Superbooth 23: Reason’s ‘organic’ Objekt synth promises sounds that you can’t create anywhere else

Superbooth 23: Reason Studios has taken the wraps off Objekt, its new physical modelling synth. It’s available now to use inside Reason and in other DAWs via the Reason Rack plugin (VST/AU/AAX).

Designed to emulate real-life acoustic sounds, Objekt promises to “open the hood on physical modelling” and present it like a synthesizer. As well as enabling you to create bell, mallet, percussion and string sounds, you can also use it to produce natural textures, organic pads and more.

Objekt gives you three resonating objects to work with. These form the basis of your sounds, and can replicate the likes of strings, skins and bells. The Exciter section dictates how the instrument is played, and there are plenty of parameters that can easily be tweaked to create entirely new tones. More than 500 presets come included, and you also have a randomiser for fast inspiration. 

"Objekt is the most unique and innovative instrument we've ever made," says Mattias Häggström Gerdt, Product Manager at Reason Studios. "It opens the door wide to a whole new world of sounds that simply can't be made with anything else. I recommend trying it and daring to experiment. Where you end up might sound familiar or like an imaginary instrument that doesn't exist. Until now."

Of course, this being a Reason device, you can also combine Objekt with other modules in the rack and get even more experimental.

Objekt is included with the Reason+ subscription and also available separately priced at $99/€109. An introductory offer that runs until 25 May means that you can currently pick it up for $79/€87.

Find out more on the Reason Studios website.

Reason Studios Objekt

(Image credit: Reason Studios)
Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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