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Digital Subscriptions > MusicTech > Nov-18 > MASTER THE NEW FEATURES


Propellerhead Software has announced Reason 10.2, with a raft of workflow improvements to will help you produce faster. Andy Jones assesses its merits




Propellerhead Software has always been among the most active of music production software developers, constantly updating and refining Reason, but seems to have been on the caffeine of late. Reason 9.5’s inclusion of VST compatibility was such big news that it feels like it only happened yesterday. Then Reason 10 came along mere months ago with its extra sounds, instruments and the rather great Europa synth. ‘Reason 9.5 newcomers might still be gorging on all of those VSTs to even notice v10 is here!’ we joked before concluding: ‘Reason 10 gives the DAW a nicely rounded set of fresh beats, electronic extremes, acoustic sounds and experimental dreams. You want more? You got it.’

So the fact that we have another point update, Reason 10.2, to introduce already, is perhaps not unexpected news – it’s days since the last one after all! And even though it’s only nudged up by a couple of points (why not,3, or.4?) there’s still a significant number of new features to talk about, hence this workshop.

While the big news is usually saved for the point or half point updates, it’s the workflow stuff – which perhaps doesn’t grab the headlines – that tends to get overhauled in these smaller kinds of updates. However, it’s also the super-fast workflow in Reason that has given it such a loyal and passionate following. Reason still remains one of the fastest – if not the fastest – pieces of music production software around to turn musical ideas into a reality. Many DAWs that get layers and layers of new features added on each update tend to get more flabby and harder to use. But thanks to The Props’s update cycle of ‘add features, add instruments, add workflow improvements’ the software thankfully remains as slick to use as ever. So let’s take a look at what’s new in 10.2…

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About MusicTech

Mastering is frequently regarded as a technique that is best left to the experts, one that requires an almost superhuman level of hearing and a bespoke mastering suite, filled with state of the art equipment. It’s little wonder that when many music makers and producers reach that stage in the process, they outsource their mastering without a second thought. However, that need not always be the case. In our cover feature this month, Adam Crute unravels the deep mysteries of mastering and explains how – with a little know-how – you can take on the daunting task of preparing your music for release yourself. Also in this issue, we had the amazing honour of speaking to Doctor Who’s new composer Segun Akinola. A BAFTA Breakthrough Brit, Segun’s compositions for the beloved series are inspired by the original, experimental approach that the BBC’s Radiophonic Workshop spearheaded in the 1960s, but they still retain his own unique stamp. Elsewhere, we have a whole new heap of lovely products in our review section, with IK’s all-analogue UNO synth in particular being a tremendously useful (and fun!) piece of tech. Our practical, DAW-specific guides this month cover a typically vast range of topics alongside a general guide to EQing your tracks. I hope you enjoy this issue.