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REAKTOR Factory Library Manual

1. REAKTOR FACTORY LIBRARY Manual 105 Grooveboxes L3 Control Function Scroll Bar Scrolls the Slice Position Sequencer vertically This can be useful if a long loop with many slices is loaded As the Slice Position Sequencer can only display sixteen ver tical values slices after the sixteenth cannot be controlled Use this bar to scroll to those higher values Edit Range Bar Controls the area of steps within the Slice Position Sequencer onto which the edit functions are applied The edit functions are Reset Slices Sets each step within the edit range to its default position Shift Up Down Shifts each step within the edit range up or down by one position Shift Left Right Rotates each step within the edit range to the left or right by one position Clear Resets all steps within the edit range in both the Slice Position Sequencer and the Parameter Sequencer Copy Copies all steps within the edit range of both the Slice Position Sequencer and the Parameter Sequencer into an internal buffer Paste Copies all steps from the internal buffer into the edit range of both the Slice Position Sequencer and the Parameter Sequencer 3 5 4 Sampler The main window is for loading loops and displays the currently selected waveform After load ing a loop make sure it is selected using the Sample Select knob and then check that the detected tempo is correct it s displayed in
2. REAKTOR FACTORY LIBRARY Manual 62 Effects Resochord Section Function Harmonics This section adds additional harmonics to output of each resonator In essence it is an additional resonator stage without feedback for the output of each main resona tors The Ratio knob adjusts the ratio between the original pitch and the additional har monic pitch It ranges from infinitely higher at hard left to 1 octave higher i e twice as high at hard right than the main resonator pitch Refresh Sets the amount of amplification Odb to 10db applied to frequencies above 1 kHz Use this knob to refresh dull sounding signals Norm Enabling this section maximizes the volume of the output signal Output W Srce Wet Source determines whether the output signal is taken from the begin ning of the comb filter s feedback loop Pre or from the end Post If the former the dry unprocessed signal is more prominent in the wet signal Amp sets the amplitude of the wet signal before it is mixed with the dry signal D W dry wet defines the balance between the dry unprocessed signal left and the wet signal right Global Pitch Coarse and Fine shift the overall pitch of the resonators in semitones PB sets the pitch bend range in semitones and NP enables global pitch shifting by MIDI note keys C60 to C96 REAKTOR FACTORY LIBRARY Manual 63 Effects Resochord Section Function
3. Section Control Function Filter Controls the position and range of cutoff frequencies available for the os cillator units lowpass filters The left side provides high frequencies the right side low ones X Voice Controls the routing of the modulation signals Each oscillator s pitch and amplitude is modulated by another oscillator s output this control defines the cross modulation matrix Modulation Depth Controls the amount of modulation applied to the oscillators frequency and amplitude The ring s position adjusts the amount of FM low FM val ues at the right side its length adjusts the amount of AM low AM values at short length settings Setting Morph Morphs through the oscillator settings Each box s position and color rep resents a set of parameters controlling one of the eight oscillators The range of available settings is controlled by the circular controls of the Tone Generator like Pitch and Filter Volume Level Adjusts the main output level Mute Mutes the entire instrument EQ High Controls the amount of amplification or attenuation applied to the signal s high frequencies Low Controls the amount of amplification or attenuation applied to the signal s low frequencies Reverb Size Sets the size of the room simulated by the reverberation unit Decay Sets the time that passes until all reverberation signals have decayed Asymmetry Places the signal to the left negative values or right p
4. Swing determines the extent to which a humanizing shuffling algorithm is imposed onto the beat The algorithm effectively swings time forwards and back again on al ternating steps The 1 2 button halves the tempo e g 120 becomes 60 REAKTOR FACTORY LIBRARY Manual 112 Grooveboxes Limelite Section Control Function Out The controls in this section influence the overall master output of Limelite Gain con trols master volume and Pitch defines global tuning 12 semitones Dirt controls a distortion algorithm while Norm enables a volume maximising algo rithm For the volume maximiser Amp defines the maximum amount of volume maxi misation Rel determines the release time of a peak detector and Sm determines the amount of slew the speed of shifts in gain Loud but harsh sounds will be obtained with high gain full right and fast Rel and Sm settings hard left Better results will usually be obtained with more modest settings Ext and FX buttons Ext allows external input to be fed into the Pulp unit and FX processors Note that external input is always routed to Pulp if Pulp input is set to Ext regardless of the global Ext button The FX switch disables the samplers so that Limelite can be used solely as an FX unit with lower CPU demand Note that the FX switch overrides the Ext switch setting in that external input will always be enabled REAKTOR FACTORY LIBRARY
5. REAKTOR FACTORY LIBRARY Manual 133 Grooveboxes Massive 1 1 Section Control Function Reset Sets all controls of the respective controller page to their default val ues Clicking with the right mouse button resets the parameters on all controller pages Pan Positions the track s signal within the stereo field Pan Modulation Source Selects the sequencer track whose signal modulates the track s Pan parameter Send Level Sets the volume of the track s signal that is sent to the delay effect upper control and the gater effect lower control Track Level Sets the volume of the track s signal that is routed to the main out put Solo Mute The left mouse button switches the track s signal on or off Double clicking with the left mouse button switches all tracks on Clicking the right mouse button solos the track i e it plays alone 3 7 6 Snapper AIN 2 Building The Beat AAN eg 001 1 1 enen 004 4 2 004 4 4 047 4 4 ea Is lez ke 008 4 3 082 4 10 Snapper user interface Snapper is an additional instrument that works as a song sequencer It synchronizes to the global MIDI clock and automatically recalls snapshots of the slaved instrument i e Massive As Massive s snapshot management system is optimized for fast snapshot loading the patterns are loaded immediately with no interruptions of the audio output Be sure to set the Snap shot Mode control
6. Control Function Run Switches the snap sequencer on or off If on MIDI clock signals are recognized Unit Defines the length of each step as a multiple of bars Each bar is made up of 96 MIDI clock ticks interpreted as 96th notes a bar represents four quarters This length is div ided by the lower value of the control the result is multiplied by the upper value For instance a setting of 3 in the upper field and 2 in the lower one results in dividing the bar by two each step will last for two quarters and then multiplying it with five so that finally each step of the snap sequencer will last for six quarters Step 1 to 16 Controls the sequence of recalled snapshots Start Controls the step at which the playback begins upon a MIDI clock start event Length Defines the length of the playback loop It adjusts the number of steps after which the playback jumps back to the snap controlled by Start and begins again 6 6 3 Trocken ORI co as Eze i IRTE copy paste dens snie ao end qate A AAA AA 4 35 TrackSeq user interface This is the main part of the ensemble Each of the four parallel tracks named A to D triggers one of the four channels of the ToneGen instrument also called A to D A track is made up by eight parts normally interpreted as quarters this can be changed by the Clock control the Loop control above the main edit area defines which parts are played back when the M
7. Manual The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH The software described by this docu ment is subject to a License Agreement and may not be copied to other media No part of this publication may be copied reproduced or otherwise transmitted or recorded for any purpose without prior written permission by Native Instruments GmbH hereinafter referred to as Native Instruments Native Instruments NI and associated logos are registered trademarks of Native Instru ments GmbH Mac Mac OS GarageBand Logic Tunes and Pod are registered trademarks of Apple Inc registered in the U S and other countries Windows Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and or other countries All other trade marks are the property of their respective owners and use of them does not im ply any affiliation with or endorsement by them Document authored by Native Instruments GmbH Disclaimer NATIVE INSTRUMENTS GmbH Schlesische Str 29 30 D 10997 Berlin Germany www native instruments de NATIVE INSTRUMENTS North America Inc 6725 Sunset Boulevard 5th Floor Los Angeles CA 90028 USA www native instruments com NATIVE INSTRUMENTS K K YO Building 3F Jingumae 6 7 15 Shibuya ku Tokyo 150 0001 Japan www native instruments co jp NATIVE INSTRUMENTS UK Limi
8. The first of the two equalisers offers two modes Low Shelf which boosts or attenu ates frequencies around and below the centre frequency and Peak which boosts at tenuates frequencies around the centre frequency The second equaliser offers 3 modes High Shelf which boosts or attenuates fre quencies around and above the centre frequency Peak as above and HiCut which attenuates frequencies above the centre frequency by 6db per octave The boost knob has no effect in HiCut mode Master Section Function Level The Level knob adjusts the overall post FX volume and the upper menu selects a key tracking source for the overall level Amplitude can be modulated by selecting an additional source from the lower menu The corresponding slider adjusts the modulation depth Pan Pan defines the position of the output signal in the stereo field The position can also be modulated by selecting a source from the adjacent menu Modulation The modulation section offers 4 envelope generators and 2 low frequency oscillators These sources provide time varying signals that can modulate the parameters in the other sections A complete summary of available modulators including MIDI ones is detailed in Appendix 3 REAKTOR FACTORY LIBRARY Manual 358 Synthesizer Photone Section Control Function Envelope 1 2 and 3 Envelope 1 and 2 are identical internally and can be routed flexibly t
9. Control Knee Sat Function This parameter adjusts how gradually the full amount of compression is introduced Think of it as a slope control for the attack time Drives the band into saturation Link Activates stereo linking of the two input channels When active the com pressor takes the max of the left and right peak levels and uses it for both channels This preserves a clean stereo image and is lighter on CPU cycles Att This dial adjusts the attack time It is the time the compressor takes to react to an above threshold signal Rel With this control you set the release time This is the time the compres sor takes to return the signal to normal when it falls below the compres sion threshold Out Gain Sets the amount of amplification applied to the compressed signal of the specific band before it gets mixed with the other bands Bypass Bypasses the compressor for the respective band Mute Turns the sound of the respective band off Solo Turns all other bands off leaving only the signal of the soloed band Use it to fine tune single compressor bands 2 9 4 Full band Peak Limiter The peak limiter affects the full band signal For clean mastering purposes we recommend a limiter threshold setting of about 3 to 4 db and a peak setting at Odb Should pumping ef fects be desired adjust the threshold to more extreme values Control Function Thr Adjusts
10. Synthesizer Carbon 2 Section Control Function High Boost Controls the boost or damping applied to the frequencies above the High Frequency Delay L R Sets the delay times of the left and right channel respectively The time is controlled in increments selected by the Quantize control Fine L R Adds an offset to the values controlled by Delay L R in milliseconds Quantize Selects the unit by which the delay times are quantized Sixteenth notes and eighth triplets are available Feedback Sets the amount of feedback Wrap Controls the amount of cross feedback Turn to the left to route the every channel s feedback to itself turn to the right to route it to the other channel Resonance Sets the amount of resonance applied to the low pass and high pass filters within the feedback circuit Lowpass Controls the frequency of the low pass filter within the feedback circuit Highpass Controls the frequency of the high pass filter within the feedback circuit 8 2 5 Modulation Sources Several modulation sources are available two ADSR envelope generators a recordable enve lope and two LFOs combined with a key scaler that provides four independent control points and four freely assignable MIDI controllers The envelope generators and LFOs offer several types of MIDI clock interaction for rhythm based modulation effects Section Control Function Envelope Genera Trigger Selects the ev
