Trinity Records Inc

04/23/2026

Follow comets crew Comets Crew and check out their website while you read the interview :)

Montréal MC Vinny Rebel has built his name through grit, independence, and decades in Canadian hip-hop. From selling CDs hand-to-hand to launching Trinity Records, his journey reflects resilience and evolution. In this Comets Crew exclusive, he shares how he’s turning experience into legacy while...

03/12/2026

Thirty-six years after she wrote the hit song "Fast Car", it finally made history. And she returned to perform it one more time.

Tracy Chapman grew up in Cleveland during the 1970s, where broken streetlights marked dangerous blocks and eviction notices were as common as birthday cards.
Her parents divorced when she was four. Her mother worked multiple jobs that never added up to enough. Tracy remembers standing in line for food stamps. She remembers the electricity being shut off. She remembers the cold.

But her mother understood something that transcended their circumstances: music could become a lifeline.

When Tracy was just three, her mother saved up and bought her a ukulele—an extravagance they could barely justify.

It changed everything.

By eight, Tracy had taught herself guitar. By fourteen, she was writing songs about what she witnessed—inequality, struggle, the desperate mathematics of survival.
At sixteen, she won a scholarship that took her from Cleveland to an elite Connecticut prep school. At Tufts University, she studied anthropology by day and played for spare change by night—in Harvard Square, on subway platforms.

Her voice stopped strangers mid-stride.

One of those strangers connected her to Elektra Records.

In April 1988, she released her self-titled debut album. Just her voice, her guitar, and unflinching honesty about the America most people preferred not to see.
The album received critical praise but modest sales.

Then fate intervened.

June 11, 1988. Wembley Stadium, London. The Nelson Mandela 70th Birthday Tribute concert. Seventy thousand in attendance. Six hundred million watching worldwide. Tracy performed an afternoon set, then walked backstage. Her moment seemingly over.

Then chaos erupted.

Stevie Wonder was scheduled to perform, but technical disaster struck—his backing tracks vanished. Organizers faced a catastrophic broadcast gap.

They needed someone immediately. Someone who could hold six hundred million people with nothing but an instrument.

Tracy Chapman stepped back into the light carrying only her acoustic guitar.
She played three songs. No backing band. No elaborate production. Just raw truth.

The world stopped to listen.

Within two weeks, her album sales rocketed from 250,000 to over two million. "Fast Car" climbed to #6 on the Billboard Hot 100. The album reached #1, eventually selling over 20 million copies worldwide. She won three Grammy Awards.

Tracy became one of the most celebrated voices of her generation.

Then she did something the industry found incomprehensible: she walked away from the spotlight.

She released seven more albums. Her 1995 song "Give Me One Reason" won a fourth Grammy. But after 2008, she went nearly silent. No new music. Rare performances.

She had said what she needed to say.

The world moved on.
Or so it seemed.

March 2023. Country artist Luke Combs released something unexpected: a faithful cover of "Fast Car."

Combs had loved the song since childhood. He changed nothing—not the melody, not a single word. He simply sang Tracy's truth with reverence.

The song exploded.

It dominated country radio. Hit #1 on Billboard's Country Airplay chart, making Tracy Chapman the first Black woman with sole songwriting credit to reach #1 in country music.

November 2023. "Fast Car" won Song of the Year at the CMA Awards. Tracy became the first Black songwriter—male or female—to win that honor in the CMA's 57-year history.

She wasn't in attendance. She sent a gracious statement but remained in the shadows.

Then came February 2024.
The Grammy Awards.

The producers convinced Tracy to do something she almost never did anymore: perform.

She walked onto the stage alongside Luke Combs.
She played the opening guitar riff.

Taylor Swift stood up, singing along. The entire audience rose in a standing ovation before the first verse finished.

Tracy and Luke traded verses, their voices honoring the song's enduring power. At the end, they bowed to each other in mutual respect.

Within hours, "Fast Car" hit #1 on iTunes—thirty-six years after its original release.
Tracy Chapman never chased fame. She never compromised her vision for commercial success.

She wrote about poverty, longing, and the fragile hope that drives people to believe life could be different. She told uncomfortable truths in a society that preferred comfortable lies.

For thirty-five years, the industry tried to fit her into categories. For thirty-five years, she resisted.

She made music on her terms, spoke when she had something to say, and disappeared when she didn't.

