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New Reason 3.0 gives you one-step loading of complex, customizable instruments and effect setups, a new instrument-packed soundbank, instant integration with MIDI keyboards and controllers, a new intuitive file browser, plus a suite of mastering tools. For a pleasurable, performance-friendly Reason experience.
New in Reason 3.0
It’s not an effect unit. It’s not a synth. It sure isn’t a sampler. It’s… all of it. And more. The all new Combinator is a sophisticated device that allows you to build elaborate chains of Reason units – instruments, effects, pattern sequencers, you name it – and save as Combi patches.
The MClass Mastering Suite
Want big, tight, loud sounding tracks? Need extra stereo width, increased clarity, punchier bass? Say hello to MClass, the new mastering suite in Reason 3.0. MClass brings you four separate pro level mastering units designed to add power, presence and an overall professional feel to your Reason mixes.
Play your Reason System
Play your Reason system! Coupled with the Combinator, the new features in Reason 3.0 – a fresh sound library, an enhanced browser and the new Remote protocol – turns your rack into a very livefriendly, very playable instrument.
For those of you with a more hands-on approach to making music, the revolutionary Remote technology in Reason 3.0 will be a welcome new feature. True hardware integration!
With the Reason 3.0 browser, the task of finding and loading sounds and patches becomes just as smooth and intuitive as the process of making good music in Reason.
Reason’s sound palette is getting bigger, better, wider and wilder. The new sound bank in Reason 3.0 adds huge quantities of instruments, sounds and patches to Reason’s already massive library. Focusing on carefully sampled musical instruments and useful Combinator setups rather than loops and beats, the new soundbank takes a more playable, more performance-friendly direction.
Line Mixer 6:2
Line mixing, Combi mixing or regular submixing? Leave it to Line Mixer 6:2
Line Mixer 6:2 is a simple but effective 6-channel stereo line mixer. Built primarily for use in the Combinator, the Line Mixer 6:2 handles basic mixing and panning of Combi devices, but can of course be inserted anywhere in Reason: use it for submixing large drum kits, or to add extra mixer channels when Reason’s main mixer is starting to fill up. Each of the six channels feature level and pan controls, mute and solo buttons plus an AUX send level control. Need more sends? Extra channels? Just create another Line Mixer.
Record automation on multiple tracks
Copy automation between lanes and tracks in the sequencer
New and improved Mute and Solo features in sequencer
Faster loading of samples. Sample playing devices now load five times faster
Improved sample playback timing and quality.
RV7000 Advanced Reverb
Do you crave sophistication in reverberation? Look no further than the RV7000, the most expensive sounding reverb unit ever to hit the software world.
The RV7000 is a stereo effect unit dedicated to high-quality reverberation.
This device is set on embedding your sounds in the kind of rich, transparent sounding reverb that only the most sophisticated reverb machines are capable of. In short, it sounds amazing. And despite its pro studio sound and million-dollar features, this machine is very easy to use. Your basic reverb controls are located on the main panel – for instant access and control – and the rest, eight separate knobs for algorithms and their parameters, can be accessed from a fold-out remote at the touch of a button.
The RV7000 is advanced and flexible without ever getting too complicated, and lets you dial in your desired reverb sound in seconds, and saving it as your own preset. The future of reverberation, only for Reason users.
The RV7000 is made up of 3 separate sections whose controls and settings are easily accessed from the fold-out remote panel: the Reverb, the main workhorse in RV7000, always enabled. The EQ, for processing of the wet signal. And the Gate, which can be applied to any chosen reverb program or algorithm, allowing for very sophisticated gating effects.
The reverb engine consists of nine carefully crafted reverb algorithms, with seven individual parameters each: Small Space, Room, Hall, Arena, Plate, Spring, Echo, Multi-tap and Reverse, each with up to seven individual parameters.
Where some algorithms simply make up the basic reverb types, others are less traditional: Spring is a very accurate emulation of a classic spring reverb, and Echo is a Reverb/Dealy combo that works wonders with vocal samples.
Hitting the EQ switch on the front panel calls up a handy parametric and low shelving equalizer for additional tweaking of your reverberated signal. Combine this section with the HF Damp and HF Smooth knobs on the front panel, and be the master of your wet signal’s every frequency.
Instead of having a traditional gate algorithm squeezed in with the others, the RV7000 keeps it’s gate on the outside, lettting you apply gating to any and all reverb types. Ever heard a gated Spring Reverb? You have now. You are also free to trigger the gate with CV or MIDI, and to record and automate it as you desire. Which is of course the case with all the knobs and parameters inside and and outside of the RV-7000. Happy reverberation.