11. lt Dec1 gt Sets the first decay value of the DBR envelope lt Brk gt Sets the break level of the DBR envelope lt Rlse gt Sets the second decay and release value of the DBR envelope lt Decay 1 4 gt Sets the decay time of the four toms These values control the resonance of the self oscillating filter Lower resonance results in less self oscillation which results in a shorter decay time lt Pan 1 4 gt Set the position of the four toms in the stereo field lt Level gt Sets the master output level lt Mute 1 4 gt Instantly mutes toms 1 4 but the CPU is still used lt On gt Turn the whole instrument on off When off CPU is saved but there is a slight delay in turning the instrument on again For quick muting and unmuting it s better to use lt Mute gt lt XY Panel gt Displays a visualization of the amplitude of the four toms Rhythmaker REAKTOR FACTORY LIBRARY Manual 155 Grooveboxes Rhythmaker Mixer Each drum module has its own channel in the mixer lt solo gt washes your dishes lt mute gt paints your walls and the little knob under the channel name does your laundry Saturator A three band saturator adds volume and depth to the mix before the output e lt Gain gt Sets the amount of overdrive distortion e lt Split gt Sets the cutoff freqeuncy of the main 2 pole filters used to get 3 bands of the input sound one processed with a lowpass filter the second with a bandpass and the third wi
12. run unit A TA AO eg Tee e e leas Tee Aa eee EN FE EN EH ED EN E EN EA E EN EH EN EHA EE EE 4 34 SnapSeq user interface The snap sequencer recalls a maximum of 16 different snapshots of the dependent instru ments TrackSeq and ToneGen see below They are recalled according to the line defined by the steps 1 to 16 Upon a MIDI start signal the playback begins at the step defined by the Start control and loops back to this point after a number of steps to be set with the Length controller The duration of each step is regulated by the Unit control The Run button switches the snap sequencer on or off The sequencer is synchronized to the MIDI songposition there fore there has to be a MIDI clock signal e g the global Reaktor clock to make this instru ment work The SnapSeq recalls its own snapshots By doing so however both other instruments are also controlled although they are complete instruments with their own snapshot management that can both be used without SnapSeq in this ensemble they are placed within the SnapSeq in strument s structure thus they are slaved to the master snapshot management of SnapSeq This also enables the feature to create a set of sequences and a set of drum sounds independ ently as snapshots of the subordinated instruments A variety of combinations can be saved as snapshots of the SnapSeq and can then be recalled by the snap sequencer REAKTOR FACTORY LIBRARY Manual 250 Sequencers SQX
13. view B is de signed to be the day to day interface of the synth with control over the most important synth parameters View A is a tweak head s delight as it shows every single parameter directly A monitor with 1280x1024 resolution is recommended to use the full view A The effects are laid out in rack style underneath the synth You can maximize or minimize each effect as needed Note that all controls in the reduced B view are also duplicated in the full A view 8 11 3 Signal Flow and Structure Kaleidon s sound begins with three oscillator sections with each section consisting of two in dependent oscillators Each oscillator has a choice of pulse sawtooth triangle sine bi saw parabolic with PWM and noise All three oscillator sections are nearly identical with oscillator sections 2 and 3 giving enhanced sync and waveform options When the Qnt button is activat ed in Osc section 2 or 3 additional harmonics are added to the waveform by reducing the bit Synthesizer Kaleidon REAKTOR FACTORY LIBRARY Manual 320 depth Osc sections 2 and 3 also offer a three saw waveform where three sawtooth waveforms are slightly detuned to create a rich sound The amplitude pitch and width of each oscillator section acting on both of the oscillators in the section can be modulated with the pull down menus at the bottom of each oscillator An additional noise generator and sub oscillator are also available underneath the
14. F Mod Selects the source signal used to modulate the main oscillator s frequency While Osc Env and Noise Env select the respective amplitude envelopes the Sine Tri and Random entries use independent oscillators whose frequency can be adjusted with Rate F Sets the base frequency of the main oscillator FMod Sets the amount of frequency modulation applied to the main frequency by the selected source signal Rate Sets the frequency of the independent oscillator modulating the main oscillator s frequency Mix Mix Sets the ratio of the oscillator section s output and the noise section s sound in the signal that is passed on to the equalizer Noise Envelope Similar to Oscillator Envelope applied to the noise generator s filter Attack Similar to Oscillator Attack applied to the noise generator section Decay Similar to Oscillator Decay applied to the noise generator section Noise Selects the operation mode of the noise section White uses unfiltered noise White Mod modulates the noise generator s algorithm by the noise section s en velope signal Filter Selects the type of 2 pole filter applied to the noise Highpass bandpass and lowpass filters are available providing 24 dB damping per octave Freq Sets the center frequency of the filter Peak Sets the amount of modulation applied to the filter s center frequency by the en velope Res Sets the amount of filter resonance EQ Hz Sets the frequency of t
15. Hold Specifies the time held at full amplitude Decay Specifies the time taken for amplitude to fall back to zero Lofi Hertz Adjusts the re sampling frequency in Hertz Bit Adjusts the bit depth of the re sampling algorithm Mix Crossfades between the unprocessed dry signal and the processed wet sound Noise Crossfades between the re sampled signal and a noise generator to be mixed with the unprocessed sound Shape Pre Increases the compressor input level Shape Determines the compressor gain curve Smooth Reduces the amount of distortion by smoothing gain changes as it controls the attack and release of the compressor Drive Saturates the output signal Filter Mode Selects the operation mode of the filter unit You can choose between low pass band pass and high pass filter modes Cut off Sets the center frequency of the filter Resonance Sets the resonance of the filter at the cut off frequency Out Gain Adjusts the output level in decibels REAKTOR FACTORY LIBRARY Manual 195 Samplers Memory Drum 2 Section Control Function Aux Send Sets the level of the auxiliary output port of the instrument Pan Positions the sound within the stereo field Out Port Selects the output of the instrument to which the slice s sound will be routed Depending on the global Mono switch either two stereo port or four mono ports are available Voice Group By default REAKTOR rotates voices to minimize voice stealing Ho
16. lt Fine gt Set the pitch offset of the oscillator to the main pitch in semitones and cents respectively e lt Amplitude gt Sets volume of the oscillator e lt Width gt Sets the pulse width This affects only those waveforms that allow pulse width control if another waveform is selected this knob has no effect OSCI is a dual oscillator and offers dual waveform select tune detune and amplitude con trols OSC1 also offers the following unique features e lt Snc gt Sets the synchronization mode It can be off the oscillators can be synchronized to the midi gate or to osc3 e lt Phs gt Sets the phase of the waveform when the oscillator is re triggered by the sync sig nal thus there is no effect when synchronization is off Turn to 1 for a phase of 180j to 1 for a phase of 180 e lt Ring gt Switches the ringmodulation of the oscillators oscl and osc3 on or off lt RM 3 gt e lt Amount gt Crossfades between the normal oscillator output at the left and the ringmo dulated signal at the right If lt Ring gt is off this knob has no effect Additionally OSC2 offers e lt Envelope gt Selects the envelope EG1 EG2 EG3 used to modulate the amplitude of this oscillator Its peak value is specified by the lt Level gt knob If lt lev gt is selected the lt Level gt knob output is used without envelope modulation like in all other oscillators lt lt lt gt e lt Filter gt Switches a bandpass filter
17. then unwanted phase shifts could creep in Each compressor gives control over saturation sat uration makeup gain threshold compression ratio adjustable knee attack release and out put makeup gain Note that the Ratio has to be higher than O for the compressor to have any effect at a Ration of 1 maximum the compressor acts as a limiter The red meters show the amount of peak reduction The Attack and Release knobs control how the compressor responds to transient signals Effects Flatblaster REAKTOR FACTORY LIBRARY Manual 49 2 10 5 Full Band Peak Limiter The peak limiter affects the full frequency range of the audio after each of the four frequency bands has been compressed separately The Threshold slider controls when the peak limiter will start working With Threshold at O the peak limiter will have no effect For mastering it s recommended to have the Threshold set to around 3 or 4 dB Severe Threshold settings will lead to pumping which may or may not be desirable The Attack and Release knobs control how the peak limiter responds to transient signals The final Peak slider sets the output level of the signal When Peak is set to its maximum O dB then the audio will be as loud as possible There s really no reason to ever set Peak lower than this unless you needed to ensure a certain amount of headroom You can play a sound through the built in loop player through the realtime audio inputs or you can process au
18. 8 12 7 Dispersion The dispersion section simulates the natural rigidity of materials e g a string by bending up the higher partials of the signal The dispersion section has a strong influence on the sound Please refer to the ratio section of the visualization area Control Function Dispersion Sets the dispersion value Key Track Sets the amount of key tracking for the dispersion Higher pitched notes will be less affected by the dispersion if switched on Shape Adjusts the shape of the dispersion 8 12 8 Partial Beating The Partial Beating section allows for a different and less obvious form of beating as in the oscillator section and is defined by a pattern mask This form of beating is not affected by the pitch of the note played Please refer to the scope section of the visualization area Beating Adjusts the beating frequency x RILFO Turns synchronization of the beating frequency to the LFO on or off Pattern Defines the size of the recurring pattern of affected partials REAKTOR FACTORY LIBRARY Manual 327 Synthesizer Lazerbass 8 12 9 Visualization Area The visualization area offers different tools for visually controlling and analyzing the synthesiz er signal and should be used extensively to understand how the individual sections affect the signal Control Function Off Switches the visualization off Brightness Shows the effect of
19. Can be initialized with the init mod button REAKTOR FACTORY LIBRARY Manual 166 Grooveboxes Sinebeats 2 Control Function Init mod Initializes all mode controls of the Sine unit Glide Controls glide time This only works when the sequencer reaches a red Roll step Refer to the description of the sequencer Octave Master octave of the Sine unit Tune Pitch for the sine oscillator of the Sine unit Fine Integer Toggles pitch control of the sine oscillator between fine and integer mode In fine mode the range of the dial is 100 cents These get added to or substracted from the integer value chosen in integer mode Penv Controls the amount of a percussive pitch envelope applied to the sine oscillator Penv mod Bipolar amount for the modulation track output of the sequencer altering pitch en velope amount Can be initialized with the init mod button Prel Controls the release time of the pitch envelope Prel mod Bipolar amount for the modulation track output of the sequencer altering pitch en velope release time Can be initialized with the init mod button Drive switch The Drive section reduces bit depth and sample rate of the signal Switch on or off with the power button Drive Controls overdrive intensity Bit Controls bit depth of the sound Reduce to introduce harsh aliasing Eq switch Switches the 1 band equalizer on or