And then, when the world finally caught up to what she'd been saying all along, she returned—not as a supplicant seeking relevance, but as an artist whose work had proven timeless.

Some revolutions announce themselves with fire and fury.

Others arrive quietly, carried on six strings and a voice that refuses to look away from hard truths.

Tracy Chapman's revolution took thirty-six years to be fully recognized.

But it was worth the wait.

02/09/2026

📊 The 2026 music economy reveals a $141.5 billion industry navigating significant structural transformation and persistent creator compensation challenges.

🎯 Market Fundamentals: Live music dominates at $62.5 billion 🎤, surpassing digital streaming's $38.5 billion 🎧 and demonstrating the enduring value of in-person experiences. The copyright market commands $55 billion, split between recorded music at $33 billion and songwriting/publishing at $22 billion.

💰 The Streaming Compensation Crisis: Artist economics remain problematic across major platforms. Per-stream payouts range from $0.0135 on Tidal to $0.0040 on Spotify, requiring creators to generate between 5 million and 18.7 million annual streams to achieve a living wage 💵. Label intermediaries further reduce gross payouts by 75-85%, leaving artists with approximately 15-25% of platform payments.

🤖 The AI Displacement Paradox: Despite comprising 34% of daily uploads totaling 50,000 tracks, AI-generated content captures only 0.5% of actual consumption, revealing a 68-times listener preference for human-created music ❤️. Critical concerns persist as 70% of AI content relates to fraudulent activities including streaming manipulation and playlist farming ⚠️

🌍 Regional Growth Dynamics: The Middle East and Africa lead global expansion at 22.1% growth 📈, followed by Asia-Pacific at 14.5%. North America demonstrates market maturity at 4.2% growth, reflecting saturation in established markets.

💡 Emerging Revenue Models: The superfan economy provides encouraging alternatives, with direct-to-consumer platforms generating 22% of top independent artist income 🎸. TikTok social commerce now drives 30% of independent merchandise sales 🛍️, while ethical AI licensing creates new royalty opportunities for authorized voice and style usage.

The industry faces a critical juncture balancing technological innovation against sustainable creator compensation while navigating artificial intelligence integration and evolving global consumption patterns.

📩 For deeper insights into music industry economics, strategic positioning, or consultation on navigating these market dynamics, connect with for comprehensive analysis and professional guidance. 🎵

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01/19/2026

After all those years I finally got recognition from Vinny Rebel 🤣

01/19/2026

Hooray, Reason turns 25!

Time flies, as they say. 25 years ago, the very first version of Reason saw the light of the day. The idea was to create a self-contained music production and sound design software, available to anyone with even a fairly average computer. The philosophy behind Reason was to “democratize the music making”, meaning everyone should be able to create music without having to shell out a fortune on musical instruments and hardware. The concept turned out to be a real hit and Reason continues to evolve to this day!

Background

After the huge success of the ReBirth application, released in 1997, Marcus Zetterquist came up with the idea of making a music production tool based on a rack concept, where you could connect various rack modules to each using virtual cables, to form a virtual music studio.

As Ernst Nathorst-Böös said “Reason was the software we wanted to create when we made ReBirth”. Due to the generally low performance of computers at that time this wasn’t feasible, so it had to wait a couple of years.

Ernst, Marcus and Peter (Jubel) agreed that the “hardware rack” metaphor made perfect sense and was quite easy for most users to grasp: you connect a cable from one jack to another, and that’s it. On the first prototypes the jacks were on the front panel of the rack. This was later changed, and they eventually ended up on the back panels. You could quickly switch between front and back by pressing the now famous [Tab] key.

In one of the first prototypes you can clearly see where this project was going:

Reason version 1, year 2000.
Reason 1.0 was released in November 2000 and was all you needed for electronic music production. It featured a 14-channel stereo Mixer, the ReDrum Drum Computer, the SubTractor Polyphonic Synthesizer, the NN19 Digital Sampler (suitably named after the 1985 hit “19” by Paul Hardcastle), the Dr:Rex Loop Player, and the ReBirth Input Machine (to route the ReBirth RB338 audio into Reason if you wanted to).

Reason 1.0 also came with the Matrix Pattern Sequencer and eight “half-rack” Effect modules. Besides the devices Reason also featured a multi-track Sequencer for MIDI recording.

Reason created a true buzz on the market and really stirred interest world-wide.

