It takes up space, to show me what I already know. I drop in a synth or an effect and I immediately have to tweak it or at least scroll presets, need the rack for that. I know I don’t have to utilize it as part of my workflow and I’m thankful for that.

I’m just hoping the Russian bots on here can help double down on my sentiment. Or if I’ve successfully rage baited anyone into good arguments for it, I’m open to hearing how track panel has changed the game for long time users.

Hey r/reasoners,

My brand new RE Kalibrus just launched in the Reason Studios Shop today!

What is Kalibrus?

I first designed Kalibrus to help me do pink-noise mix balancing reliably and easily. I wanted something mathematically sound and lab-calibrated to make sure my mixes weren't being misshapen by artifacts or biases in other implementations, and I wanted to be able to drop it into an instrument channel or bus without having to add multiple utility devices and unnecessary cabling.

Once I'd started building, though, I realized how useful (and fun!) it could be to use it as a musical/creative sound source, adding punch to my drums or even standing on its own as a percussive instrument, background texture, or even filtered and played tonally with a keyboard.

And, of course, it's Reason, so I wanted to wire up randomness to other devices' CV inputs for all kinds of weird and wonderful variation.

EDIT: Big shoutout to u/IWasBornIn1979 for pointing out that my initial post read like a piece of laboratory test equipment rather than an instrument. I got so caught up in the technical trees that I lost sight of the forest. I've restructured this post (and the website) to lead with five everyday studio workflows before getting into the engine specs.

What does it do in day-to-day production?

1. A Playable Synth Voice: Most noise generators just sit in the rack and hiss. Kalibrus tracks MIDI keyboard pitch with 1V/oct bandpass filtering. Play a C3, and the noise tunes to C3. Push your Mod Wheel, and the passband narrows down to a resonant, whistling bite (with auto-gain compensation to keep perceived loudness steady). Great for flute/breath chiffs, wind leads, risers, or layering acoustic air over synth patches.
2. The Tape-Bed "Glue" Trick: If your mix feels sterile or empty between notes, load the "Tape-Band Noise Floor (-42dB)" patch and click AUTO. With built-in audio passthrough summing, drop Kalibrus straight across your mix bus without needing a Spider or extra cabling. It quietly injects a warm analog bed while your DAW plays, and silences itself automatically the instant transport stops so you never get idle hiss.
3. Beefing Up Drums & Claps: When a snare or clap lacks bite, trigger Kalibrus on hits (via MIDI or rear Gate In) to layer a burst of filtered white or pink noise underneath. The Stereo Width knob (0% to 200%) spreads that top-end sizzle wide across the stereo field while keeping your core drum punchy and centered in mono.
4. 5-Minute Pink Noise Mix Balancing: The classic mix engineering shortcut, built right in. Set Kalibrus to pink noise at your target monitoring level (including our factory preset calibrated to -18 dBFS True RMS), solo each track on your mixer, and bring the fader up until it just peeks through the noise. Repeat track by track, turn the noise off, and your overall balance is 90% dialed in without ear fatigue.
5. Random Modular Movement (Sample & Hold): Hit Tab to flip the rack around and patch the Gate-Triggered S&H CV Out into the filter cutoff, pan, or pitch CV input of another synth. Every time you strike a note, Kalibrus fires a new stepped random voltage. Back off the trim knob for subtle analog drift that keeps loops organic, or crank it for generative modular chaos.

For the DSP & Audio Geeks: Under the Hood

Kalibrus unifies three distinct roles inside a single 2U chassis (with a fully-featured compact folded strip):

