• Player Device
  • Scales & Chords: transposes incoming notes to fit a set scale, or transposes notes and generates chords that fit the desired scale. Scales & Chords has a number of built-in preset scales, and you can also create your own custom scales
  • Note Echo: Simulates a MIDI delay effect, by adding repeats of the incoming MIDI notes. The Note Echo device is polyphonic, so you can get repeats of entire chords. Each repeat of the echo can be pitch allowing for the creation of glissandi and other pitch effects.
  • Dual Arpeggio: The Dual Arpeggio device accepts one or several notes as input and generates rhythmic patterns based on these notes. You can use it as a traditional “monophonic” arpeggiator, where arpeggio lines are played back one note at a time, based on the notes you play/hold on the MIDI control keyboard, or use it in Pattern Mode, where you can create polyphonic (up to 4 notes) rhythmic patterns, depending on how many notes you play/hold on your MIDI Control Keyboard
• Pitch Edit: Correct and/or transpose the pitches of individual detected notes in monophonic recordings. Pitch Edit mode is developed especially for editing and correcting the pitches of vocal recordings. The audio pitch editing is made graphically in a way similar to other pitch correction/editing software on the market
• Workflow Enhancements
  • Bounce in Place: Lets you bounce the sound generated from playing back note or audio clips, with any insert effects and channel strip coloration, but without Send FX and Master Section settings, to a new audio clip on a new audio track
  • Reverse MIDI and Automation: Reverse note (and automation) clips and events, i.e. play the events of the clip “backwards” (from the end to the start)
  • Split Notes with Razor Tool: Split (slice) one or several notes in an open note clip
  • Themes: Choose from Default, Blue, or Dark visual themes, which determine how the user interface is visually presented
  • Audio to MIDI: Sing your melodies, hum your bass lines. Monophonic audio clips can now be exported to MIDI with a single click 
• Updated Sound Bank: Over 5,000 instrument patches, 1,000+ mixing/mastering effects, and over 3,000 loops

• Browser and search window provides access from the main and rack windows, offering instant accessibility to instruments, effects, presets, loops, and samples
• Drag-and-drop support through any of Reason's windows. Drag instruments to create tracks and change presets within the sequencer and load samples directly to any device
• Zoom to Selection allows for instant zoom from birds-eye to close up and back again by simply hitting the "Z" key
• Double click to add or delete notes
• Resize regions from both edges
• Duplicate notes with quick commands
• Track naming follows patch selection
• Support for the Propellerhead music sharing and collaboration service
• Auto update function to automatically download and install updates
• Revert browsing to return to previous loaded patch
• MIDI in the Rack allows for the master MIDI controller input to be assigned to any track from the rack window
• MIDI Out support for controlling hardware synthesizers and beat machines from the Reason rack using the fully integrated External MIDI Instrument device – automate MIDI equipment from Reason's sequencer or from control voltages in the Reason rack
• Software automatically slices audio files into single notes or hits, to quantize them, tweak timing, or to drastically change the recording using time stretch – the sliced audio can also be converted to REX files for playback and further treatment in Reason's Dr. Octo Rex Loop Player, Reason's samplers, or the Kong Drum Designer
• Mixing controls like level and pan are now available in the rack, not just the mixer, meaning less jumping around within the program
• Audiomatic Retro Transformer for retro sound effects – select one of the sixteen snapshots including VHS, vinyl, gadget or even MP3, and then tweak with the Transform Control
• Built-in spectrum analyzer window provides instant visual feedback on the selected channel or bus – the Spectrum EQ window combines the analyzer with a graphic EQ overlay controlling the mixer's EQ, allowing for easy adjustment of EQ on tracks from anywhere in the program
• Expanded sound bank adds a section of hard hitting drums loops: big room house, dubstep, and even metal
• Support for more audio import formats, such as MP3, WMA and AAC to make it easier to grab loops and recordings from a music library or the web
• 4GB Factory Sound Bank

• Faithfully modeled after the SSL 9000K analog mixing desk
• Flexible routing of signals to and from the mixer, including unlimited insert effects and eight send effects
• Full dynamics with side-chain key-input. Each channel offers a dedicated compressor and gate
• EQ offers four bands of parametric equalization and both high- and low-pass filters
• Bus channels make it easy to group racks, and even group mixer groups to process them together – create parallel channels with a single click for separate processing such as parallel compression
• Features the renown SSL master-bus compressor

• Analog-type polyphonic synthesizer based on subtractive synthesis, the method used in classic, analog synthesizers
• Two oscillators produce basic waveforms like square, sawtooth, triangle, and sine, plus an additional waveform based on samples
• Dual filters, three envelope generators and two LFOs
• Phase offset modulation
• Transform the tonal characteristics of the piano with a single knob

• Creates sounds using Graintable technology, which combines the best parts of granular and wavetable synthesis for results that are exciting, controllable, and texturally varied
• Full filtering and modulation options
• Includes real-time waveform stretching, spectral modulation, and wavetable sweeping
• Shift function uses resampling to manipulate each grain in order to shift the formant of the Graintable through the harmonic spectra without altering the pitch
• Audio inputs allow for filtering other Reason devices