Reason 2, 2002
Reason 2.0 was released in 2002 and came with a lot of enhancements and workflow improvements, such as a detachable Sequencer window and new Sequencer tools. Reason 2.0 also featured the fantastic Malström Graintable Synthesizer, developed by Magnus Lidström, who would later form the company Sonic Charge.

The NN-XT Advanced Sampler was designed so you could get more “real instruments” in Reason. It would also become the backbone for a lot of future ReFill sound libraries. In addition to the Reason Factory Sound Bank, Reason 2.0 also featured the Orkester ReFill. This contained a large collection of patches and samples of orchestral instruments for the NN-XT.

Reason 2.5, 2003
Reason 2.5 was released with the tag line “In Full Effect”. Despite being a free point update, Reason 2.5 contained some really great new devices: the RV7000 Advanced Reverb, BV512 Vocoder, Scream4 Sound Destruction Unit, UN-16 Unison, and the Spider Audio and Spider CV Merger & Splitter devices.

The BV512 Vocoder was modelled after Peter Jubel’s homemade BV-12 vocoder, which is now being sold as part of the (Kraftwerk co-founder) Florian Schneider Collection.

Reason 3, 2005
Reason 3 introduced the flexible Combinator device, which could be used for combining other Reason devices, to form a “super instrument” or “super effect” —or a combination of instrument(s) and effect(s). To make it easier to connect and use external MIDI keyboards for controlling Reason device parameters, the Remote protocol was introduced in Reason 3. It came with a selection of preset assignments for the most common MIDI keyboards and control surfaces on the market.

The Combinator+Remote combo was marketed under the motto “Replace Your Workstation” and we published a number of ads on this theme in music magazines.
With Reason 3 came also the MClass Mastering Suite, consisting of the MClass Compressor, the MClass Equalizer, the MClass Stereo Imager and the MClass Maximizer. We also packaged these four devices in a Combinator that we called the MClass Combinator Mastering Suite. This Combinator was perfect to use as a Master Effect last in the signal chain.
Reason also came with enhanced Factory Soundbank and Orkester ReFills.

Reason 4, 2007
Reason 4 brought the mighty semi-modular Thor Polysonic Synthesizer. It would become one of the most popular instruments ever in Reason and is being used extensively to this day.

Reason 4 also came with the RPG-8 Monophonic Arpeggiator. There were some discussions internally if we should really call it RPG-8, because of the more violent existing “device” RPG-7 (a shoulder-launched, anti-tank, gr***de launcher). However, we finally decided to go for the name since it sounded good: RPG-8 = Ar-pe-(g)gi-ate.

Reason 4 also featured the ReGroove Mixer, for easily applying non-destructive grooves to MIDI recordings. The ReGroove Mixer is still heavily used, especially on the Hip Hop scene.

Reason 4 introduced Clips in the Sequencer. Can you imagine that before Reason 4 there were no clips at all?

Record, 2009
In 2009 Propellerhead Software released its stand-alone audio recording software Record. Record came with a great audio time stretch algorithm, which allowed for the audio recordings to be slowed down or sped up with virtually no artifacts. A lot of users say it’s still the best time stretch they have heard. Designed and implemented by our own DSP guru Peter Jubel.

The extremely comprehensive Mixer in Record, meticulously modelled after the mighty SSL 9000 K mixing console, was also a huge success. At a reasonable price musicians could now get access to a “million-dollar mixer” in a computer software. Of course, the Mixer also featured the magical Master Bus Compressor. We moved the letters one step forward in the alphabet and called it the “TTM Mixer”. TTM for Totally Transparent Mixer. This name never became official, though, and was only used internally in the code. In Record (and later in Reason) it was simply called the Main Mixer.
Another great feature in Record was that you could run Reason 4 in it completely seamlessly. If you had Reason 4 installed on your computer, Record automatically detected this and loaded up all Reason 4 devices in Record. The best of both Propellerhead worlds!

Record also featured the straight-forward ID8 instrument device (for ideation) and the Line 6 Guitar and Bass Amps. With Record 1.5, released in 2010, came the fantastic Neptune Pitch Adjuster and Voice Synth, which could be used for vocal pitch correction and for generating chords from (monophonic) vocal input signals.

Record was marketed with the slogan “Record You”.

Reason 5, 2010
Reason 5 came with some very nice features, such as Blocks in the Sequencer. Blocks allowed you to start with writing the different parts of your song and then arrange your song by drawing in those parts. Blocks always live “in the background” so you could easily add variations and unique parts on top.