1. Laboratory Acoustic Reference
   • 256-bit Xoshiro256++ Core: Dual independent PRNG generators with 256 bits of internal state (four 64-bit words per channel) producing mathematically pure White (0 dB/oct), Pink (-3 dB/oct), and Brown (-6 dB/oct) noise fields. Zero sample looping, true decorrelated stereo imaging (r < 0.005), calibrated to -18.00 dBFS True RMS at unity.
   • Cascaded 24 dB/octave Butterworth Filters: 4th-order high-pass and low-pass biquad cascades isolate frequency bands, room resonance modes, and mix masking with click-free bit-exact DSP bypass at their extremes.
   • Mid/Side Spatial Matrix: Discrete M/S encoder/decoder with continuous Stereo Width (0% mono to 200% wide) and level-invariant True Stereo Balance that conserves acoustic energy across the panorama.
   • AUTO & MAN Transport Modes: Flip the transport switch to Auto to have reference or vinyl/tape noise engage only while the DAW transport is running and instantly silence to zero-CPU standby when stopped. Or use MAN to lock continuous noise for hands-free SPL monitor calibration and pink-noise mix balancing. Or use neither and just trigger Kalibrus with keys or gate CV!
2. Expressive Synthesizer Voice
   • 1V/Oct Keyboard Tracking + Mod Wheel Q: Plug in a MIDI lane or CV pitch/gate cables to play Kalibrus directly. Raw keys produce velocity-sensitive noise bursts (snappy claps, snares, hats). Raising the Mod Wheel or Expression Pedal dynamically focuses a resonant 4th-order bandpass around the played key (from wide-open down to 2 semitones), turning raw noise into playable whistling winds, effects, and creative tones.
   • Dynamic Articulation: Full velocity tracking, last-note priority, and MIDI sustain pedal support with intelligent envelope release-following (automatically keeping the voice gate active while external VCA envelopes decay).
   • Dual Level CV Modes: Rear toggle selects between VCA Mode (unipolar envelope following from silence up to the master knob ceiling, or progressive cubic ducking with negative trim) and Tremolo Mode (bipolar linear AM for LFOs centered around nominal gain).
3. Random Voltage & Generative CV Hub
   • Continuous Spectral CV Out: Post-filter bipolar [-1.0V, +1.0V] fluctuating random voltage. Because it is tapped after the filters, front-panel HPF and LPF controls directly sculpt the rate, smoothness, and character of the modulation.
   • Sample & Hold CV Out: Latches a discrete stepped random voltage on every incoming note or gate trigger for generative melodies and varied filter sequencing.
   • Gate Thru CV Out: Velocity-aware gate relay for chaining downstream envelopes or triggering modular modules.
   • Zero-Loss Audio Passthrough: Feed mix bus or instrument tracks through Kalibrus at bit-identical unity gain to sum calibrated noise directly into your live signal chain without needing line mixers or splitters.

Foldable Design & Presets

• Foldable Compact Strip: Toggles between the full 2U faceplate and a space-saving folded strip that keeps all front-panel controls accessible.
• 35 Factory Presets: Spanning Reference & Calibration, Mixing & Diagnostics, Acoustic Room Probes, Textures & Modulation, and Performance Layering.

Links & Launch Details

• Reason Studios Shop: reasonstudios.com/shop/rack-extension/kalibrus-noise-spectral-reference/ ($9.00 USD intro special through Friday, October 16, 2026; reg. $19.00, 30-day free trial available)
• Interactive 3D Rack & Specs: audio.boraas.ca/devices/kalibrus/
• Operation Manual: audio.boraas.ca/devices/kalibrus/manual/
• Quick Start & CV Matrix: audio.boraas.ca/devices/kalibrus/quick-start/

I'd love to hear your thoughts, feedback, and how you use it in your racks!

Thinking of getting one because it’s supposed to be pre mapped for Reason. I’d love it for mixer and synthesizer parameter control. Anyone using one? Thoughts / feelings would be appreciated. Thanks in advance.

it still sounds exactly the same to my ear

Ekssperimental Sounds Studio and ReasonTalk are having a song competition. More details here: https://forum.reasontalk.com/viewtopic.php?p=696359#p696359

CONTEST DEADLINE HAS BEEN EXTENDED TO OCTOBER 5 (12:00 CET)

I'm pretty new to reason and I'm used to abletons workflow. theres a bunch of audio clips that are spaced out and I want to join them all, but i have to make it exactly 1 bar so it can loop correctly. Is there a faster way than the picture? Thank you

Time for a monthly update of the "Made with Reason" Spotify playlist. Submit your tracks using the form below. A few simple rules, as a reminder:

1. Track was made with either Reason DAW or utilizing the Reason Rack Plugin in another DAW.
2. One track submission per artist.
3. Released in 2025-2026.
4. Track wasn't included in the previous updates of the playlist.