• Features six different oscillator types and four unique filters
• Six open filter and oscillator slots allow for loading up three different synthesizer filters and three separate oscillators simultaneously
• Analog-style step sequencer that can also be used as a modulation tool, trigger phrases from specific keys, create arpeggios, and generate percussion lines

• Wide palette of sounds for building a steady foundation for tracks, including pianos, drums, bass, strings, and more
• Contains thirty-six presets divided into nine categories, with four sounds in each category
• ID8 device is used by default when loading a Standard MIDI File into the Reason sequencer serving as a starting point to be able to play back the imported file

• Advanced pitch adjuster, audio transposer, and voice synth
• Fine tune the pitch of an audio track
• Change the key of a song that's already been recorded
• Play a MIDI keyboard and Neptune will create new harmonies from vocal tracks in real time, or use it without the original voice to completely change the melody of the song

• Flexible software sampler for demanding sampling tasks
• Alternate sample playback, auto-pitch detection, zones with individual parameters, and more
• Filters, envelopes, and tempo-syncable LFOs
• Layers and velocity crossfades
• Automatic pitch detection
• Alternating zones
• Load third-party sampler patches
• CV and Gate inputs and outputs
• Sixteen audio output channels

• Bare bones approach to sample handling, perfect for anyone looking for a sampler that can treat samples with a lot of modulation and automation
• Filter section, LFO, and envelopes
• Load a single WAV/AIFF sample or load a sampler patch
• Loading a single file (mono or stereo) will transpose the audio across the keyboard by speeding up or slowing down playback
• Create multi-sample patches for realistic playback
• Modulation inputs include oscillator, filter, filter resonance, level or modulation wheel
• Modulation out can be sent by the filter envelope or LFO, and gate inputs are available for the amp or filter envelope

• Analog synthesis, physical modeling, sampling, REX loops, support sound generators, effects, flexible routing, multiple hit types, and more
• Sixteen pads and sixteen drums
• Nine drum modules
• Two support generators and nine effects
• Program automation and create alternating groups

• Drum machine in the Reason rack
• Ten channels that can play one AIFF or WAV sample each
• Drum kits can be saved as Redrum patches
• Built-in pattern sequencer
• Can also be played from Reason's main sequencer or via MIDI
• Each channel has two effect sends that are routed to the drum computer's two effect send outputs
• Gate out and in that can trigger other devices with Redrum, or to trigger Redrum sounds from other units
• Pitch control voltage input for each channel

• Loads eight REX loops and lets you switch between them on the fly, making arranging a breeze
• Player can retrigger loops on the beat, on the bar, or on the 16th note, or program the loops manually
• Each of the eight loops has an expanded set of per-slice settings
• Set pan, pitch, filter frequency and level, reverse slices, use multiple outputs, create alternating groups of slices, and more

• Spider Audio merges or splits audio bringing a hardware studio's patching capabilities into the software realm
• Merge multiple audio signals and process them with the same insert effect, or split an instrument's output into four and send them to four different effect processors
• Spider CV splits or merges CV and gate signals
• Split the CV signals from the Matrix Pattern Sequencer to trigger several synthesizers with the same pattern, or merge the outputs of several LFOs to create very complex modulation patterns

• Analog-style sequencer with a maximum of thirty-two steps per pattern
• Each pattern can be freely sized regardless of what time signature has been chosen in the sequencer
• Resolution selector allows playback of the pattern in a range between 1/2 notes to 1/128th notes
• Patterns can also be moved up or down a semi tone or one step left or right
• Alter Pattern option
• Ties and Randomize functions
• Connecting CV and gate outputs from Matrix to a receiving device activates and controls the pitch of each note
• Create complex LFOs for control of reverb decay, oscillator modulation, panning, etc., or use it for rhythmic synthesizer control

• Wide range of on-panel controls and mode selectors
• Pattern section for muting selected notes in an arpeggio
• Large display showing values and positions
• Single Note Repeat function engages the arpeggiator only when two or more simultaneous notes are held down
• Manual mode will arpeggiate notes strictly in the order they were input, for real-time arpeggio control

• Tool for combining and controlling devices or building unique instruments
• Allows for building elaborate chains of Reason units – instruments, effects, pattern sequencers, etc., and saving them as Combi patches
• When a Combi patch is opened, all units in the setup are instantly loaded, complete with sounds, settings and routings, making it performance friendly and perfect for both stage and studio use
• Houses an unlimited number of Reason devices
• Programmer window makes it easy to build thick, layered sounds using any number of synthesizers and samplers, or create keyboard splits for mapping out different instruments across a MIDI keyboard
• Alternate between instruments using velocity splits

