software like Ableton Live ( ) instead . However , Reason 4.0 finally makes the sequencer running and sport . you may create multiple lanes inside each running to keep racecourse of parameters and rule on the Redrum and Matrix . Editing is loose with transmitter - establish automation envelopes , editable clips , and ( long delinquent ) a razor tool for fade sections of your arrangement . There ’s also automation for fourth dimension signature and tempo , a vital feature for mass not making 120 - bpm techno tracks . You ’ll still involve Record , or another host , if you want to add audio , but this is the first version of Reason with a sequencer that ’s leisurely to urge .
The new ReGroove Mixer is a unequaled take on vallecula quantization , for use more human feels to rhythm in your tracks . Reason comes preloaded with the extracted musical feels of various dash and even vintage ironware like the Akai MPC-60 drum automobile . you may apply these to your runway to make the rhythmical swing of sequencer patterns more organic . What ’s unusual about Reason ’s take is that it turn this functionality into feign hardware , with multiple “ channels ” of groove setting you may assign to dissimilar parts . woefully , you ca n’t go for these rut directly to machine ; you ’ll have to create a sequencer track first . But even with like features in other applications , Reason ’s implementation is uniquely herculean and accessible .
reasonableness 4 ’s sequenator is dramatically enhanced . lane for each track make it easier to manage yield and parameter . mechanisation and redaction is much easier , too . The ReGroove Mixer , at bottom , allow you to fine - line swing and rhythmical feel using a social - style user interface .
Reason 4’s sequencer is dramatically enhanced. Lanes for each track make it easier to manage takes and parameters. Automation and editing is much easier, too. The ReGroove Mixer, at bottom, allows you to fine-tune swing and rhythmic feel using a mixer-style interface.
Many modest changes make this the most comfortable version of Reason yet . Reason 4 also adds a floating inspector palette call the Tool Window , which makes it easier to discover and add new instruments , manipulate bank note and mechanisation , and conform groove quantisation . There ’s finally a precount role for the metronome chink , and more manageable default configurations for record multiple proceeds . You still ca n’t load multiple rack side by side ; for that , you have to add Record . The user port also remains extremist - compact , sometimes to a mistake : it ’s heavy to see on a 17 - inch MacBook Pro , though nicely efficient on a 13 - column inch screen . Largely , however , Propellerhead has stomped out Reason ’s major annoyances , without removing the unparalleled features of its personality .
Macworld’s buying advice
understanding 4 has a mint of competition for your medicine - make time of day , but particularly if the idea of patching elaborated impost auditory sensation configurations appealingness , it should n’t be pretermit . Yes , there are other semi - modular synthesizers that can do subtractive , wavetable , and FM deduction like Thor – but few are as patrician on your CPU or as easygoing to patch . Reason ’s sequencer betterment and arpeggiator are n’t news to anyone using modern sequencer and digital audio workstations , but then , no other software system combines these features with free - form modular patching in quite the same room .
Because of its ongoing lack of audio input , Reason alone is unlikely to invoke to most users ; you ’ll probably want to compound it with a host program like Ableton Live , Apple Logic Studio , or Propellerhead ’s own Record . On the other hand , expend enough fourth dimension really learning Reason ’s build - in facilities and you might not even miss plug - inch . That was on-key in 2000 ; the surprisal is that it ’s just as true in 2010 . If you did n’t like Reason before , you ’re unlikely to like it now . But if you liked Reason in the past tense and have n’t revisit it latterly , now might be a expert clock time to give it another effort .
[ Peter Kirn is a composer , producer , and educator , and runs the siteCreate Digital Music . ]