20. Click on any of the 32 steps to be able to edit with the note editor bottom display In the note editor you can either create chords by drawing individual notes by hand or by selecting a chord from the Chords list enabling the chord generator press On and then clicking on the root note in the editor The order of the 32 steps can also be rearranged To move steps click and drag in the 32 step sequencer display the middle display REAKTOR FACTORY LIBRARY Manual 216 Sequenced Synthesizers Akkord On the right hand side are Copy and Paste controls for both the 32 step sequencer to allow copying and pasting between patterns and the note editor to allow copying and pasting be tween steps Pressing the arrow buttons shift the notes up and down the keyboard on the se lected step The Octave transposes MIDI output and the Gate knob determines the length of sustain for notes in 16th steps REAKTOR FACTORY LIBRARY Manual 217 Sequenced Synthesizers Atmotion 5 2 Atmotion ELECTRONIC INSTRUMENTS VOL 1 ATMOTION Osc 1 Amp Modulation Osc 1 Dual Band Delay Transpose Detune High Band Glide Env Feedback Time Eeer LU See Res Split Freq Glide Env e Dei Y Mod Amt Cutoff Del Res Depth Split Depth OSC 1 2 Res Spd Split Spd EB En Low Band Feedback Time Osc 2 FM Modulation Mod Amt FM Offset Cu Det A XE df E Mod Amt Cutoff 2 2 Atmotion u
21. Five identical shapes are available for both oscillators Par para bolic waveform Tri triangle Saw Sawtooth PIs Pulse or Imp LP lowpass fil tered impulse Sub oscillator The Sub Osc section provides an additional oscillator to be mixed with the Main Os cillator The upper menu selects the waveform and the Gain knob determines the sub oscillator output level The lower menu selects a pitch modulation source and Mod specifies the modulation amount Oct enables the oscillator pitch to be transposed in octaves 3 REAKTOR FACTORY LIBRARY Manual 212 Sequenced Synthesizers Akkord Section Function Noise oscillator The noise oscillator is a second additional oscillator offering 5 different types of noise to be mixed with the main and sub oscillator output The upper drop down menu selects the noise type from 1 of 5 choices Noise white noise Rnd Mono monophonic random sample and hold noise more sharp Rnd Poly polyphonic random sample and hold noise more smooth Geiger produces clicks at random intervals Geiger Poly produces polyphonic clicks at random inter vals Gain defines the noise output level The Colour knob allows fine adjustment of the noise generator The effect of the col our knob depends on the noise type selected in Noise mode the colour knob con trols the balance between low and high frequencies for the Rnd modes it determines the frequency of
22. Manual 97 Grooveboxes Krypt Section Function The filter output is then routed through a reverb unit The Reverb control mixes be tween dry filter output and wet reverb output Rdamp defines the extent of damping of high and low frequencies inside the reverb unit Rev reverses all samples and Smth enhances the smoothness of the grains REAKTOR FACTORY LIBRARY Manual 98 Grooveboxes Krypt Section Function Sampler dynamic In addition to the static and global parameters described parameters above the sam pler features an additional 8 dynamic parameters that can be defined individually for each of the 6 voices and modulated by both velocity and the LFO s The dynamic parameters are split into two groups those concerning the sampler it self sample select pitch speed and grain size and those concerning the additional effects applied to the sampler s output pan filter cutoff reverb size and reverb level The base value of the dynamic parameters are edited using the two 6 voice Value dis plays Click on the block at the side of the display to select which parameter to edit Then click and drag on the value display itself to edit parameter for the 6 voices The effect of mouse movements on the parameter values depends on the drawing mode Rnd results in randomly generated values Drw allows each voice to be set individually and Var shifts the values of all 6 voices while preserving t
23. Pattern Defines the scattering pattern of the stereo spread function Stereo Adjusts the amount of stereo spread for the overall signal This will scatter the individu al partials in the stereo field and creates a spatial effect Control Function Sub Adjust the amount of the sub bass Master Adjusts the overall volume 8 12 17 Master Envelope Release Mode This section can be used to individually shape the overall sound and the volume envelope for the Note On and Note Off phase of the note played This allows interesting release effects e g naturally occurring string release noises This section is subdivided into the Note On settings left side and the Note Off settings right side REAKTOR FACTORY LIBRARY Manual 333 Synthesizer Lazerbass Section Control Function Note On Dec Sets the decay time for the Note On phase Vel EiLev Adjusts the velocity sensitivity for the level of the Note On phase Spec B Switches on a different timbre for the Note On phase as selected in the Spectrum B field Note Off Rel Sets the release time for the Note Off phase Dec Rel Sets the release time to the same amount as the decay time If Rel Env is deactivated Rel Env Activates a individual volume envelope for the Note Off phase Att Sets the attack time for the Note Off phase Lev Adjusts the level of the Note Of
24. Roll mode see Envelope the knob also controls the rate at which the envelope is re triggered Decay Sets the time that passes after the amplitude envelope has reached its peak be fore it decays to silence Oscillator Selects the operation mode of the oscillator While Sin represents a standard sine wave Sin2 activates a squared sine wave with a different frequency spec trum Similarly FM2 selects the squared signal of FM which is generated by a sine oscillator modulating the frequency of another one This frequency modula tion does not interfere with the modulation controlled by F Mod F and Fmod Phase uses the output of a phase oscillator F Mod Selects the source signal used to modulate the main oscillator s frequency While Osc Env and Noise Env select the respective amplitude envelopes the Sine Tri and Random entries use independent oscillators whose frequency can be adjusted with Rate Sets the base frequency of the main oscillator FMod Rate Sets the amount of frequency modulation applied to the main frequency by the selected source signal Sets the frequency of the independent oscillator modulating the main oscillator s frequency Mix Mix Sets the ratio of the oscillator section s output and the noise section s sound in the signal that is passed on to the equalizer Noise Envelope Similar to Oscillator Envelope applied to the
25. See the section below Loading Samples for more information on how to easily load your sounds into Sce nario Offset controls the sample start time in sixteenth notes where the sample will start from at the downbeat LoopLng sets the loop length also in sixteenth notes Pitch lets you modify the pitch of the sample without changing its time Wdth Filter Reso rnd and Bps all control the looper s internally animated filter The filter is a bandpass consisting of two two pole filters a high pass filter that cuts the lows and a low pass filter that cuts the highs The width between the two filters is controlled by Wdth and the combined resonance of both filters is set by Reso Filter sets the center frequency of the two filters and Bps bypasses the filter completely Rnd controls how animated the filter is If set to zero then the filter will stay at the frequency set by Filter But if Rnd is high then the filter will slowly move around to create movement Fit changes the pitch of the loop to fit it to the current tempo just like a turnta ble changes the pitch when it slows or speeds a record up Finally two more controls Gain controls the volume of the looper and the unlabelled button underneath the level meters acti vates on or mutes off the track The small button underneath this activation button acti vates the retrigger sequencer Miniseq The output of the Scene Loop Engine gets fed into the Scene Effects block Scene
26. Sets the frequency of the filter Resonance Sets the resonance of the filter REAKTOR FACTORY LIBRARY Manual 279 Synthesizer Carbon 2 Section Control Function Bandwidth Sets the width of the band for the bandpass and bandreject filters If the peak equalizer is selected this parameter sets the amount of boost applied E2 Controls the amount and polarity of modulation applied to the cutoff control by the second envelope generator Turn to the left for negative modulation i e low cutoff values at high envelope signals Turn to the right for normal positive modulation Key Controls the amount and polarity of modulation applied to the cutoff control by the current pitch Turn to the left for negative modulation i e low cutoff values at high pitches Turn to the right for normal posi tive modulation This modulation is independent of the Key Scaler of the Modulation section Cutoff Resonance Selects the sources used to modulate the filter s cutoff resonance and Bandwidth Modula bandwidth Up to two sources can be selected and their signals are tion Source summed together In case of the cutoff modulation these signals are added to the hard wired modulation by the second envelope generator and the MIDI pitch Cutoff Resonance Adjusts the amount and polarity of modulation applied to the filter s Bandwidth Modula cutoff resonance and bandwidth Clicking on the control s title
27. Slot Manual FILT lec Slot Record To Slot pine i Manual A EA LFO I MIDI 16 PAN INIT SEL INIT ALL SINGLE aey 3 8 Resochord user interface Introduction Resochord imprints harmonic structures onto any input signal including percussive sounds with no existing harmonics It essentially consists of 6 feedback units which can be consid ered analogous to the strings of a guitar which are effectively plucked by the shape and rhythm of the input signal As each string resonates at a different frequency rich and lus cious chords are generated and thus remarkably any input signal can be transformed into a unique MIDI playable instrument Quick Start As an effect unit Resochord requires an input signal In REAKTOR standalone mode the RE AKTOR tape player is an ideal source To open the tape player click on the REAKTOR View menu and select Show Playerbox then load an audio file as desired REAKTOR FACTORY LIBRARY Manual 59 Effects Resochord There are various ways with which to control the pitch of the 6 resonators as detailed later in this manual However to play Resochord in real time from your MIDI keyboard select Direct Pitch MIDI from the MIDI Logic control menu on the ensemble panel Signal flow Overview First the input signal passes through an optional high pass filter and is then routed to the main resonators The output from the resonators is passed on to a high
28. and in the case of the Sine sequencers resets the Pitch dials REAKTOR FACTORY LIBRARY Manual 164 Grooveboxes Sinebeats 2 Control Function Direction Choose between four different direction modes forwards gt backwards lt and two ping pong modes lt gt inverted gt lt Tempo Choose an individual tempo for the currently displayed unit sequencer These are clock division settings that always keep the sequencer in sync with the global tempo Loop bar The bar above the sequencer grid is for setting up a loop region for the currently dis played sequencer Drag the start or the end to change length and drag the bar to change position Random Randomizes the modulation or velocity track of the displayed unit sequencer respec tively Track selector Switches the view between the modulation and the velocity track Event grid Click into the grid and drag up or down to create modulation events or velocity triggers Right click ctrl click if you re on a Mac to delete events Roll settings Assign the roll speeds for three freely assignable roll mode colours yellow blue and red You can assign roll overdrive values between 2 times and 16 times In case of the Sine units the red roll is used for pitch slides only Roll and The bar below the sequencer grid is for defining roll modes for the individual steps Left BEE click to create a roll and repeat the click to cha
29. gle PAR Parabolic SIN Sine IMP Impulse NOI White noise DIGI Digital wavetable see below Sym FM and or Sync denote that those sections are available for the given wave shape Oscillator 4 has an extended selection of custom wave types as detailed in Appendix 1 DIGI oscillator mode Oscillators 1 to 4 all have a DIGI oscillator type available in the Wave menu The DIGI oscillators consist of 37 carefully sampled wavesets Each of the 37 waves is multi sampled across the keyboard range to avoid anti aliasing artefacts In DIGI mode the Sym section acts as waveset selector note however that modula tion of wave selection is not possible Note also that in DIGI mode FM is not available and Gate sync is always on regard less of the Sync menu setting Osc 1 4 Pitch The main value control defines the oscillator pitch in semitones The smaller control beneath is for fine tuning the oscillator pitch 1 semitone However it also pro vides a second hidden feature if fine tune is set to 1 MIDI note tracking will be disabled for the oscillator The small button next to fine tune toggles between exponential semitone modulation off or linear Hz modulation on Exponential modulation results in positive input having a greater effect than negative input In linear mode positive and negative var iation are the same Osc 1 4 Sym The shape of certain oscillator types those labell
