Skip to the beginning of the images gallery. Earn Alto Bucks. What's in the Box? With its generous sound bank and intuitive flow, Reason helps you along in the creative process and is the music software that never gets in your way. Walk into any professional recording studio and you will see racks filled to the brim with different tools used in music production from reverb to compressors, vocoders, synths, distortion units, and parametric EQs.
The studio's rack is the heart of its creative factory. Reason and Record are no different. That is why we have outfitted your computer with a virtual rack filled with all the same gear.
They look and function exactly like their hardware cousins. Even better, they sound just as good too. Unlike a real studio, however, if you want another synth or an extra compressor you can create one from a menu rather than taking that second job or signing up for those experimental clinical drug trials.
Thor sounds like no synthesizer you've ever heard before - and every single one of them. Where other synths use one specific form of synthesis and one single filter, the Thor polysonic synthesizer features six different oscillator types and four unique filters.
What does this give you? Simply the most powerful synth ever created; an unstoppable monster of a sound generator that utilises synthesizer technology from the last 40 years. Six open filter and oscillator slots let you load up three different synth filters and three separate oscillators simultaneously, allowing you to dial in synth sounds that are completely An all-powerful modulation matrix gives you complete control over your signal flow, letting you modulate anything within Thor with anything within Thor.
Sound deep enough for you? It gets deeper. At the bottom of this synth sits an analog style step sequencer with more than one twist.
Being every bit as modular as the rest of Thor's components, this step sequencer does more than just play melodies - use it as a modulation tool, trigger phrases from specific keys, create intense arpeggios, generate piercing percussion lines.
With its unique selection of oscillator types and synth filters, the Thor polysonic synthesizer is a veritable synth museum. But believe it, there's nothing dusty about this instrument; Thor may have one foot in history, but its sound is pure future.
Included with Reason is a huge sound bank full of inspiring instruments, synth patches, loops, and effects. Reason 6 adds three new creative effect devices which obviously come with new presets and combinators but we didn't stop there.
Reason 6 signals the end of this situation. So Reason 6 is everything Reason ever was, but it now has audio tracks, a better mixer, rack and sequencer, new effects devices, bit operating-system compatibility, and many less obvious improvements.
It's a milestone in the development of the application, and for Reason users who never tried Record, some aspects are going to feel really new. Reason 6's working environment is based around three main elements: the mixer, the rack and the sequencer. These can appear together as resizable horizontal 'panes' in a single window, which can itself be resized to best fit your monitor.
Hitting your computer keyboard's F5, F6 and F7 keys causes the mixer, rack or sequencer, respectively, to fill the entire window, and the same key returns to the multi-pane view. The mixer and rack can also be detached to become independent windows, which will suit users with multiple monitors. Accompanying these three main elements are a handful of 'navigators': smaller overviews of the contents of each pane, complete with draggable handles.
These take the place of conventional scroll bars and allow you to zone in on individual mixer channels and the individual sections of a channel , rack devices, tracks and sequence regions. A transport panel with playback and record buttons, time and tempo displays and the like attaches itself to the bottom of any main window you have open.
And there are three optional floating windows: a multi-purpose Tool window, a 'piano keys' display for allowing some MIDI input when you've only got a computer keyboard or mouse available , and a recording level meter.
All three can be toggled open and closed with more F-key shortcuts. Let's take a closer look at the rack. This is where you create and interact with Reason's various virtual devices.
In previous versions, it was strictly a single-column affair, and as a result, the stack of devices could become will-to-live-sappingly high. In Reason 6, though, there are multiple rack spaces available side by side, allowing you to organise devices more meaningfully. How many, exactly?
Propellerhead don't say, and I got bored with trying to find the limit after inserting devices into Suffice to say that you shouldn't be running out of organisational options even if you have hundreds of devices in your song, which is not out of the question with modern computer hardware. It's in the rack, too, that you decide whether to view the front or rear panels of your devices: the Tab key toggles the view. Reason 6 offers nothing new in its basic handling of audio and CV cables, but compared with older versions, the whole concept of audio mixing has been overhauled.
The Mixer and its little Line Mixer counterpart still exist, but are very much relegated to occasional submixing duties now. Instead, when you create an instrument it appears in the rack with its outputs feeding into an accompanying Mix Channel device. Likewise, when you create an audio track, it appears in the rack as an Audio Track device. Mix Channel and Audio Track devices act as conduits to the main mixer of which much more in a moment and for each in your rack there will be a corresponding mixer channel.
The floating Tool window offers a whole range of additional editing and configuration options. So that's the infrastructure covered. What about the devices themselves? There's a broad range of synths, samplers, effects, dynamics treatments, creative processors and problem-solvers the box at the end of this article gives an exhaustive breakdown.
What Reason 6 patently lacks is any modelled versions of hardware classics, so you won't find overt emulations of Pultecs, Neves, Lexicons or Moogs, to pick a few studio luminaries at random. And forget VST, Audio Units or any other plug-in format: Reason 6 is very much a self-contained ecosystem that simply doesn't do plug-ins.
The trade-off for the lack of expandability is undoubtedly stability and ease of setting up. There's also the argument that the open-ended possibilities for modulation of one device with another can more than make up for any perceived shortcomings — and that's especially applicable for synths and effects. As you'd expect, Reason's sequencer handles audio and instrument tracks side by side, and it also includes a Transport track by default, for tempo automation and time-signature changes.