• Four separate mastering units designed to add power and presence to Reason mixes
• MClass Equalizer is a 4-band mastering EQ with low- and high-shelving bands, two peak filters, and a low-cut switch
• MClass Stereo Imager splits the incoming audio into low- and high-frequency bands, each independently adjustable
• MClass Compressor is a single-band compressor and features a sidechain input for advanced compression functions such as ducking or de-essing, a soft-knee mode for smooth, musical compression, and CV out for dynamically controlling other Reason devices
• MClass Maximizer maximizes the volume of Reason tracks, without crushing them or introducing other unwanted artifacts
• Limiter section with switchable look-ahead, for distortion-free brickwall limiting, and a Soft Clip section for rounding out harsh transients

• Combines crunchy compression, distortion, a multi-mode filter and flexible modulation into a single effect
• Apply parallel compression to bring out the details of a sample or recording
• Use the envelope follower when recording live instruments for responsive, expressive filter effects

• 4- to 512-band vocoder capable of modulating sound in both old-school analog style and digital FFT fashion
• Combine any two sound sources like vocoding a percussion track with the bass line or the string pad with the rhythm guitar
• Fully automatable including band-level settings
• Record front-panel actions, or use the pen tool to draw in layers upon layers of wild frequency changes
• Equalizer mode turns the BV512 into a 4- to 512-band stereo equalizer

Guitar Amp Models

• Twang: A silvery American classic, great for clean and slightly overdriven guitars. Popular for country, blues and more
• Crunch: British 60's classic that keeps its chiming, present character whether you play it clean or drive it so hard it's on the verge of breaking down
• Rock: A yummy, warm, fat, tube distortion. Just like Mama used to make it
• Lead: The boogie man has come in all his high-gain glory! Screaming leads and power chords that sustain for days

Guitar Cabinet Models

• Bright: A 2x12 cabinet with deep lows and heavenly highs. The oh-so-familiar dynamic mic is placed on axis but still lets a hint of room into the sound
• Room: A more midrange present 2x12, with the small-diaphragm dynamic mic placed off axis and a wide stereo room added
• Fat: Fat, solid 4x12 classic. Captured with a German condenser microphone on axis for that full-bodied sound
• Tight: Slightly midrange-scooped 4x12 cabinet. The large-diaphragm dynamic microphone gives an in-your-face presence

Bass Amp Models

• Modern: A contemporary version of a classic tube design from one of the most popular bass amplifier brands. Modern has all the clarity and punch you'd expect from a modern amplifier, but still with the pleasant three-dimensionality that well-designed tube amplifiers offer
• Vintage: Vintage gives you a dark, dirty, steamy bass sound that adds power and attitude, and helps making the bass instrument cut through the mix

Bass Amp Cabinet Models

• Dark: A classic 8x10 cabinet with a snappy response across the frequency spectrum. Captured with a German large-membrane dynamic microphone, straight on axis for a clear sound and a rock solid low end
• Bright: A British 4x12 bass cabinet with great midrange presence. The dynamic microphone is placed off axis for a slightly roomy sound
• Room: A 4x10 cabinet, captured with a German classic large-membrane condenser mic at a distance. Roomy with a nice depth and width that caters for a very natural sound in the mix

• Three-channel pattern-based gate effect
• Three parallel filters, distortion, phaser and delay
• Each channel has a separate gate controlled by the sixty-four included patterns, triggered from the sequencer, the Matrix and RPG-8 Arpeggiator devices, or via a MIDI keyboard
• Each channel runs through either a high-, band-, or a low-pass filter
• Pan and volume controls

• Stereo echo combining modern delays with the organic sounds of analog circuitry and old-school tape machines
• Settings for delay time, tempo sync, stereo width, and pitch
• Ping-Pong bounces the delayed signal from left to right
• Offset provides a wide stereo spread
• Keep Pitch keeps the delay feedback in tune when modulating the delay time for bouncing ball effects
• Feedback controls
• Color section provides limiting, overdrive, distortion, or tube distortion for the repeats
• Band-pass filter cuts frequencies from the repeats and boost them when the resonance is turned up
• Modulation section features parameters for modulating the pitch and stereo image of the echoes
• Breakout jacks allow for inserting any number of other effect units into the feedback loop

• Stereo reverb
• Convolution Reverb – loads any of the supplied impulse responses or create your own otherworldly reverb effects by sampling or loading your own impulse responses
• Nine reverb algorithms, with seven individual parameters each – Small Space, Room, Hall, Arena, Plate, Spring, Echo, Multitap and Reverse, each with up to seven individual parameters
• Three separate sections – Reverb, EQ, and Gate

• Ten different "audio damage" methods or distortion types – Overdrive, Distortion, Fuzz, Tube, Tape, Feedback, Modulate, Warp, Digital and Scream
• Cut section is a +/-18 dB EQ
• Body Section is a type of speaker simulator with five basic Body types to choose from, and separate controls for Body Resonance and Body Scale

• CF-101 Chorus/Flanger
• DDL-1 Digital Delay
• RV-7 Digital Reverb
• D-11 Foldback Distortion
• ECF-42 Envelope Controlled Filter
• PH-90 Phaser
• UN-16 Unison
• COMP-01 Compressor/Limiter
• PEQ-2 Two Band Parametric EQ