30. unison 1 SWING AEROBIC ROLL SETTINGS PATTERN INIT ALL X master snaps In v Qut 6 s 6 unison 1 UNIT QUANT ROOT N d gt CW D D a b s LEARN LEARN MUTE WIDE NOTE LEARN LEARN our 4 4 Aerobic s user interface REAKTOR FACTORY LIBRARY Manual 84 Grooveboxes 3 2 1 Introduction Aerobic is a step sequencer that controls a virtual analogue drum synthesizer The instrument produces tight innovative sounds far beyond the range of traditional drum computers This combined with the sequencer s capacities and the mixer s flexible routing options makes Aerobic a versatile beat production environment that can be used in live performances The drum synthesizer contains six similar independent units selectable by the tabs at the top of the panel Each unit combines an oscillator and a noise section into one signal that can be equalized before it is sent to the master mixer The sequencer in the middle of the panel con tains two tracks for each sound unit selectable via the same tabs as the units themselves The filled rectangles within the sequencer s display represent the unit s trigger signals and their ve locity the unfilled rectangles form a modulation track whose signal can be used to change nearly every parameter of the sound engine and mixer over time Use the Modulation switch in the unit s master section to select the destination of the modulation The master mixer pro vides
31. 0 REAKTOR FACTORY LIBRARY Manual 270 Synthesizer 2 Osc Section Control Waveform Key Function Selects one of the waveforms Beside the well known forms there is the 2Saw mode within the first Oscillator section that consists of two sawtooth oscillators of the same frequency whose phase offset can be controlled by the Pulse Width knob The second Oscillator section provides a Buzz mode that uses a random waveform which is re triggered at the pitch s frequency Available only within the second Oscillator section this disables the MIDI pitch following The oscillator is set to a fixed frequency adjust ed by the Pitch control interpreted as offset to MIDI note 60 C3 Range on off Synchronize Available only within the second Oscillator section this control ad justs the amount of soft synchronization At a value of O there is no synchronization at a value of 1 there occurs normal hard sync e the second oscillator is reset to its initial phase each time the first oscillator s signal rises above zero In between soft synchronization is used e g at a value of 0 33 the second oscillator is reset when the first oscillator s signal rises above zero but only if its own phase is in the last third of its cycle Mix Sets the volume of each Oscillator section when mixed with the Ring Modulator section s signal Ring Mod Mix Sets the volume of the Ring Modu
32. 12 7 EQ and Compressor With Sinebeats 2 you also get a little effects section that works on the sum In terms of signal flow it sits between the Mixer and the Master section A two band shelving equalizer and a simple compressor help to spice up the sum of your Sinebeats tracks Section Function EQ EQ Power Switches the sum EQ on or off F LOW Frequency of the low band shelving EQ Units are Hz REAKTOR FACTORY LIBRARY Manual 169 Grooveboxes Sinebeats 2 Section Control Function LOW AMT Cut or boost for the low band shelving EQ 20 db F HIGH Frequency of the high band shelving EQ Units are Hz HIGH AMT Cut or boost for the low band shelving EQ 20 db Compressor Compressor power Switches the sum compressor on or off comp Dial in the threshold and ratio of compression These two parame ters are combined into one speed Control for the release time of the compressor soft If on the compressor works in soft knee mode meaning that the ra tio increases gradually to the selected comp level If off the com pression is applied to only to signals above the threshold 3 12 8 Master The Master section provides control over master volume a switch for velocity sensitivity of trig gering the sequences via MIDI input and a toggle for activation of the multiple output routing system Control Function Master Controls the master volume of the patch Velocity Toggles
33. 3 7 1 A A sui tiatnnds sti tein baciniiiataistaaabituininisiaumistruentoeels 121 3 7 2 A TEE 121 3 7 3 Modulation SECTION sei 125 3 7 4 Sequence econ tado aaa ass 126 3 7 5 e A TAR 129 3 7 6 A E A oranieerantvainanianinaman wanes 134 3 1 1 A O e oP eee ae Cee oe Sen nee ae 137 ENEE 139 3 8 1 nn A A 140 3 8 2 MR a e reo EE O beetettebee hate ete tela ae OA 140 3 8 3 Newecogl degen Eeer 142 REAKTOR FACTORY LIBRARY Manual 7 Table of Contents 3 9 Random Step Shifter iia nan 144 3 9 1 dar idolo dica 145 3 9 2 A A emeniaIanIt 145 3 9 3 Sampler tion lisa lados 146 310 RIVE AK CR iii dat 149 nn CR E ER ho gio acdsee teats 157 LL MI rin adan 157 3112 ei Po ME eT E 158 3 11 3 Structure and Signal FlOW ccccesscccsssscsesssscssssccssssscessssscscsssessesscscstsseestessceesesseesees 159 3 11 4 Loading Samples 161 SEBES SR Rue 161 312 O A 163 312 1 A dec hound vcvtoind eeisia nveadtay tteteeune 163 3122 ISP Seege an EE 164 3 12 3 AS 165 A EE 166 AZ MN todita 168 3126 Winrar ra 169 3 12 7 EQ and Compressor conoccenocnononnnnnnncnnnnenennennnenennenornonnonrnnrnrnnrnennrnn narran EER eaaa 169 3120 Masle o e e EC ES O UE O 170 3129 Snapshot EE 170 Sr SDE EE 172 A A ileal sinisunennsstecersundividssmnnsei 173 3 192 SAQUE ta alado lero ate Dido 173 3133 A A ste tbat e cht eth ee tt ta Malle ete sete Meet ale teeta ta 175 SE OC EE 178 REAKTOR FACTORY LIBRARY Manual 8 Table of Contents SE A a a A 179 ILAZ EE 1
34. 7 gt ARP MODE 4 55 The Steam Pipe 2 user interface 8 17 1 Introduction Steam Pipe 2 is a physical modeling synthesizer that effectively models air being blown through a tunable pipe It uses a tuned resonator to create bowed blown and plucked sounds as well as strange new hybrid sounds In addition to a tuned all pass filter and many controls for the shape of the pipe there is a mod wheel controlled filter to achieve damping and breath noise effects The excellent sounding SpaceMaster Deluxe reverb unit adds dimension to the overall signal You can find it on panel B SteamPipe 2 simulates air passing through a pipe of variable size and resonance It s physical modeling techniques use contoured noise signals passing through tuned and filtered feedback delays The ensemble is basically split into two parts Steam and Pipe The Steam module gen erates shaped and filtered noise Think of the Steam module as SteamPipe 2 s oscillator REAKTOR FACTORY LIBRARY Manual 378 Synthesizer Steam Pipe 2 Steam provides the sound energy that will be pitch formed by the Pipe The Pipe module gives the wind pitch and resonance The patch also has an ADSR volume envelope and a low pass filter Both can be modulated by key and velocity tracking Steam Pipe 2 can be a very expressive synthesizer so make sure that you plug in your MIDI keyboard and check out the presets with the mod wheel in action 8 17 2 Steam The t
35. A 269 8 1 A ctaecn epee oases 269 8 1 1 IMTOGUCTION eseeceseesesesscsessssessesessesceseencseencnesnsaeeneeceuseceusensneensaseusessueeteusensneenseseeetes 270 8 1 2 listof Controls csuri a OA 270 8 2 CIDON Zoeren E a a e a put wast 276 8 2 1 Introduction EE 276 8 2 2 O TN 217 8 2 3 TE 279 8 2 4 A A O EA 280 8 2 5 let Dt 282 8 2 6 Global AE An iti A T Ee i 285 8 3 MG PD WEA E E AE E POCO CO tniplherantedpeadtaoneaibieateneoitales 287 8 3 1 uge LEE 288 8 3 2 QuickStart narran 288 8 3 3 Signal Flow and Structure sissien iiris a 288 8 3 4 ModulatiOi segraren in nta 289 8 3 5 Global Parameters rsisi A A bids tiidbumnnelis 290 8 4 A nn a E vedsuteestsndeain 290 8 4 1 gute LEE 291 8 4 2 a A 291 8 4 3 Signal Flow len CH 291 REAKTOR FACTORY LIBRARY Manual 12 Table of Contents 8 4 4 A A O AA 292 8 4 5 Global Parameters ricino 293 8 5 Equinoxe Del ks aid N 293 8 5 1 INUOCUCTION iria aiii 293 8 5 2 SH Eeer eege 294 8 5 3 Ensemble KleinStein and Delay Sections 294 8 6 o Ao E A actyoane san auetanees 296 8 6 1 IMtOGUCTION serens nnsa a e 296 8 6 2 Operator Sections 14 297 8 6 3 EE 299 8 6 4 A A 299 8 6 5 Voice Mode Section EE 300 8 6 6 TE 301 8 7 LEFT ep iP a lao RN diia 303 8 7 1 Lu E 303 8 7 2 A A A qn EE EA TA TAN 304 8 8 E A o O O POC PO OO tulaiesbesnb tuspthevantedpsadindntacbicaatienteisdaaas 309 8 8 1 Introducido 309 8 8 2 BEER oen 310 8 8 3 Structure and Signal FlOW c cccssssssessessssesessescsssssssssssssss
36. Also the included tutorial bank will walk you through learning this powerful synthesizer Synthesizer Lazerbass REAKTOR FACTORY LIBRARY Manual 324 Synthesizer Lazerbass 8 12 2 Oscillator The Oscillator section provides the basic signal of the synthesizer offering a choice of different basic waveforms Eventhough these shapes look like your familiar analogue oscillator wave forms like sawtooth and square they are created digitally and alias free using additive synthe sis Control Function Select Type Selects the waveform of the digital oscillator You can choose between saw full dual multi square full dual multi pulsewidth and impulse Partials Sets the number of individual partials used for the creation of the sound A higher number will result in a higher resolution and a higher sound quality Lowering it can act like an artificial low pass filter on the shape and also frees up some CPU Transpose Sets the amount of transposition This is not an overall transposition only a certain pattern of partials will be transposed The left side of the value field adjusts integer values the right side is used for fine tuning Double clicking the left side of the value field restores the value to its default double clicking the right side will set the value to the closest integer value Number Sets the number of individual oscillators for multi saw and multi square only Fundamen
37. Copies the pattern of the Board Display to the Performer Display To Board Copies the pattern of the Performer Display to the Board Display Board Display This is a buffer where life patterns can be loaded from the preset list see Presets edited or randomly generated You can draw patterns directly into the display with the mouse Presets Selects a pattern from a list of factory presets which can then be loaded into the Board Display by pushing the Load button Load Copies a pattern from the list of factory presets into the Board Display Clear Deletes the current pattern of the Board Display Random Randomly generates a pattern within the Board Display Size X Y Sets the size of the Board Display When the pattern is copied to the Performer Dis play the size parameters are also adapted to the performer Performer Shows the current life phase its pattern is also used to calculate the next phase It Displa cannot be edited patterns can only be copied to it from the Board Display see also KS Copy and Length The grid behind the pattern is used to map the two dimensional pattern onto a one dimensional rhythmic sequence see Wrap X Y Wrap X Y Controls the projection of the pattern onto the audible sequence the ratio between horizontal and vertical wrap parameters is visible as a grid within the Performer Dis play REAKTOR FACTORY LIBRARY Manual
38. FACTORY LIBRARY Manual 178 Grooveboxes Vectory 3 14 1 Introduction Vectory is an aggressive sample destruction unit It consists of a sampler on the left side with vast re arranging capacities whose signal is fed into a grain multi effect on the right side that re synthesizes the sound This structure is optimized for live use with low level REAKTOR Core DSP Complete settings for sample loops re arrangements and grain effects can be recalled by moving the markers within the large square selection displays changes occur instantly and with no audio drop out The effect unit even offers morphing between two settings The sample is loaded in a sub instrument of Vectory called Sample Loader Press Ctrl 2 to open its panel to return to the main Vectory display press Ctrl 1 Only one sample can be loaded at a time However this sample can be quite long and contain several discrete loops The second panel set also contains a further sub instrument labeled Controllers This is de signed to automate Vectory s parameters via MIDI VST 3 14 2 Sample This section at the top right of the panel selects the sample material from the Sample Loader By using the large square markers one of sixteen slots can be selected each slot contains the data of the sample loop s beginning measured from the start of the sample file in bars and sixteenth Control Function Sample Selects the active sample loop slot each slot stores indep