The powerful semi-modular Kong Drum Designer was also introduced in Reason 5. It came with a number of different Drum module types, as well as Effects, that you could configure to taste and save as patches.

The Dr:Rex Loop Player was significantly updated to contain 8 loop slots instead of the single slot in Dr:Rex. Consequently, the device was renamed Dr. OctoRex. There was an internal discussion whether we should just call it “OctoRex” (to rhyme with Dr:Rex), but we decided to go with “Dr. OctoRex” to not mix up the names.

With live sampling, all sample players in Reason also became samplers. Redrum, NN19, NN-XT, Kong now all could record samples on the fly from your audio interface.

Like with Reason 4, Reason 5 could also run inside the Record program, making them a perfect match. Reason 5 could be run inside Record 1.5, which was released the same year.

Reason 6, 2011
In Reason 6 the Reason and Record programs were merged into a single application. Now, the Reason sequencer finally featured audio tracks! As we said in the Reason 6 introduction video: “When all you want is everything, all you need is Reason.”

Among the new devices in Reason 6 were the three creative effects: Pulveriser, The Echo, and Alligator—the first devices created with our newly developed Rack Extension technology (see Reason 6.5 below), although this wasn’t communicated officially at this point. Reason 6 also inherited the Neptune Pitch Adjuster and Voice Synth, the ID8 instrument and the Line 6 Amps from Record.

Reason 6 came both a 64-bit and a 32-bit application, to be compatible with the computer OS versions that existed at that time.

Reason 6.5, 2012
In Reason 6.5 the Rack Extension technology was officially introduced. This technology made it possible for external developers to develop their own instrument and effect devices and ship them as Rack Extensions—a plugin format unique to Reason. The Rack Extension format allowed for very tight integration with the Reason architecture, offering audio and CV signal routing just like in the built-in devices. Thanks to the sandboxing technology, the Rack Extensions also became future proof and independent of future computer OS versions.

From this point onwards Propellerhead Software also started producing a lot of Rack Extensions that could be purchased separately and added to the Reason Rack, for those who wanted. This way we could develop more “specialized” devices that didn’t necessarily “fit all”.

Reason 7, 2013
Reason 7 came with the External MIDI Instrument device, which allowed control of external MIDI instruments from Reason. Reason 7 also featured audio slicing and quantising, the Spectrum EQ window, and several Main Mixer enhancements, such as Output Bus Channels. A new effect device was also included, Audiomatic Retro Transformer, which offered a palette of great effect programs at a push of a button.

Reason 7 was frequently marketed with the slogan “Reason Has a Rack for That”, to highlight that you could do almost anything with the available Rack devices—including the add-on Rack Extensions.

Reason 8, 2014
Reason 8 came with updated sequencer graphics, workflow improvements, and with a brand-new browser. It also came with two new built-in Softube Amps (that would later replace the older Line 6 Amps in Reason 9). In the Reason 8.3 update the RV7000 Advanced Reverb was updated to mkII. RV7000 MkII featured a Convolution mode, where you could load impulse response samples that RV7000 MkII could use for generating effects. In the Reason 8.3 update Reason also became a 64-bit only application.

Reason 9, 2016
Reason 9 introduced the Player concept, a new type of MIDI generating/processing devices that could be attached to instrument devices and “play” them in various ways. Three Player devices were included in Reason 9: Dual Arpeggio, Note Echo and Scales & Chords.

Pitch Edit Mode in the sequencer, to auto-correct monophonic audio, was another big feature in Reason 9. “Bounce in Place”, to convert instrument MIDI notes to audio was also one of the new features.

Reason 9 also came with around 1000 new patches. The Pulsar Dual LFO device was also added to the built-in devices.

Reason 9.5, 2017
The Reason 9.5 update included quite a significant new functionality: support for VST2 plugins. This was a much-requested feature from a lot of users. Up until now, Reason could only use its internal devices and Rack Extension devices. Reason’s built-in VST Rack Device could host any compatible 64-bit VST2 plugin and also featured CV jacks so you could control and modulate your VST plugin from other devices in the rack.

VST plugins could also be combined with other devices in Combinator devices, to form your custom-made instruments and effects. Reason 9.5 also featured Delay Compensation, to compensate for inherent latency in certain devices and VST plugins.