BV512 Digital Vocoder
Roll out the virtual red carpet. The king of versatile vocoding is coming to Reason city. No studio setup is complete without a proper vocoder, so here it is: the BV-512, superior sound quality, multi-talented and advanced – yet simple to use.
Besides being a 4 to 512-band vocoder capable of modulating sound in both old-school analog style and digital FFT fashion, this unit also doubles as a fully automated equalizer with a twist. The BV-512 can be used for everything from classic robot vocals to weird harmonic effects.
A vocoder takes 2 input signals, the carrier, which provides the pitch, and the modulator, supplying the characteristics.
Traditional vocoders require you to sing into a microphone while playing a keyboard. Not this one – with the BV-512 you can combine any two sound sources. Try vocoding your percussion track with the bass line or the string pad with the rhythm guitar.
A vocoder splits the incoming audio into a number of frequency bands. More bands gives you more control and more detail. Where most vocoders max out at eight to sixteen bands, the BV-512 gives you up to, you guessed it, 512 bands. In 4-band mode, the BV- 512 provides a gritty, analog, lo-fi sound. The 512- band setting is another beast altogether. In this mode, a digital 1024-point FFT-based algorithm provides the clearest, most detailed and most audible vocoding you ever heard from a computer. The
A flick of a switch turns the BV-512 into a 4 to 512 band stereo equalizer. Use the higher settings for detailed control of the spectrum.
Or try the four and eight band modes for a decidedly more lo-fi sound that adds an unmistakable vocoder “color” to your input signal.
More than you asked for
But wait, there’s more! The Shift knob lets you shift the carrier frequencies up and down for an unreal sweeping effect. There’s a CV-controlled hold mode for freezing the spectrum of the incoming modulator.
There are separate attack and decay controls for fine-tuning the shape of the sound. The filter bands can be controlled in real-time from a regular MIDI keyboard. And if you switch to the back of the unit you get some really unique patching possibilities, like letting any band control any other.
Like all other Reason devices, the BV-512 Vocoder can be fully automated, band level settings included. Record your front panel actions, or use the pen tool to draw in layers upon layers of wild frequency changes. The Shift knob is just one example of a control that’s dying to be automated. One session with BV-512 and you’re hooked for life.
Scream 4 Sound Destruction Unit
Built for breakage and designed to destroy, Scream 4 turns distortion into an artform.
Imagine having all your favorite distortion pedals and overdrive boxes transformed into one shiny, rackmounted Reason device.
Add a touch of speaker modeling and a rough sounding EQ section and you have Scream 4, the ultimate sound destruction unit. With a wide variety of built-in damage methods, Scream 4 is capable of mangling audio in more ways than one. Use it for digital bit crushing, or regular crushing, or just for adding analog warmth and body to your sounds.
If you’re into creative distortion, this unit is your friend to the end.
Scream 4 features ten different damage methods or distortion types, each with its own evil character: Overdrive, Distortion, Fuzz, Tube, Tape, Feedback, Modulate, Warp, Digital and Scream.
The P1 and P2 knobs let you tweak parameters within the selected damage type; in “Digital”, P1 controls bit resolution and P2 controls the sample rate. In the “Fuzz” setting, P1 alters the Tone and P2 controls the level of Presence.
The Damage Control knob controls the amount of damage inflicted on your incoming audio, from mild overdrive to full-on mayhem.
The Cut section is a basic but effective +/- 18 dB Equalizer. With sliders for the classic low, mid and high frequency areas, this section adds more control to your already controllable distortion chain. And don’t be fooled by the name, this thing can boost as well as it cuts.
The Body Section
Last in the signal chain is the Body Section, an effect within the effect designed to add a little muscle to your sound. The Body Section could be described as a type of speaker simulator, but that’s only half the story. There are five basic Body types to choose from – each with its own vibe and method – and separate controls for Body Resonance and Body Scale.
Add to that the Auto knob, an amplitude respondent envelope follower which controls the scale parameter, creating a very special “auto-wah” effect.
An 80s button transformed into a handy rack device. This is UN-16 Unison, the fattifier.
