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Reason 12 is coming, with hi-res graphics, a new creative sampler and more sound design options than ever

The release of Reason 11 gave this much-loved DAW a new lease of life, with the addition of the Reason Rack Plugin meaning that everyone can use its impressive roster of instruments and effects in their own music production software.

Now Reason 12 is on the horizon; set to be released on 1 September, this has a firm focus on improving the Reason Rack.

This will now benefit from high-resolution, scalable graphics, meaning that the Rack should look significantly sharper. You’ll be able to set your zoom level to fit your setup, and all third-party Rack Extensions will also be hi-res from day one.

There’s also an improved version of the Combinator, which enables you to combine instruments and effects however you fancy. Greater sound design opportunities await - expect more CV inputs and controls, easier programming and more patches.

Finding content and devices should be easier thanks to an improved browser, while the new creative sampler is said to be all about sound manipulation, rhythm and ease of use. We’re assured that you’ll be able to play with your sounds in ways that weren’t previously possible in the Reason environment.

“If you use the same sounds and samples as other music makers without the ability to make them your own, you’ll quickly lose what makes your music unique,” says Mattias Häggström Gerdt, Product Manager at Reason Studios.

“With the new and improved Reason Rack plugin we’re making sure that you have everything you need to sound like you - and just like you.“ 

Reason+ subscribers will be able to access Reason 12 from 1 September, when perpetual licenses and upgrades will also be available for purchase. Anyone who purchased a Reason 11 perpetual license after 1 May 2021 will be eligible for a free upgrade to Reason 12.

Find out more on the Reason Studios website.

Ben Rogerson

I’m the Group Content Manager for MusicRadar, specialising in all things tech. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 

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