39. LFO gt Set the amount of modulation by the correspondent source Turn right for much modulation turn left for inverted modulation i e when the input signal is posi tive the final modulating signal is negative and vice versa lt Res gt Sets the amount of resonance of the filter Synthesizer Grobian REAKTOR FACTORY LIBRARY Manual 314 lt FiltMode gt Switches between two different filter modes Their technical differences are difficult to explain The sound of the new one is more fat the old one is more sensitive to cutoff frequency resonance and feed delay changes lt Feed Del gt Sets the amount of delay applied to the feedback The feedback is used to generate the resonance try different settings at different cutoff and resonance values lt FD Mod gt Switches the modulation of the feedback delay time on or off Envelopes EG1 and EG2 The two envelope generators in Grobian are both standard ADSR envelopes EG1 always con trols volume while EG2 can control a variety of parameters such as filter cutoff or oscillator pitch The EG2 control assignments are made in the OSCILLATORS or CASCADE FILTER sec tions with the E controls LFO lt A gt lt D gt lt S gt lt R gt Set the attack decay and release times as wqell as the sustain level of an ADSR envelope There are two envelope generators EG1 is used for main amplifica tion EG2 for modulation of the oscillator s pitch and the filter lt Vel
40. Manual 113 Grooveboxes Limelite The Samplers Section Function Shared controls Kick and snare Several controls are common to all samplers Gain and Pan determine mix volume and panning respectively Acc determines the range between lo and hi accented hits Higher values result in greater differentiation While the Solo buttons deactivates other samplers for solo auditioning each sampler can also be muted individually by clicking on the section label Wav selects the sample each sampler has 128 samples and Tune defines pitch transposition Cut and Res define filter cutoff and resonance respectively Select the filter type with the LP BP HP knobs for low pass band pass and high pass respectively The Kick and Snare share identical controls with the exception of the filters The kick has a lowpass filter and an optional low cut button to remove low frequencies The Snare features a filter which can operate in either lowpass bandpass or highpass mode the knob next to cut selects which mode St defines sample start position H and D determine the hold and release time of the envelope respectively Sat determines the amount of saturation distortion and the Shp knob controls a sound shaper that can either thin left or fatten right samples Sm controls the amount of smoothing effectively the attack and release time of gain changes High settings produce less undesirable artefacts at the
41. Manual 128 Grooveboxes Massive 1 1 3 7 5 Sound Engine accbass wav Mas Bd46 15mo0n0 way 4 9 The sound engine The sound engine contains a master section and six independent sampler units It is located to the right of the modulation section it sets global sample select offset and scales other param eters for all samplers simultaneously If for example Master Transpose is set to 12 all transpose controls of the six drum tracks are scaled to a range of 12 semitones if the master control is set to O transposition is switched off for all tracks REAKTOR FACTORY LIBRARY Manual 129 Grooveboxes Massive 1 1 The parameters that control the samplers are grouped across five pages The main page con tains the sampler module itself where you load sample files on the panel it is represented by the sample s waveform Further controls select the sample from the map and adjust the pitch shift The envelope section controls the sample s amplitude The parameters of this page can be used to fine tune the sample particularly the influence of the gate velocity on attack and decay times The start section adjusts the sample playback starting point The filter section contains a low pass and a high pass filter whose sound can be smoothly cross faded The grain section finally controls the grain re synthesis of the sampler it is only available in the upper three sampler tracks Here the frequency at which the sample is
42. Manual 143 Grooveboxes Random Step Shifter Control Function Mute Mutes the complete instrument Random Randomly sets all parameters of each track within TG Parameter Display and Effect Parameter Display 3 9 Random Step Shifter 2 Bongale EREL Et select Eeer Pitch Copy Paste Rand Clear REAKTOR LIBRARY Random Step Shifter BURMS waw untitled Map SAMPLE SELECT 1 SAMPLE OFFSET PITCH 1 ENVELOPE 1 Rand Select Rand Offset Rand Pitch Attack Decay seq EY seq E seq EU se Lal BO 0580 0580 0 80 Off Off off l P sai RARA E AAAA AAAA Ontz smth Range pit Sustain Release o O O CH Q H 4 17 The Random Step Shifter s user interface REAKTOR FACTORY LIBRARY Manual 144 Grooveboxes Random Step Shifter 3 9 1 Introduction Random Step Shifter uses intelligent pseudo random principles to cut up and rearrange sam ple loops on beat in real time There s an intuitive three part sequencer that triggers sample playback It also modulates sample selection positional offset and playback pitch In addi tion these modulations can be mangled by various pseudo random sequences This instrument will create new sample loops for you very easily You can load in any loop just keep in mind that you need to cut the loops accurately so that they play correctly when they are looped over their entire length 3 9 2 Q2 The Randomstepshifter contains a simple step sequence
43. OC OF CR o o 4 38 Space Drone user interface 7 3 1 Introduction SpaceDrone generates atmospheric pads which range from light rain or howling wind noises to deep and uncanny space sounds Technically the instrument is based on 96 parallel voices spread across the frequency spectrum Each voice consists of a noise generator the signal s amplitude is shaped by an envelope its frequency content gets modified by a bandpass filter and finally it gets positioned in the stereo field REAKTOR FACTORY LIBRARY Manual 265 Sound Generators Space Drone 7 3 2 Sound Engine The parameters of the sound engine are in the A panel of the instrument They control the noise generators their subsequent bandpass filters the amplitude shaping envelope and corre sponding triggering algorithm and the pan gain and damping of the signals Control Function Attack Sets the time that passes until the amplitude envelope reaches its peak after triggering The Density knob controls speed at which the envelope is re triggered Decay Sets the time that passes until the amplitude envelope completely fades out after it has reached its peak The Density knob controls speed at which the envelope is re trig gered Pitch Sets the amount by which the amplitude envelope modulates the voice s pitch i e the bandpass filter s center frequency Turn to the left for inverse modulation the higher the envelope signal the l
44. Parallel routing mode Envelope 1 is always applied to the amplitude of the filtered signal and thus deter mines the main contour of the sound Modulation Menus It is possible to assign a range of modulation sources to many of Photone s parame ters In each section Photone has a uniform system for assigning modulation sources the source is selected from a drop down menu and the amount of modulation is set by clicking and dragging on the yellow bar beneath In most cases this bar is bipolar so that centre position yields no modulation Available Modulation sources include external MIDI ones e g velocity pitchbend and internal ones 4 envelopes and 2 LFOs Internal sources are configured in the Modulation Section Tracking Devices It is also possible to specify certain parameters differentially across the notes on your keyboard The tracking devices are used for this purpose The four bars pertain to MIDI notes 36 56 76 and 96 Interpolation occurs in between these 4 breakpoints While some tracking devices are permanently hardwired to certain parameters in the shaper section for example the tracking devices in the Tracking section are freely as signable to various parameters using the drop down menus Overview Photone consists of an oscillator section in the upper left a filter bank upper right and an array of effect processors lower right Many of the parameters can be animated over time by MIDI
45. Sequence A B Selection Display of the main in strument can be controlled by all seven modulation sources all other parameters only provide the five one dimensional sources Control A to Control B REAKTOR FACTORY LIBRARY Manual 184 Samplers BeatSlicer 2 4 Samplers 4 1 BeatSlicer 2 el B E BeatSlicer E E Se DS ES ES BEATS LIC ER 2 REAKTOR LIBRARY root pb vel gain tune m KI A gear copu paste 80 C C Documents and Settings Dennis Desktop ARNB C waw 100 ee st len a pre shp sm drv pan PE output 1 2 ec a me a OOOO EX 4 14 Beatslicer 2 user interface REAKTOR FACTORY LIBRARY Manual 185 4 1 1 Introduction BeatSlicer 2 will separate any waveform into smaller component slices which can then be in dividually tweaked by adjusting pitch envelope and FX settings BeatSlicer 2 is designed pri marily for drum loop manipulation but the extensive range of parameters offers creative possi bilities with any material For a quick start right click PC Ctrl click Mac on the large central window select File Load data into table and then choose an audio loop from your sound library The loop will be scanned and MIDI notes from C 2 by default will be assigned to the detected slices BeatSlicer 2 is designed to be programmed with MIDI controllers To assign a MIDI controller to a parameter use the MIDI learn function on t
46. Switches the song sequencer on or off Run Switches the complete sequencer on or off If on the sequencer synchronizes itself to the global MIDI clock Thus the MIDI clock has to be running to make this sequencer work Pattern Copy Copies the currently selected pattern see Pattern Select into the internal clipboard Pattern Paste Pastes the contents of the internal clipboard into the currently selected pattern see Pattern Select Pattern Init Deletes all notes of the currently selected pattern see Pattern Select and resets the modulation sequence As this cannot be undone the button must be double clicked to delete the content Pattern Rec Switches recording of MIDI note input to the sequencer on or off Pattern Edit Displays the currently selected monophonic pattern see Pattern Select Depending on the Notes Modulation Switch sixteen note tracks or a modulation curve is displayed The pattern can be edited with the mouse or recorded via MIDI see Pattern Rec REAKTOR FACTORY LIBRARY Manual 174 Grooveboxes Splitter Control Function Notes Modulation Switches between displaying the note tracks or the modulation curve of the currently se Switch lected pattern Loop Bar Selects the range of the current pattern that is played back This range is stored for each pattern independently so each can have a different length Use the left mou
47. The Size control allows you to determine the range of space that the close reflections will be generated by It changes delay time in mil liseconds The Diffusion knob lets you adjust the density of the reverb signal To further adjust the reverb depth of the Early Diffusion module the Mode switch allows you to select 6 or 12 diffusion modules Watch your CPU load carefully to make sure your computer can handle the strain of processing with 12 or 24 diffusion modules The Damp knob controls the frequency of a 1 pole low pass filter for attenuating high frequencies As in the PreDelay section clicking the Byps button will take the Early Diffusion module out of the signal path The Routing switch located between the Early and Late Diffusion modules lets you determine how the input signal will be routed through the two modules The Ser button engages Serial mode where the Early Diffusion module is simply routed directly into the Late module The Par switch engages Parallel mode allowing the Early and Late modules to maintain separate signal paths until they are mixed at the EQ module You can also use the Early Late knob to balance the amount of early and late reverb signal This is a great way to change the percep tion of location within a space by shifting between the early and late reverb sounds to make seem like a sound is moving around inside of the room The Late Diffusion module provides the capabilities for creating a larger and more
48. VST Five MIDI continuous controllers can be selected as modulation sources Control A to Control E Additionally two two dimensional sources are available as XY1 and XY2 they are controlled by two MIDI Ccs one for the horizontal movements the other one for vertical ones XY2 can also be controller via the MIDI pitch Those modulation sources can be assigned to various parameters of Vectory within the Assignment section of the sub instru ment Controls Function Control A E Selects the MIDI CC number that is referred to as Control A to Control El respectively XY1 x Selects the MIDI CC number that controls the horizontal position of the marker REAKTOR FACTORY LIBRARY Manual 183 Grooveboxes Vectory Controls Function Y Selects the MIDI CC number that controls the vertical position of the marker XY2 X Selects the MIDI CC number that controls the horizontal position of the marker Y Selects the MIDI CC number that controls the vertical position of the marker Note Switches between MIDI CC mode off and MIDI note mode on In MIDI note mode the position of the marker is controlled by the pitch of incoming MIDI events The pitch ad justed by Origin selects the first position the next pitch selects the second position etc Origin Sets the MIDI pitch that selects the first position of the marker if Note is on Assignments The four square displays Sample