The time ruler is fixed to a bars-and-beats time format, but is accompanied by a Time Position display in hours, minutes, seconds and thousandths of a second in the Transport strip. Sequence data appears in track lanes in what Propellerhead call Clips. These are notional 'containers' of audio, note, automation and pattern data that can be selected, resized, dragged and duplicated for editing and to build up repetitive structures. There are actually two distinct editing modes in Reason. In Song View, you work with clips on an overview scale, and the data for multiple tracks is visible.
In Edit Mode, which can be entered by double-clicking a clip, a more detailed view of an individual track appears, and there are frequently multiple rows of information. For example, an instrument track might display a piano-grid display as well as note velocity and several additional rows for parameter automation data.
Audio tracks display multiple takes in a very elegantly designed 'comp' editor. For general editing, there's a small palette of tools, selectable with a mouse click or keystroke, and they're intuitive and uncomplicated in use.
The pencil tool lets you draw in new clips, automation or note data. The razor tool splits clips, and the mute tool — surprise, surprise — mutes them. Numerical values for selected data appear in an Inspector strip at the top of the sequencer, and they can be directly edited when you want to work in that way. A simple edit grid system constrains dragged data or allows it to be positioned freely, and it's smart enough to remember separate grid settings for Song View and Edit Mode.
There's another way of working with the sequencer too, in Blocks mode. Here you develop individual song sections in isolation and then later, in Song View, arrange them into large-scale structures.
It's a dynamic system, so if you change something in an individual block, the large-scale arrangement instantly includes that change. You can also make localised overrides and additions: if, for example, you use a verse section twice, it can have some clips muted the first time, and a few new ones added the second.
It's a nicely implemented system that makes experimenting with song structure remarkably easy. Additional editing possibilities come in the form of the floating Tool window, which carries extra quantisation options, plus transposition, velocity and note-length functions, amongst others. Focusing on the transport section for a moment, a pair of L[eft] and R[ight] markers define Reason's playback loop region, and an E[nd] marker indicates where a song finishes when it's exported bounced as an audio file.
There are no user-definable markers, though, so if you like to label up song sections you'll be out of luck. The metronome click is simple and effective, though, and offers a one- to four-bar count-in option. The back of Reason 6's virtual rack, with its audio and modulation cabling, is still one of its most distinctive and powerful features. In case I haven't made it clear enough already, Reason 6 has audio recording — woo-hoo!
And one of its headline features is real-time time-stretching, so you can record at one tempo and play back at another, with no change in pitch and surprisingly little impact on quality. Audio Track devices in the rack have a Stretch Type parameter with three different values optimised for different types of material: Allround, Melody and Vocal. However, there's no audio quantising, of transients or anything else, and no manual manipulation of the waveform like Logic's Flex Time. Entirely new in Reason, though, is real-time transposition of audio clips, which can be shifted by up to an octave higher or lower, making successfully harmonising loops and samples taken from multiple sources a much more viable option.
The Reason 6 mix architecture is still very much stereo-only, and you can neither mix in surround nor import surround files. Audio tracks can, of course, be mono or stereo, and along with a hardware input menu on every audio track there's also a handy tuner function, so no more excuses for sick-sounding guitar takes.
The very clear input monitoring scheme is worth a special mention. A Preferences window option lets you choose one of three different monitoring modes: Automatic, Manual and External. These control how the monitor enable buttons on audio tracks interact with the record-enable button — or, indeed, whether 'software' monitoring is enabled at all.
Suffice to say that it's extremely easy to understand in use, and easily adapts to pretty much any conceivable hardware setup and monitoring requirement.
Previous versions of Reason had to make do with a input mixer for all mixing duties, but in Reason 6, the mixer is a separate entity that's also modular — it gains channels as you add tracks.
Rather than rigidly emulating hardware practice in having virtual audio cables running from each device to a patchbay, the rack sends audio to the mixer via Audio Track and Mix Channel devices. That keeps audio cabling local to individual devices, which is very sensible. There's nothing compact about Reason's mixer.
This composite image shows a single channel strip, next to the master section. I notice that association seems to have evaporated nowadays, but still, the Reason 6 channel strip is appropriately feature-packed, and absolutely huge.
There are also user-configurable knobs and switches for directly controlling parameters that are part of a track's insert effects. A built-in stereo mix-bus compressor supplies some 'glue' and punch when necessary. Impressively, there's also a proper Control Room section, which, as well as having a separate monitoring level control, also lets you monitor any of the aux sends or returns.
Make beautiful music with the most complete mixing software available for Windows. If you're a professional musician or a serious amateur wanting professional tools, finding the right software isn't easy. Mixing, sampling, noise reduction, audio compression If you're serious, then be serious and give Reason for Windows a serious look. Reason is one of the most complete audio mixing tools on the market today. It combines complete recording tools with some of the best mixing consoles and equalizers into a single, integrated tool.
With it, you'll have access to multiple channels, multiple, parallel racks, and tons of effects. Reason's fully equipped mixing desk adds a big studio signal chain to all your sound sources. Every audio and instruments track has its own channel strip — the built-in EQ, dynamics and advanced routing will give your music that unmistakable million-dollar console sound.
The radio ready master bus compressor gives your mixes that extra punch and the professional touch you're looking for. Pros: Professional, modular mixing software for Mac and PC. However, be forewarned — if you don't have a background or active experience in audio mixing, Reason isn't going to be easy to master. You'll need to spend some serious time with the software and with some raw audio tracks in order to understand what all of its tools do to your tracks.
If this isn't you, you're not going to get a lot of value out of the software. Reason is an integrated music recording and production studio with unlimited audio tracks, million-dollar mixing, and a massive collection of sounds included.
Reason comes with all the instruments, effects and mixing tools you need for writing, recording, remixing and producing great-sounding tracks. With its generous sound bank and intuitive flow,
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