Reason 10, 2018
Now it was high time for Reason to get some really powerful new synthesizers. Reason 10 was biggest content update so far, and included the flexible Europa Shapeshifting Synthesizer, the experimental Grain Sample Manipulator, and the optional add-on instruments Klang, Pangea, Humana, and Radical Piano. The time-based Synchronous Effect Modulator was also introduced.

Besides the new devices, Reason 10 also came with a vastly expanded sound library, including the Loop Supply and Drum Supply ReFills and the “Reason 10 Sounds” sound bank, which contained a huge number of Combinator patches.

Reason 11, 2020
Reason 11 was the first Reason version released by Reason Studios, after having changed the name from Propellerhead Software. Reason 11 came with a number of workflow enhancements in the sequencer, such as curved automation, multiple notes drawing and muting of individual notes—plus crossfading of audio clips. Two new audio modulation effects were also added—Quartet Chorus Ensemble and Sweeper Modulation Effect—plus three separate effect devices, derived from the Main Mixer channel strip: Channel Dynamics, Channel EQ and Master Bus Compressor.

Another huge new feature in Reason 11 was the Reason Rack Plugin, which let you use the Reason Rack as a separate VST3/AU/AAX plugin in other compatible DAWs. This allowed for users of other DAWs to get the “Reason sound” straight into their DAW—a much appreciated feature!

Reason 12, 2021
Reason 12 featured scalable user interface and all Rack devices now used high-resolution graphics. Reason 12 also made it a lot easier to use multiple Combinators in series as Insert Effects in the Mixer. The Combinator was updated to Version 2, which heavily improved its functionality, letting you create your own unique instruments and effects with custom-made user interfaces.

Reason 12 also came with the Mimic Creative Sampler—a great sampler instrument for chopping up and playing back samples in very intuitive ways.

Finally, Reason 12.5 came with the long awaited VST3 plugin support.
Reason 12 was also the first Reason version you could choose to subscribe to instead of purchasing outright. This was made possible with the Reason+ concept, which let you subscribe to the latest Reason version—and to all Rack Extensions made by Reason Studios on a monthly or yearly basis.

Reason+ also provides weekly releases of Sound Packs. Sound Packs consist of around 10 meticulously crafted Combinator patches that you could download and use in Reason and in Reason Rack Plugin.

If you didn’t want to subscribe to Reason+ you could still purchase a licence like before, though. This works the same way today.

Reason 13, 2024
The current version, Reason 13, is focused on workflow and sounds. Reason 13 features an upgraded sequencer, a brand-new browser, five new devices, and more sounds.

All patches, samples, and loops are now in one place—the new Browser. All content in Reason is manually categorized and tagged. That includes all sound banks, all Reason Studios devices, and all Reason+ Sound Packs (for Reason+ subscribers). You can also tag your own sounds if you like.

The Sequencer has been split into two. With the new Edit Area it’s easy edit the details in your music without losing your way in the arrangement. Several new workflow improvements, improved zooming, layout changes, and easy access to editing features, make it a lot easier to create and edit your music.

The Polytone Dual-Layer Synthesizer is a modern take on a classic “analog style” synthesizer. It has two layers that can be stacked or morphed between for super fat or evolving sounds.

The Ripley Space Delay effect combines delay and reverb with unique flavors of filtering, noise, and distortion.

The Reason 13.1 update brought two new Player devices: Note Tool and Random Tool—perfect for manipulating MIDI notes in various ways. Reason 13.1 also lets you customize the Device Palette and what’s displayed in the Browser, using custom Tags. Reason 13.2 and 13.3 came with further workflow improvements and new functions.

That’s where we are today. Let’s see what the future brings.

Happy 25th, Reason!

Time flies, as they say. 25 years ago, the very first version of Reason saw the light of the day. The idea was to create a self-contained music production and sound design software, available to anyone with even a fairly average computer. The philosophy behind Reason was to "democratize the

01/07/2026

LANDR, the AI-powered music platform, has acquired Reason Studios. That pairs Reason with the Montreal-based platform for mastering and distribution, and LANDR subsidiary SynchroArts (makers of VocAlign and Revoice Pro).

LANDR, whose original claim to fame was AI mastering, says that Reason will retain its brand and community. That’s a no-brainer — the Reason brand and product are what they’re buying. It is a funny pairing: LANDR was the first big name in AI music tech, back when it was far less buzzworthy. Reason was the company that once ran an ad telling you to bin your hardware synths. (The idea was that you could do everything in the box — I’ve been to their offices and they do still have hardware.)