49. a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information Vierring REAKTOR FACTORY LIBRARY Manual 232 Sequenced Synthesizers WaveWeaver 5 5 WaveWeaver WAVETABLE OSCILLATOR AUX OSC LOWPASS FILTER LFO Octave Wave x WaveSet u Wk Mod gt S Octave FM Rate Symm e gt 0 e o e e HN Interval Env Level Env paissa sin tri sar ia eg Cutoff Resonance E E m Rm Detune Gate Gate SIS Glide G L m 8 0000m SCALE CORRECTION mop DELAY DUTPUT Shuffl Start Range Skip Reset e EE BAD PRE TB Ga Ei Sal Trans Time FB Amt Rate DR e HES E GH Ee DEES ES ECH Era b Level POSITION MOD 1 Rate Symm lt Amt gt 000 ww a POSITION mop 2 Rate Symm lt Amt gt 4000 oe 1 2 es a el Reso ry Bidir WAVEWEAYVER Il Instrument and Presets Uwe G Hoenig Il Panel Design Timothy Lamb 1 18 WaveWeaver user interface 5 5 1 Introduction The WaveWeaver ensemble uses wavetable synthesis to produce a range of subtle or harsh tones and rhythmic pads The oscillator in WaveWeaver is actually several sets of short looping soundfiles each used as an oscillator waveform The soundfiles in each wavetable c
50. amount of transposition and its direction up or down Reverse Switches between forward and reverse playback of the current slice REAKTOR FACTORY LIBRARY Manual 188 Samplers BeatSlicer 2 Section Control Function Envelope Attack Specifies the time taken to reach full amplitude as a proportion of slice length Thus if set to 50 the envelope will reach peak value halfway through the slice Decay Determines decay time and shape as a proportion of the time remaining after the attack phase At maximum the envelope will sustain at full amplitude for the entire slice or the remainder of the slice after the attack phase When be tween 50 and maximum the envelope consists of a sustain phase followed by a decay phase At less than 50 there is no sustain period just a decay stage Shape Pre Increases the compressor input level Shape Determines the compressor gain curve Smooth Reduces the amount of distortion by smoothing gain changes as it controls the attack and release of the compressor Drive Saturates the output signal Filter Mode Selects the operation mode of the filter unit Low pass band pass and high pass modes are available Cut off Sets the center frequency of the filter Resonance Sets the resonance of the filter at the cut off frequency Out Gain Adjusts the output level in decibels Aux Send Sets the level of the auxiliary output port
51. and dragging on the loop bar above the main sequencer window The second menu in the top left sets the speed of the sequencer in musical time and the third menu determines the playback direction and mode gt forwards lt backwards lt gt both directions lt lt gt gt both directions with edge steps twice lt gt ran dom direction lt gt random previous or next step random step Rnd generates random values in the main sequencer window each step being subject to a randomise algorithm with a probability defined by the Prb knob Only steps on the selected channel with edit mask enabled the bar beneath the main window are af fected Four edit masks are available select on the bar next to let of the edit mask and in addition to drawing the edit mask directly with the mouse the overall edit mask can be inverted Inv or reset Clr Shfl determines the extent to which a humanizing shuffling algorithm is imposed onto the beat The algorithm effectively swings time forwards and back again on alternating steps Off disables the sequencer REAKTOR FACTORY LIBRARY Manual 100 Grooveboxes Krypt Section Function Randomise While some randomisation controls are available within the Sequencer and Sampler instruments themselves the main randomisation controls allowing simultaneous ran domisation of all parameters and sophisticated sequence generation are found in the Randomise instru
52. at that time wasn t very tragical The fat sound of the synth did not come from its oscillator sub oscillator combination but rather from a good sounding lowpass filter and especially an integrated chorus effect Unfortunately the chorus was very noisy but it broadened the somehow sterile sound of the oscillator sub oscillator significantly and made a big contribution to the popularity of the synth REAKTOR FACTORY LIBRARY Manual 317 Synthesizer Junatik Junatik offers a surprisingly authentic recreation of the still very popular synth The symphati cally straight sound architecture of Junatik was modelled on the original and carefully supple mented with some important functions Besides an authentic sounding filter Junatik therefore offers an improved oscillator section With its threefold and detunable saw wave it is now even capable of producing detuned and very fat sounds An optional velocity sensitivity which was not available in the original has also been implemented Additionally the sound generation has been supplemented by a 3 band EQ with a semiparametric middle band a very good sounding distortion unit and a tempo based stereo delay with filter effects which perfectly complement the strong sound of Junatik It goes without saying that the unrenounceable cho rus effect of the original has also been implemented yet without the noise REAKTOR FACTORY LIBRARY Manual 318 Synthesizer Kaleidon 8 11 Kaleido
53. bar re tion Amount stores the default value In case of the cut off modulation this amount doesn t affect the hard wired modulation by the second envelope gen erator and the MIDI pitch Post Filter Ef fects Effect A B Mode Se lect Selects the effect units applied to the signal after the filter before it gets routed to the main effect units You ll find saturation and quanti zation in the left A menu and lowpass and highpass filters in the right B menu Effect A B Amount Sets the parameter of the effect unit selected by Effect A B Mode Se lect For the saturator this is the amount of drive for the quantizer the amount of distortion and for both filters the cut off frequency 8 2 4 Effects The effects additionally enhance the instrument s sound There are five units a pitch shifter a phaser a chorus an equalizer and a delay These standard effects are engineered for the finest of results REAKTOR FACTORY LIBRARY Manual 280 Synthesizer Carbon 2 Section Control Function Power amp Mix Each effect unit provides a power switch and a mix button The mix button crossfades between the dry unprocessed signal at the left and the wet ef fect sound at the right To save CPU power turn the power switch off when the specific effect is not in use Pitch Shift L R Determine the pitch
54. beat by click ing with the mouse one can step through three differently colored modes where the trigger signal is sent more often see Roll Factors Loop Controls the length and position of the played sequence Only those steps within the rectan gle are used Drag the ends of the rectangle to adjust the loop s start and end points A sec ond smaller bar represents the current read out s position 3 1 3 Master Mixer This section has two functions First it mixes the six drum synthesizers down to a single signal or to four signals if Single Outs is activated Second it controls the snapshots of the com plete ensemble as the sound engine and the sequencer are slaved to this part of the instru ment An advanced recall system allows for fast changes of sound pattern settings via a single MIDI note making the complex drums computer controllable from a keyboard in live stage use Section Mixer Controls Function Level Sets the volume of the sound unit Solo Switches the sound unit to solo playing i e mutes all other units Mute Mutes the sound unit Pan Positions the sound unit s mono signal within the stereo field Wide Enhances the spatial appearance of the sound unit Ext Learn Activates the learn feature When pressed the next MIDI note will be assigned to this track and can be used as external trigger signal in addition to the internal gate signals of the sequencer Se
55. betwesn R the six sine the six sine sounds and does not necessarily need y 3 waves waves to be complimented by other oscilla tors indeed the 6 sine waves use sub stantial CPU by themselves Try using this with the Rotary effect Venom This is a dirty one based on two Colour Colour Available pulse oscillators and a distorted high pass filter The Sync phase shifts one of the oscil lators only resulting in offset between the two oscillators for different timbres a very subtle effect Try using with the Peak Notch Band Pass and BandReject filters REAKTOR FACTORY LIBRARY Manual 362 Synthesizer Photone Wave Sinus to Sinus Description This is a sine wave sent through a sine function The sound is similar but dis tinguishable from FM Phase offset has a big influence on the sound and this is controlled exclusive ly by the FM section For this reason a 1 constant is included in the modula tion source so that the FM modulation depth bar can then be used as a nor mal slider When carefully configured this oscilla tor can produce UK Garage and 2 Step bass type sounds and also electric piano sounds Using the trackers Sc3 can be partic ularly useful with this oscillator Try combining with the saturators and or the Shaper in Sine mode Mod 1 Sym Drive Mod 2 FM Phase offset Sync Available Wurly Wurly This oscillator im
56. button is on GoBox REAKTOR FACTORY LIBRARY Manual 94 Grooveboxes Krypt 1 Targo a e Voices 384 OFF RND SHFL PRB INV CUR VALUE KRYPT d Ma 1 Default Ea cucter cuctez cuctes e Y T E HH EEE GR MIOS E PIZA ISO ee 1 4 EE REESE ECE BEL SAMPLER SNAPSHOTS ELECTRONIC INSTRUMENTS VOLUME E 3 4 Krypt user interface Introduction Krypt is a drum machine quite unlike any other In essence it consists of a granular sampler and a six channel sequencer featuring an intelligent pattern generation algorithm Quick start Open the Krypt ensemble and press play on the REAKTOR toolbar to start the clock The se quencer will run and trigger the sampler unit The sequencer features 6 channels each of which corresponds to the one of the 6 voices of the sampler While the controls located in the centre of the samplers panel are global and are applied to all 6 voices 8 additional parame REAKTOR FACTORY LIBRARY Manual 95 Grooveboxes Krypt ters can be edited individually for each of the 6 voices These 8 parameters are visualised in the two value displays at the left and right of the central sampler unit By adjusting the knobs labelled Mod these 8 special parameters can be dynamically modulated by velocity and the two LFO s It is these special dynamic parameters that are key to Krypt s unique sound and when combined with the powerful pattern generation ca
57. can also be activated by pressing the Z key on the com puter keyboard i e MIDI note 48 Edit Buffer Displays the content of the buffer into which data is copied in Copy mode and that is used in Paste mode see Edit Mode REAKTOR FACTORY LIBRARY Manual 122 Grooveboxes Massive 1 1 Section Snapshot Quantization and Timing Control Function Snapshot Selects whether the snapshots are only recalled via internal signals or if ex Mode ternal control signals received at the instrument s Snap port are recog nized too See also Snapper Snapshot Adjusts the snapshot slot whose data is loaded by pressing the Snapshot Number Load button and to which the data is saved upon pressing the Snapshot Save button Snapshot Bank Selects the bank of snapshots that is used by the complete snapshot man agement system Snapshot Save Snapshot Load Stores the current controllers settings to the slot specified by Snapshot Number and Snapshot Bank By the smaller buttons labeled and at the left and right of the button the current instrument s data can be saved to the previous or next snapshot There is no undo for this function Loads the preset selected by Snapshot Number and Snapshot Bank The previous or next snapshot can be loaded using the smaller buttons labeled and at the left and right of the load button This is particularly useful in live
58. cscssssssssssessessssescssssssssesssessssessescsssavassaansaesearessaescaee 70 2 16 3 SpaceMaster Quad c c ccccscssssscsessssessssessesessescesssssssassseesssesssssassavassavaseanenssvessanescaes 71 2 16 4 SpaceMaster Stereo c cccsscccsescssessssessesessesessescsssassssassseesssessescessavassavansanessaeessaeacaes 72 21 ODEN PAN EE 73 DMM A A 74 EK QUICK E 74 2173 Structure and Signal ROW orina aid decided 74 2 18 SA nia a a 75 218 1 Introducti OM sducscoseassdtnistess cuneduediciseiaiaitebeesisbiasta culiiesinstetedaaivera a iE Ni 75 218 2 QUICK Staf rancia aia 76 2 18 3 Structure and Signal FIOW cccsssssssssssessesessescsssssssesssssesssesssscsssasassarassaessanescanescans 76 TED C TETT 11 3 1 AGIODIG cata EE 71 3 1 1 A e oo 78 3 1 2 STEE 80 3 1 3 Master A A A 81 3 2 le 84 3 2 1 An A A 85 3 2 2 A er o eer pen eterna eg ern eete rote cere ery erat 85 3 2 3 Se 87 REAKTOR FACTORY LIBRARY Manual 6 3 3 3 4 3 5 3 6 3 7 3 8 Table of Contents 3 2 4 A veri gleusasvastelacasave Nleeiseviiavausiaewiuniy 88 E ee 91 3 3 1 REENEN 91 3 3 2 let EE 92 3 3 3 Structure and Signal FlOW sssrinin a 92 3 3 4 TheSeqUenc sia ls Serie 93 3 3 5 Uli eaen e E teasers een E 94 KODE tee EE a 95 e cece atacand ev tnen code ree E eoancsebemcpanees 103 3 5 1 ii A O RE o On 0 ea 103 3 5 2 Pattern Sequencer raid dl ae dada ae 104 3 5 3 Step ESO OU CN CE coer ese ere e 104 3 5 4 DEE 106 A PPP A 108 Massive EE 120
