Since the release of version 6 Reason supports ReWire with 64-bit hosts.Īs of version 7.0.1, devices available include: These modules can be controlled from Reason's built-in MIDI sequencer or from other sequencing applications such as Pro Tools, Logic, FL Studio, REAPER, Digital Performer, Cubase, Sonar, and GarageBand via Propellerhead's ReWire protocol in the 32-bit versions of these programs. The program's design mimics a studio rack into which users can insert virtual devices such as instruments, effects processors, and mixers. Reason 1.0 was released in December 2000. Reason can be used either as a complete virtual music studio or as a set of virtual instruments to be used with other sequencing software in a fashion that mimics live performance. It emulates a rack of hardware synthesizers, samplers, signal processors, sequencers, and mixers, all of which can be freely interconnected in an arbitrary manner. Part of the data used in this work is published in a new online mul-titrack dataset through which public domain recordings, mixes, and mix settings (DAW projects) can be shared.Reason is a digital audio workstation for creating and editing music and audio developed by Swedish software developers Propellerhead Software. ![]() A number of assumed mixing rules from literature are discussed in the light of this data, and implications regarding the automation of various mixing processes are explored. We consider a range of features describing the dynamic, spatial and spectral characteristics of each track, and perform a multidimensional analysis of variance to assess whether the instrument, song and/or engineer is the determining factor that explains the resulting variance, trend, or consistency in mixing methodology. In this paper we conduct a mixing experiment where eight songs are each mixed by eight different engineers. ![]() Mixing multitrack music is an expert task where characteristics of the individual elements and their sum are manipulated in terms of balance, timbre and positioning, to resolve technical issues and to meet the creative vision of the artist or engineer. These results give insight into how object-based audio can be used to improve listener experience and provide the first template for doing this across different reproduction systems. The relative frequency of use for the different mix processes was found to differ between categories of audio objects suggesting that any downmix rules should be object category specific. ![]() Logistic regression models show the relationships between the mix processes, perceived changes in perceptual attributes, and the rendering method/speaker layout. Text mining and clustering of the content creators' responses revealed six general mix processes: the spatial spread of individual objects, EQ and processing, reverberation, position, bass, and level. An experiment was conducted to investigate how content creators perceive changes in the perceptual attributes of the same content rendered to systems with different numbers of channels, and to determine what they would do differently to standard VBAP and matrix based downmixes to minimize these changes. Optimizing this process based on knowledge of the perception and practices of experts could result in significant improvements to the end user's listening experience. Vector base amplitude panning (VBAP) is typically used to render object-based scenes. Object-based audio presents the opportunity to optimize audio reproduction for different listening scenarios.
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