I will here evoke my ongoing Rule of Acquisitions — no, not the Ferengi one. It’s the adage that music acquisitions often claim major strategic benefits, but often measuring up more based on their financial significance and the stability of the products.

Here’s the claim, and it’s a big one:

LANDR Acquires Reason Studios to Redefine the Future of Music Creation

Great Scott. (Careful when you do that that you don’t open up multiple dimensions. “We’re not going back!“)

If you’ve been using a DAW long enough, you probably remember a lot of those acquisitions. They’ve come and gone even with single DAWs. Cakewalk, now part of BandLab, was owned for a time by Roland. Steinberg was part of Pinnacle before its current owner, Yamaha. Oddly, one of the most meaningful may have been Ableton buying Cycling ’74 — but that’s an edge case, one where there were a lot of shared values. (And it’s an exception that proves the rule, as Max for Live predates the deal and, for the most part, Cycling ’74 and Ableton continue to operate separately.) Basically, Apple’s acquisition of Emagic (makers of Logic) is apparently a once-in-a-lifetime event. And yes, even the Logic team continues to operate out of the same Hamburg office.

But that was then; let’s decipher what we can about this one.

This was a long time coming. Majority owner Verdane invested in 2017, teeing up just this kind of buyout. That would be a “specialist growth buyout investment firm” — aka a growth equity company, not to be confused with a private equity company. But the point is they were looking for this kind of exit, and got it — and Reason ceased to operate independently from its investors some eight-plus years ago. It seems they did so in a way that might at least give Reason a stable platform for the future — but we’ll see how the stability for current users balances with however aggressive they want to be with growth.

AI is in there somewhere. Perhaps aware that AI is toxic to a growing number of musicians, LANDR’s press release sometimes mentions AI, sometimes dances around it with “intelligence,” and sometimes omits all of it. I expect the short-term upshot of this will be the inclusion of VocAlign and Revoice Pro. VocAlign complements Reason’s recording facility for anyone working with vocal recordings or samples; Revoice Pro adds even more voice correction, tuning, and voice reshaping. LANDR promises that it and Synchro Arts “will gradually introduce new value for Reason users through deeper integrations, enhanced collaboration tools, and creator-focused, AI-powered features.” And that just sounds like LANDR’s current product offering.

It’s probably not about generative AI yet. Every time something like this happens, some Suno fanboys start imagining DAWs you prompt instead of use. The problem with that is, for now, generative AI has a long way to go to even prove it can make money. Mostly, they’re talking about Reason and Reason Rack. LANDR did emphasize generative tools in the survey of musicians they shared in November, and it seems a lot of beginners are using song generators. But they also talked about tools like generating vocal parts and even automating marketing and distribution. (Wait — that last bit sounds potentially dreadful.) Basically, we’ll see.

Doesn’t this dilute Reason+? Here’s a catch-22. Presumably, the appeal of Reason to investors is partly its subscription offering. But LANDR has a subscription of its own — and frankly, the all-you-can-eat plug-in model has had a rocky start among music producers. Reason+ is already vast, so I wonder if the addition of LANDR’s distribution and mastering and samples and some random choice of plug-ins won’t generate some confusion. We’ve definitely seen these things flounder before — looking at you, Native Instruments and Sounds.com.

And yeah, Reason’s loyal users were clear about what they want: user interface improvements, an ownership-based software model, and the kind of software innovation that built the platform. Despite some great engineering efforts behind the scenes (like high-definition display support, Windows on ARM, and other things you might miss), I have heard users complaining about progress since Reason Studios announced its initial acquisition by private investors in 2017. (I don’t want to read too much into the acquisition, apart from the timing of subscriptions which was clearly connected. All DAWs with older, larger codebases do struggle to keep evolving later in their life. Uh, I’m a little creakier than I was in the early 2000s, too.)

Speaking of what users want:

The High Council has spoken. Okay, the other surprise here is a new “Artist Council,” which LANDR and Reason Studios says they’ll establish from well-known producers and longtime Reason users. Maybe this is also a way to head off worries that they’ll turn Reason into some kind of AI music slop-generating machine. For their part, they say the council “will ensure that Reason’s roadmap remains deeply connected to the real-world needs and ambitions of today’s creators, advising on product innovation, creative tools and workflows.”