59. displays to the bottom left and by the two draggable rectangles above the table You can change the scene in two ways By pressing Prev Next to go the previous or next scene respectively or by dragging on one of the two rectangles above the table to go directly to a specific scene There are two settings to adjust the size of the table Parts and Scenes The total number of scenes is Part Scenes each part can contain from 16 to 128 scenes Since there can also be from 16 to 128 parts you can adjust the size of the scene memory from 128 16 16 to 16 384 128 128 Gen erally depending on the style of music 128 scenes should be sufficient for a 30 to 60 minute live set Working with high numbers of scenes has the disadvantage that the draggable part and scene selector rectangles above the scene memory table become very small The Write REAKTOR FACTORY LIBRARY Manual 160 Grooveboxes button all the way on the right does exactly what you d expect the current positions of every parameter is magically written into the table at the current scene position The Flow button is an important feature in organizing your scenes when Flow is on anytime you go to a new scene either with the Prev Next buttons or with the draggable scene and part selectors above the table then the new scene will be immediately active This is probably what you want for live performance but Flow can be turned off for when you re composing your set With flo
60. distortion unit which can either be placed pre or post filter Effects Photone is equipped from the Effect 1 2 with an impressive range of effect processors The Shaper section differs and EQ sections in that its placement in the signal chain is flexible In contrast Effect 1 and Effect 2 are always applied post filter and the EQ section is always ap plied after that at the end of the signal chain REAKTOR FACTORY LIBRARY Manual 356 Synthesizer Photone Section Control Function Shaper The Shaper can be distinguished from the other effect units by virtue of its flexible placement feature which allows it be activated at one of several points inside the in ternal signal flow The placement position can be selected using the upper menu The lower menu then selects the Shaper mode The Sine shaper distorts the sound by passing it through a sine function the upper key tracking block controls the scaling of the input signal i e the input drive the amount of distortion applied to the signal the lower one shifts the phase of the sine function used for mapping The adjacent knobs scale all entries simultaneously Drive enables a saturator distortion algorithm similar to the filter Sat sections for which the upper tracker knob controls the amount of drive The lower block has no effect SR and BR offer Sample Rate reduction and Bit Rate reduction respectively adjusta ble by the upper track
61. effect Up Down alternates between the up ward and the downward sequence and Random plays the pressed keys in a random sequence Arp Speed Selects the rate at which the arpeggio notes are played synchronized to the MIDI clock Glide Switches portamento pitch gliding on or off on off Glide Time Sets the time used to reach a new note s pitch if Glide is active in 0 60 seconds REAKTOR FACTORY LIBRARY Manual 274 Synthesizer 2 Osc Section Control Function Range Pitchbend Controls the range of the MIDI Pitchbend wheel in semitones 0 24 Range Detune Controls the amount of detuning applied to the voices in cent In 0 0 5 Unisono mode it controls the beatings in the monophonic sound In other modes it simulates the detuned oscillators of a vintage analog synth Output Spread Controls the amount of stereo panning applied to each voice inde O 1 pendently At low values all voices are placed in the middle of the stereo panorama at high values they are spread to the left and right Volume Sets the output level of the instrument in dB before it is routed to 300 0 the final Stereo Delay effect Stereo De Clock Sync Switches between manual delay time adjustment and times on off lay synchronized to the current MIDI clock tempo Left Right Controls the time by which the left and right channel s signal is de Delay layed Depending on Sync the times
62. either the circular or the rectangular display to randomize its settings By clicking once within the center of the cir cular control you can set its colors to random values but this does not influence the sound Below you ll find is a reference of all available instrument controls but in order to design new sounds simply ignore those details and listen Section Control Function Envelope Attack Sets the attack time of the amplitude envelope generator Decay Sets the decay time of the amplitude envelope generator Sustain Sets the sustain level of the amplitude envelope generator Release Sets the release time of the amplitude envelope generator Glide Controls the amount of pitch glide portamento that occurs when notes are tied Pitch Map Fundamental Pitch Selects the fundamental pitch of the scale selected by Scale Select side low pitches Scale Select Selects a scale out of a vast range of pitch sets The pitches of all oscilla tors are mapped to this scale Tone Gen Pitch Controls the position and range of pitches available for the oscillator units erator see also Scale Select The left side provides high pitches the right Delay Controls the position and range of delay times available for the oscillator units The left side provides short delay times the right side long ones REAKTOR FACTORY LIBRARY Manual 307 Synthesizer Gaugear
63. etc Thus the sequencer is always synchronized to the master MIDI clock use the host sequencer or REAKTOR s internal MIDI clock to start the sequencer See also Global Tem pol Global Tempo Sets the Tempo value of all six tracks Swing Sets the amount of swing i e the amount by which every second step of the sequence is delayed to shuffle the strict MIDI rhythm Roll Factors Sets the number of times the trigger signal is repeated if the Roll Mode is set to the re spective colors Init All Deletes all sequence patterns and modulation tracks and sets Swing to its default values REAKTOR FACTORY LIBRARY Manual 80 Grooveboxes Aerobic Control Function Track Selects the track that can be edited within the Edit Display Step Count Displays the number of the current step 1 to 16 If the gate is off the number is dark if the gate is on the number is light This can be helpful when editing the modulation track Edit Display Displays the trigger pattern filled rectangles as well as the modulation track unfilled rec tangles depending on the Track setting Clicking within the display allows the patterns to be edited High values of the trigger pattern represent high velocity in the modulation track they cause the modulated knob to turn to the right and low values turn the knob to the left Roll Mode Selects how often the trigger signal is sent Normally it is only sent once per
64. fed to the right one s and vice versa Bypass Deactivates the whole effect and the signals are bypassed Scope The oscilloscope provides a graphical representation of the output signal Ampl Here you can set the sensitivity or the amplitude REAKTOR FACTORY LIBRARY Manual 376 Synthesizer SoundSchool Analog e Freeze Pressing this button freezes the oscilloscope s picture The amplitude can be man ually adjusted afterwards e Time Set the length of the oscilloscope s time frame here Additional Functions The Compare control switches between the original and the effect sound Default sets all oper ating elements to a neutral position 8 16 3 Page B Instrument Architecture Interface page B holds a graphical representation of SoundSchool Analog s internal structure The oscillators 1 and 2 are depicted in orange while the signal processing units are shown in dark blue The sources for controlling and modulation of the signals are represented by a brighter blue The audio signals of the oscillators are sent to the mixer and intermingled The mixed signal gets filtered amped and then sent to the outputs L and R via Stereo Delay FX effect The Scope oscilloscope represents the L signal as a time curve The oscillators are connected in two ways Oscillator 1 controls the frequency of the second oscillator via FM frequency modulation Syne again allows the second oscillator to be hard synchronized to the fir
65. four fre quency ranges The controls for each of the four band are identical Lev sets the volume of the band and Pan controls the position in the stereo field The BW and Res controls set the parameters for the band pass filter used to feed audio into the band The RM button turns ring modulation on and the RM knobs adjusts the amount of ring modulation You can adjust the attack and decay characteristics of the trigger envelope with the att and dec knobs respectively The Length 64 parameter sets the pattern length of that band Note that it s possible to have an 8 step low band and a 7 step midband for instance With the event table to the right of the band controls you can sequence he amplitude and ring modulation amount top sequence and the effect send bottom sequencer The 1 lt gt 2 and wetL knobs determine to which delay the signal to and the volume of the wet signal The snd and viaT2 knobs adjust the amount of delay send and the amount of delay send as specified by the second table Underneath the two tables is a small horizontal bar that shows the fre quency range that that band represents In the Global section you can set the active set of tables with the Pattern knob The attack dec res and BW knobs perform the same function as the similarly labeled knobs in each band but they act globally Note that the filter bandwidth and the global filter frequency can be modulated by the graphical mod sequencer You can play
66. goBox s bottom edge are a variety of hands on real time sequence modulation controls The Skip buttons causes the sequencer to skip 1 2 or 3 steps adding dramatic rhythmic variations The Trig buttons cause the currently playing sample to retrigger or roll at 1 8 1 16 or 1 32 notes Try these buttons while the sequencer is running to drop rolls and trills into the sequence as fills or turn arounds The Hold button repeats the current sequence step when depressed This is perfect for creat ing breaks to heighten drama in a performance Porta introduces a small amount of pitch glide to the samples The Rev button creates a sort of reverse playback The Legat button forces consecutive sequencer steps with the same gate value NOT to retrigger the envelope This causes some samples not to sound on their sequencer steps stripping back the beat 3 3 5 Morph The Morph pad allows you to make overall changes to goBox s settings with one easy to use XY control It can be used to momentarily transform your sequence and or sample settings or to add small amounts of almost random change to your performance The Y axis morphs the sequence parameters while the X axis handles the sampler parameters Clicking on the pad introduces the Morph effect at that position for as long as the mouse but ton is held down Settings return to their previous positions when the mouse button is disen gaged Clicking the M On button holds the Morph setting as long as the
67. how fast the objects rotate around the center correlating to the MIDI Clock It influences the rotation speed of all objects simultaneously and can therefore be used to increase or decrease the general density of notes The faster an object rotates the earlier it triggers a new note by passing the virtual pick up line e Quant Determines to which rhythmical grid all notes are quantized e g a sixteenth note Whether quantization is active or not depends on the Depth control Sequencers Spiral REAKTOR FACTORY LIBRARY Manual 238 e Depth Specifies to which extent trigger events are delayed in order to match the rhythmi cal quantization grid At a minimum value a note is triggered immediately when an object passes the virtual pick up line At a maximum value the trigger signal is delayed until the MIDI clock reaches the next full quantization value e g the next full sixteenth note This control can become very effective when using values just below the maximum The rhyth mical grid will become audible but it will be interpreted with slight inaccuracies due to human interpretation and perception Pitch Correction With the controls of this section the generated notes can be re organized so that they fit a mu sical scale As explained above each rotating object has a specific pitch value which is used when triggering a note These pitch values can be adjusted within the Pitch tab explained be low yet these values come from the
