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ABSYNTH 5 IN PROPELLERHEAD REASON SOFTWARE
The sum of all these parts is one of the best software drum machines in recent memory, even if it were to stand on its own. Whether editing individual pads, or via a feature called Quick Edit, editing parameters across the 16 slots, advanced sound creation never feels like work. There are significant pad grouping options for power users, and convenient controls for mapping pads so they’re easy to play on a keyboard or drum pad controller. It’s capable of extensive sound design options, but, like the hardware it mimics, contains those features within accessible controls. But Kong is unique in the way it combines extensive sonic powers into a compact, easy-to-understand interface. Other tools, like the Ultrabeat instrument in Apple’s Logic ( ), have attempted to bring these features together. Propellerhead’s Record offers audio input, but Reason makes sampling into an instrument. Mobile users may even wind up beat-boxing a track in a hotel room. Thanks to those new input features, in the NN-Nano sampler module, you’re always one click away from live sampling from a mic or other source. The physical models are capable of reproducing realistic drum sounds without samples, but can also be stretched to mind-bending creative results. The synth snare, hat, tom, and bass drum, sound thick and warm, each with custom tone controls for manipulating sounds. You can then add rich, terrific-sounding effects like a specialized compressor and reverb, a retro-tinged tape echo, and a wild, snare-simulating effect called Rattler.Įach of the nine drum modules is really an instrument in itself, even before adding the effects. To synthesize sounds, you can choose from a sampler (a downsized version of the NN samplers in previous versions), REX-format loop player, physically modeled sounds designed to emulate real percussion, or synthesized sound sources. Each pad can contain your choice of modules for sound generation and processing. But it’s when you begin customizing and programming your own sounds that it really starts to shine. Those samples are triggered on a four-by-four grid, with powerful grouping and editing features like a Quick Edit Mode that lets you adjust various parameters all at once.īy default, Kong can load a set of samples covering a range of genres, just like the ReDrum drum machine that’s been in Reason since the beginning. Kong, the new “drum designer” drum machine in Reason 5, is actually a collection of modules for generating percussion sounds, playing samples, and adding effects. Its centerpiece is a four-by-four grid of virtual percussion pads, reminiscent of classic sampling hardware like the Akai S9000 and MPC. Kong, a virtual drum designer, is the show-stealer in this upgrade. If beats, percussion, and sampling are a part of your musical process, Reason 5 could be a big breakthrough. A new, deceptively simple drum machine blends some of the flexibility of software with the working methods of hardware in a way many software applications have failed to do in the past.
ABSYNTH 5 IN PROPELLERHEAD REASON UPGRADE
But this upgrade isn’t just about satisfying a long-standing feature request the creators have gone further. Many Reason users wanted sampling without the need for another tool.Īfter a long wait, recording in Reason is here. After all, synthesizing sound in the box is great, but for many, creative music making requires audio input.
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Even a tool called Record ( ) from the developer, focusing on audio recording, editing, mixing, and mastering, couldn’t provide satisfaction. Reason, a virtual rack of music creation gear, has faced one common complaint from users over the years: it can’t record external audio.