Unison is exactly what the name suggests; a software reincarnation of that mysterious “Unison” button on those early 80s synths. Transformed into a Reason rack unit. UN-16 Unison fattens up incoming sound by emulating the effect of 4, 8 or 16 detuned versions of the incoming sound playing the same note. In ultra-stereo. The result is rich and wide and slightly similar to a chorus effect, only much fancier. Having a Unison effect in your rack gives you the option to apply its magic to more than just synthesizers: Feel free to widen your REX loops, fatten your samples or beef up your snare drums.
Spider Audio & Spider CV
If you ever feel the need to merge or split some Audio or CV signals, these two 8-legged utilities are perfect for the job.
No knobs, no buttons and no display. Spider Audio may not be much to look at, but if you’re a seasoned Reason producer, it might be just the thing you’ve been searching for. The Spider Audio utility has 2 purposes in life: to merge and to split audio. All this splitting and merging brings more of the hardware studio’s patching capabilities into the software realm. Try merging multiple audio signals and process them with the same insert effect, as in sending 3 of Redrum’s toms to the same compressor. Or try splitting an instrument’s output into four, and send them to four different effect processors. Like brother Audio, Spider CV lacks all the visual trademarks of an effect device, because just like Spider Audio, it isn’t one. Spider CV is exactly the same kind of utility as Spider Audio, but here the splitting and merging is performed on CV and gate signals. Which lets you get very scientific about your music: split the CV signals from the Matrix Pattern Sequencer to trigger several synths with the same pattern. Or merge the outputs of several LFO’s to create some very complex modulation patterns.
And you know it doesn’t end there…
The greatest music software on the planet just got greater. New, super-improved Reason 2.5 comes with more machines, more sounds, and more power. Here’s what else you get that was also in previous versions:
Mac OS X Support
Reason 2.0 fully supports the Mac OS of the future.
Malstrûm Graintable Synthesizer
A unique, polyphonic Graintable synthesizer with unheard of filtering and routing powers. The baddest boy on the block.
Malstrûm, now an integrated part of Reason, creates its otherworldly sounds using Graintable technology. Never heard of it? Neither had we, we had to invent it. This technology is a cross between granular synthesis and good old wavetable synthesis. And the result? You’ll just have to hear it to believe it.
The Malstrûm Graintable synthesizer features all imaginable filtering and modulation options, and a couple of unimaginable ones too; Try some real-time waveform stretching, some spectral modulation, or some awesome wavetable sweeping.
Malstrûm comes with a wide range of meaty and exotic Graintables, letting you create anything from lush pads to scary squeals, from the pretty to the gritty. And that’s just the sounds coming from Malstrûm itself; try using this monster’s audio inputs to filter other Reason devices, and let some of Malstrûm’s magic rub off on your drums or sampled vocals. With a device like this, no one can accuse your sound of being ordinary.
What’s Graintable Synthesis?
Sure you want to know how Graintable synthesis works? Ok, here’s the academic explanation.
Graintable synthesis is neither granular nor wavetable synthesis but a combination of the best of both methods. The results are exciting, controllable, and texturally extremely varied.
The basis of a Graintable is a sampled sound, which has been pre-processed using an extremely academic and complex method. A whole leaflet would be needed just to describe this. Suffice to say, the result is a perfect set of periodic waveforms that, due to the pre-processing, can be manipulated in a variety of ways. The Graintable can be treated as a wavetable: sweep through it, move through it at any speed without affecting pitch, play any little section repeatedly, use it to pick static waveforms, jump between positions, etc.
Granular tricks can also be performed on the Graintable. One of those tricks is the Shift function, which uses resampling to manipulate each grain in order to shift the formant of the Graintable through the harmonic spectra without altering the pitch.
The Index parameter controls the position in the Graintable currently played. Sweeping the Index is being done by using real-time controllers or modulation and can be a powerful way of adding life to a sound. Furthermore, each Graintable has a built-in motion that sweeps the table according to pre-specified criteria depending on the Graintable used. In its most basic form, Motion simply controls the speed of the Graintable playback but also controls how a waveform is looped etc.
What does this mean musically? Well, imagine a sampled stack of detuned sawtooths, really thick, with chorus. By controlling sweep speed you control the fatness (down to the sound of one sawtooth). Or imagine a voice Graintable where you can extract any vowel, sweep back and forth, and modulate the harmonic content. Cool, isn’t it?
Yes its cool, but first and foremost musical. Graintable synthesis makes Malstrûm a truly uniquely sounding synthesizer, ready to add a little uniqueness to your music.
The Orkester Sound Library
Massive orchestral ReFill for the new NN-XT. Pristinely recorded and dying to be played.