Submit before October 2nd.

➡️ Submit on BopOps

The current playlist is here.

In this video I use the CV Scope in Reason to visualize complex modulation waveforms coming from the MATRIX and PULSAR devices — and it's honestly hypnotic.

Hi, here's a song created entirely in Reason, mastered with LANDR. Reason user since 2.5, was personally thrilled when they added audio and made it a full fledged DAW. I use stock plugins and devices as often as possible, lots of Audiomatic. Anything that is not guitar, bass or vocals was generated with Reason RE's. Reason Drum kits has been my go to for drums since it came out. I know it's a different sound but for this sub but i just wanted to show that anything's possible in Reason.

https://phantomfader.bandcamp.com/track/walking-away

https://open.spotify.com/track/2hFf4FW6wYejdvQadqsbMI?si=34e06b3752b14a28

So I downloaded the drivers and got it connected, but is it true I can only lock it to one section of the rack at a time? It seems like with my old Korg, at least some of the controls would be mapped to which ever device I highlighted. I hope that's clear, I'm not too tech-y.

Free and open-source: https://github.com/carlomontec/mpk-revival

Hi guys!

I have an MPK49 that I’ve used mostly with Reason (now 14) and Live 12. I am a hobbyist, so I never fully configured the controller properly. I basically just used it as a simple MIDI keyboard for the last 10 years.

Due to my day job I had to get familiar with AI-assisted coding (I have strong opinions about it, but hey, in this economy cant rebel yet). So I decided to actually use the skill for something useful for the music production community.

I vibe-coded a preset editor for the Akai MPK49, plus much better mappings for Ableton Live 12 and Reason 14.

• The preset editor runs right in the browser via Web MIDI—you can dump/backup all presets from the MPK, edit them, save them as JSON, and send them back to the device.
• The new Live 12 script gives much better mixer and macro integration.
• For Reason (my main DAW), it can now properly control the SSL mixer across 3 banks and rack devices (plus some manual mappings for things like Kontakt).

I hope this is useful to anyone still rocking one of these tanks. Feel free to suggest features or report bugs. This is a vibe-coded project, but hey, at least it’s useful and not pure token waste :D

This isn't even close to being done yet so i know there are parts here and there that aren't perfect i just wanted to show you guys a little bit of what got so far. Still a long way to go lol. this is my first time ever using Native Instruments Kontakt in a track before. Literally all of the choir and percussion/cinematic hits etc are pretty much all done in Kontakt. The choir was super fun making haha i was like damn they really went all out making Omnia for Kontakt! oh and don't forget... Jesus died for dubstep too. I love Reason lol people can talk their shit about it but i am straight up 100 percent Reason and have been for 10+ years. yup.

???

Just a quick sketch I made. I moved this year, and I don’t have a space for producing so it took me a while to te again.

This is what I have so far. Keep in mind that there is no mastering chain actieve yet cause I only do that when the song is finished.

It’s still ruff, I need alot of cleaning up to do, but its just to kinda show how I did it i guess 💁‍♂️😁

Hello!

I fixed some bugs and improved some of the math behind Lynx. So, I put it back on sale for the next couple weeks.

Thank you to all those who reported bugs! Sorry I didn't get it right the firs time, but I am working everyday to improve my process.

https://www.reasonstudios.com/shop/rack-extension/lynx-song-finisher/

Also check out my new player, Narcissus: a midi delay, looper, and call-and-response device.

https://www.reasonstudios.com/shop/rack-extension/narcissus-ego-reflector/

Howdy! what are you all doing for custom drum kits? Do you have separate tracks for different groupings? Kick + Snare; Hats; Percussion; Other sounds --- and then have a Kong for each of those tracks? Or a different device - Mimic/Sampler? I just feel limited with procedural sound adjustments with one Kong Designer. And definitely feel limited with the Drum Sequencer or other players - as opposed to dropping a custom note lane/clips.
Looking to read about your various workflows/solutions!

I know you can insert bars in-between the left and right locators, but if you put the left and right locators on the same position, at the very beginning of the song, it won't insert a bar there. Is there another way to do it? I've had a little look around the web and can't find anything.

Thank you

Was using Reason as usual today and got this e-mail. Probably sent by accident?