Recorded in prestigious Atlantic Studios in Stockholm, these sample patches feature live, classically trained musicians who have been told to get into the groove. Because more than anything else, this is a sample library for you Reason users, and designed to blend in with the sounds from Reason’s other devices.
These slick samples will sound magical on everything from your Drum ‘n’ Bass to your next film score, and fit like a glove on your Hip Hop and R ‘n’ B. The Orkester NN-XT Sound Library spans from single woodwinds to complete string sections, and covers all essential playing styles. Add some percussion and tremolo strings to that and you have a library that will last you a lifetime.
Reason’s main sequencer can now be pulled out of the rack and placed anywhere on the screen.
Great things come to those who wait; In Reason, the main sequencer breaks free from the rack and starts a life of its own, in a separate, detachable sequencer window. All you need to do is pull it out of the rack and it will expand across your computer screen. Now you’re free to move it around and customize it or resize it as you desire. If you’re blessed with two monitors, just drag the sequencer to your extra monitor, and enjoy the benefits of having a virtual studio on one screen, and a lightning fast sequencer on the other.
For your convenience, they have expanded the sequencer toolbar and added some new tools. This is to make your work with this already super-fast sequencer even faster: The Zoom tool takes care of your in and out zooming, the Line tool is for fast, accurate linear editing of automation and velocity, and the Eraser is for quick deletion of unwanted objects.
NN-XT Advanced Sampler
An easy to use, but highly advanced sampler for heavy-duty programming. Deep sampling without the confusing sub-menus.
Ever wanted a sampler with a PhD in flexibility? A sampler that’s as advanced as any pro machine, but user-friendly and inspiring. The NN-XT is that sampler.
Reason ships with a new sampler screwed into the rack. Propellarhead calls it the NN-XT. This is a highly advanced sampler with an impressive list of features and functions squeezed into it. Where the NN-19 is a “fast-track” sampler, this machine is for more demanding sampling tasks. The NN-XT is bursting with detailed programming options, but comes with an intuitive user interface, making it the perfect tool for both sound design and life-like instrument emulation. Just load up one of the included orchestral library patches, and you’ll know what we’re talking about.
The NN-XT is packed with useful features to help you build your own stunningly realistic instrument patches: alternate sample playback, auto-pitch detection, zones with individual parameters, and much more. But don’t think for a minute that instrument emulation is all this thing is good for — the filters, the envelopes, and the tempo syncable LFOs let you perform some crazy tricks on whatever material you put in there.
All in all, the NN-XT is probably one of the most flexible samplers around, and when we say probably, we mean definitely. With the editor folded in, only the most useful parameters are visible, for instant tweaking and automation.
Inside the NN-XT
Ready to dig into the programs and patches? One click pulls out the handy programming module and gives you access to all the options:
Graphical Zone Display
Each sample is loaded into a zone and made visible in the zone-editing display. Zones can be shortened, lengthened, copied, moved, or grouped with a minimum of mouse clicks. The graphical display provides information about velocity range for each zone and whether it’s selected for editing or not. As easy as it gets.
Editing a Zone
To select one or more zones for editing, simply click on them. All the parameters in the edit module are now affecting the selected zone, providing full control over everything from key range and loop points to modulation wheel behavior and filtering. Too easy.
Layers and Velocity Crossfades
This is where it gets good. Zones with overlapping keyranges are automatically layered onto each other, and there’s no limit to how complex a layered sound can be. For velocity switching, simply change the velocity range for the overlapping zones, and for some velocity crossfading, just adjust the fade in and out parameters or let the NN-XT do it for you. Easy does it.
Automatic Pitch Detection
Apart from Loading and automatically mapping your Aiff and Wav files, the NN-XT can offer another helping hand: Automatic pitch detection. The NN-XT simply identifies the root note of each of the samples in a collection and automatically maps it in the most intelligent way. Who said sampling had to be difficult?
Programming a realistic emulation of an instrument is no picnic. Many acoustic instruments sound distinctly different for every note played, and sometimes you need to be able to alternate between two playing styles. Enter the NN-XT. The sophisticated sampler’s “Alternate” function solves the problem automatically. By randomly alternating between samples whenever the same key is played repeatedly, the NN-XT makes sure the same sample is never triggered twice in a row. The result is added realism. And the process is as easy as it is automatic.
Loading Third-party Sampler Patches
The NN-XT happily loads sampler patches from the biggest library around: SoundFont 2 patches are not only loaded and mapped, but also retain their programmed patch characteristics. A utility for converting third-party sample and patch data is also on its way, providing the missing link between NN-XT and the Akai library.
No Reason device is complete without CV and Gate inputs and outputs on the back. And the NN-XT is no exception. This makes Reason’s samplers the only sampling instruments around that can be controlled in the same way as analogue synths. And with a total of 16 audio output channels, there should be plenty of scope for further external processing.
Analog synth, sampler, drum machine, ReCycle!-based loop player, mixer, effects, pattern sequencer, and more. As many of each as your computer can handle. Reason is an infinitely expandable MIDI studio on a CD-ROM, complete with its own real-time sequencer.
All the power of hardware, but without the hassle. Forget tripping on cables. Reason doesn’t need dusting. Picking up where you left off is as simple as turning the power on. When you save your work, your whole studio setup is stored along with your music. You can even include actual samples, loops, and drum kits in the file, for easy web publishing or email distribution to other Reason users. For once, total recall is truly total.
And so is the sound. The audio quality is everything you would expect from the people behind ReCycle! and ReBirth. But more importantly, the instruments and effects are loaded with character and attitude. Reason will not just impress, but inspire you.
All the gear you need.
Each unit in Reason’s virtual rack is edited from its own on-screen front panel. All the sliders, knobs, buttons, and functions of the equivalent hardware are there. But more importantly, on several counts, Reason is better than hardware.
Need another piece of gear? Forget your overdraft and save yourself the bus fare to the music store. Choose what you need from the Create menu, and it appears in your rack, logically patched into the signal chain. If you ever wished you had 11 samplers, Reason is definitely for you.
Don’t like the routing? Press the Tab key, and the rack will turn over, revealing inputs, outputs, CV, and Gate connections. Use the on-screen patch cords to set up complex routings and cross-device modulation patches. And if you run out of mixer channels, just create another mixer.
All the sounds you need. Reason ships with a large (500mb+) sound bank with all the sounds you need to get going. Hundreds of loops, drum kits, and samples from e-LAB, hundreds of multi-sampled instruments from Dublab, and hundreds of Synth patches will keep you busy for a while.
The studio of your dreams is just a few mouse clicks away.
Reason adapts to you.
Use Reason the way you want to as a self-contained synth studio system. Everything you need is there, including a fast and flexible sequencer with powerful, dedicated event editors for each type of device.
Using ReWire, patched into and synched with your audio sequencer. Process Reason’s audio output with plug-in effects and mix it with your hard disk tracks. With Reason in ReWire mode, its instruments are automatically patched into the mixer in Cubase VST. Integration is seamless.
As a virtual synth rack with your MIDI sequencer. Reason’s devices can be handled in exactly the same way as hardware.
Performance and latency
Reason is completely native. All sound is generated by your computer’s CPU. No special hardware is needed, most reasonably current PC’s or Mac’s will do, provided they have sound circuits. ASIO, MME, DirectX, and SoundManager support means that Reason is compatible with just about every sound card on the planet.
Reason performs. On a modest computer, the number of devices and effects you can use simultaneously will be limited, but Reason will still run happily on most contemporary setups. At the other end of the scale: a PIII PC or a G3 or G4 Mac and a high-quality soundcard with ASIO drivers will give you a monster rack, pro quality audio, and a latency equal to hardware.
There is more, of course. A lot more. Like a database for effortless file handling. AIFF and Wave export. A ReBirth Input machine for integration between Reason and ReBirth. Comprehensive MIDI remote control. And so on.
The graphic event editors in Reason’s sequencer are specific to the type of device the track controls. For example, the drum machine editor has a separate lane for pattern changes, and when editing a REX file player track (above), the sample slices are displayed to the left, etc. And if you don’t like the default setup, you can customize the editors
Reason’s devices not only perform like hardware, they look and feel like it too. All front panel controls are live, move them while the sequencer is running, and the movement will be recorded.
Intel Pentium III 600 MHz or better
256 MB RAM
2 GB free hard disk space
Windows XP/2000 or later
Monitor with 800×600 pixels resolution or better
16-bit windows compatible audio card, preferably with DirectX or ASIO drivers
Recommended: MIDI keyboard with built-in MIDI interface, or MIDI keyboard and MIDI interface
G4 or G5 processor
256 MB RAM
2 GB free hard disk space
Mac OS X 10.2 or later, 10.3 or later strongly recommended
Monitor with 800×600 pixels resolution or better
Recommended: MIDI keyboard with built-in MIDI interface, or MIDI keyboard and MIDI interface
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