68. its signal passes to the additional delay The Env control enables an envelope generator that is triggered by one of the two step sequencer tracks This can be used to gate the instrument s signal Function Master Output Controls the instrument s main output level Bypass Mutes the effect and directly routes the input signal to the output REAKTOR FACTORY LIBRARY Manual 207 Samplers Lurker Section Control Envelope Amount Function Adjusts the influence of the envelope generator on the output amplitude Turn to the left for complete independence Turn to the right for full shaping of the amplitude by the envelope Envelope 4 5 1 The delay unit after the output section allows for further manipulation of the signal It is simi lar to the main delay units but the delay times can t be modulated and the channels can t be swapped instead there is a high pass filter within the feedback loop As a special feature the ratio between dry unprocessed signal and wet delayed sound can be modulated by one of the Source Select Selects one of the two step sequencers to be used as trigger signal See also Gate Threshold Gate Threshold Controls which steps of the selected modulation track are used as trigger signals All steps with values below the one adjusted by this control are ignored Velocity Amount Velocity Attack Controls the influence of the trigger gate s hei
69. knob into a percussive type output First the pitch and amplitude of the incoming signal are detected The pitch range is clipped with the Lo and Hi knobs transposed by Tune and slewed by Port Amplitude is detected by a peak detector controllable by the D decay knob The detected pitch is then routed to a sine oscillator and the filter cutoff of a noise generator The Osc knob fades between the sine oscillator hard left the input signal centre and the noise generator hard right Finally the output is fed into a comb filter FB determines the amount of feedback Freq determines the delay time FM the delay time modulation amount signal ampli tude being the modulation source and Cut defines the lowpass cutoff of the comb filter Comb cross fades between oscillator output hard left and the comb filter out put hard right XFX overview The XFX section contains a bank of 22 effects and a recordable XY pad with which to automate the 2 parameters of each effect Some of the 22 effects also have a non automatable 3rd parameter which can be set using the slider bar beneath the XY panel Details of parameters for each effect can be found in Appendix 1 Press Play to enable automation playback and while Rec is enabled hold the mouse button and move the mouse to write to the automation sequence The XY automation is stored in 2 x 64 data points and Sm toggles between stepped or smoothed inter polation between each poi
70. knob controls attenuation of the high shelf filter Use the Frq immediately above the Hi knob to adjust the frequency As in the other modules the EQ can be taken offline with the Byps button Finally the mixture of wet and dry signal can be adjusted to taste with the Mix knob in the output section 2 17 Spring Tank SPRING TANK Level Length Diffusion a Tension mong e 065000 e e sims Damping Decay Instrument and Presets Tim Schwerdtfeger ll Panel Design Timothy Lamb 1 11 Spring Tank user interface REAKTOR FACTORY LIBRARY Manual 73 Effects Spring Tank 2 17 1 Introduction Spring Tank pays homage to the trashy unrealistic spring reverbs of the past While Spring Tank isn t exactly a physical model of a spring it goes a long way toward recreating the spring reverb characteristics dull transducer saturated and boingy with the familiar nonlinear reso nating decay 2 17 2 Quick Start Spring Tank is meant to be an experimental effect rather than a realistic one play some audio through the effect and experiment It allows control over the elements of the spring s mor phology so you can design your own spring 2 17 3 Structure and Signal Flow The input source is amplified or attenuated with the Level knob at the far left of the instru ment High levels here can introduce transducer saturation which is not such a bad thing The signal is then fed into the spring tank He
71. knob determines lowpass filter cutoff Additionally the shape of certain oscillators triangle and pulse can be defined Filter The oscillators are summed and passed through a 12db lowpass filter controlled by the Cutoff and Reso knobs When the Slave button is depressed the cutoff knob is overridden by the master filter cutoff The main filter is located in the FX section at the top left of the panel REAKTOR FACTORY LIBRARY Manual 258 Sound Generators Metaphysical Function Control Function Section Level The overall Level of each section can be controlled and automated using the large fad ers either side of the waveform display Sampler module Samples can be selected using the Select knob and playback pitch can be defined by the Pitch and Fine knobs Either P1 or P2 can be routed to the sample pitch via Mod Loop range can be defined using the bar below the sampler Pitch Routing Matrix Section Control Function P1 and P2 These 2 faders can be used to control the pitch of the oscillators the sampler and the Resochord effect Movements can be recorded by mouse movements as with the other sliders but also via MIDI input by enabling the MIDI button Glide time can be set with the adjacent knobs Individual and All To the left and right of the central P1 P2 faders are controls for routing them to the buttons oscillators in section A and B respectively Click the All button to rout
72. knob follows an incoming mod wheel signal Use it when you have no hardware controller available Arp Mode This menu offers different arpeggiation modes Choose between up gt gt down lt lt up and down gt gt lt lt and random Arp Speed Menu for choice between different speeds relative to the global tem po REAKTOR FACTORY LIBRARY Manual 383 Synthesizer Steam Pipe 2 Section Control Function Output Spread Introduces a stereo spread into the main output Gain Main output volume control A440 A440 Tuning tone Ifon a sine oscillator s signal is mixed into the main output Use it to on off tune the pipe The frequency is 440Hz Gain Controls the volume of the 440Hz tuning tone 8 17 5 Space Master Deluxe You can find this remarkable reverb module on panel B of the SteamPipe 2 Based on several diffusion delays Space Master can produce a wide array of high quality natural or experimen tal ambiences The patch s useful set of reverb parameters include an early reflections section a late reflections module and a post EQ Dials for main reverb time control of balance be tween the two reflection stages and between dry and wet signal round off the controls 8 17 6 Input and Output Stage You can put an initial delay into the reverb signal with the predelay Time dial and control the predelay s stereo position with the Symmetry knob The Early Late Balance slider c
73. lowest MIDI note used in the map This is essential for sample selection modulation to operate correctly The sampler has two basic modes of operation toggled by the Offset button Enabling Offset permits the modulation of the sample playback position which is particularly useful when using drum loop samples In this mode all samples are automatically stretched to tempo by slicing the loop into a number of sections as defined by the Quan knob Quantise Note that pitch modulation is not available in offset mode When Offset is disabled the sampler works much like a standard sampler ideal for maps consisting of single drum hits In this mode P sets the pitch modulation range in semitones This will be discussed in more detail in the dynamic parameters section as it relates to the dynamic pitch value P pitch defines the base pitch of the sampler thus transposes all samples P jtr pitch jitter defines the amount of random fluxuations in pitch in semitones and T jtr Time jitter sets the amount of random fluxuation in sample playback position A decay sets the decay time of the samplers amplitude envelope and the sampler output is then passed through a lowpass filter The filter cutoff is determined by two factors the base cutoff value a dynamic parameter see the next section and a sec ond decay envelope defined by the F decay control Reso sets the resonance of a low pass filter REAKTOR FACTORY LIBRARY
74. mixer Since all other components are slaved to this one storing or recalling a snapshot here affects all other instruments i e the sound units and sequencer Root Snap Sets the snapshot number recalled when the MIDI note adjusted by Root Note is received Snap Via Key has to be activated The note above Root Note re calls the snapshot that follows on the Root Snap etc Root Snap The first snapshot recalled after pressing this button will be used as new Root Learn Snap Root Note Sets the external MIDI note that if Snap Via Key is on recalls the snapshot ad justed by Root Snap Root Note The first MIDI note received after pressing this button will be used as new Root Learn Note REAKTOR FACTORY LIBRARY Manual 89 Grooveboxes Aerobic Section Controls Function Store Stores the current settings of the complete ensemble to the current snapshot number see Snap If Store To Next Snap is activated the subsequent snap shot number will be used to store the data Any data previously stored there will be overwritten Therefore one should start a completely new bank of snapshots when working on a project Store 1 If activated upon pressing Store the settings of the complete ensemble will not be saved to the current snapshot as displayed by Snap but to the next one Level Master Sets the master volume Velocity Slaves the Master control to the velocity of incomi
75. mod Reflections ules by adjusting delay time of the underlying diffusion delays Higher values give the impression of larger spaces Symmetry Introduces a stereo shift into the generated reflections Diffusion Adjusts the perceived density of the reflections generated Use for a sparser or fuller reverb sound Reverbera This control alters the decay time of the reverb response tion Time RT60 Modulation Rate Control of LFO frequency modulating the delay times Depth Control for the LFO s modulation depth Higher values yield increased ampli tude modulation 8 17 8 Frequency Response The two EQ sections serve slightly different needs The Damping EQs are integrated into the reflection stages and influence their frequency responses The Post EQ acts on the patch s main output and should be used to finalize the overall sound Section Control Dsecription Damping Low Freq Cutoff for the low shelving filter that cuts into diffusion delay frequency response of both early and late reflections High Freq Cutoff for the high shelving filter that cuts into diffusion delay frequency response of both early and late reflections REAKTOR FACTORY LIBRARY Manual 385 Synthesizer Steam Pipe 2 Section Control Dsecription Lo Damp Amount of cut for the low shelving filter Hi Damp Amount of cut for the high shelving filter Equalizer Low Freq Cutoff for the low EQ that acts on the main output of the
76. modulation wheel All others can easily be assigned to any MIDI Continues Controller via MIDI Learn They are available as modulations sources named C1 xl x2 and x3 8 2 6 Global Controls The global controls access several different functions First and most important the voice allocation of the synthesizer can be controlled providing polyphonic and monophonic modes by selecting the unison mode all available voices are set to the same pitch as in a monophon ic synth but each one is slightly detuned This results in waveform interference and a thick chorus like sound Monophonic modes also provide portamento Parameters determine the master pitch shift and MIDI pitchbend range and adjust global tremolo and vibrato Voices position within the stereo field can also be adjusted Control Function Gate Mode Selects the global operation mode Poly selects the only polyphonic mode portamento does not work in this mode see Glide Speed Mono results in a monophonic gate sig nal that is triggered on every MIDI note Legato is similar but generates a new gate trig ger signal only when the gate has been closed before i e no note is already pressed Uni Mono and Uni Legato activate the unison modes A monophonic gate signal is used for all voices but all available voices are used and detuned by the Unisono and Unisemi controls Envelope Mode Selects the envelopes behavior during the re
77. movements can be adjusted by clicking with the right mouse button REAKTOR FACTORY LIBRARY Manual 173 Grooveboxes Splitter Beside the notes sequencer there is an additional modulation sequencer Here a value can be adjusted for each step of the timeline this value can be used as modulation source within the Splitter instrument Finally a complete song sequencer is also implemented at the top of the instrument s panel the currently displayed and edited pattern can be selected A D To the right of the pattern select a pattern sequence can be programmed to automatically switch the patterns during playback Control Function Zoom Level Selects the number of steps shown within the main Pattern Edit display Quantization Selects the rhythmical unit at which the steps of the sequencer are interpreted The units are always bound to the global MIDI tempo Pattern Select Selects one of the four patterns A B C D to be shown within the main Pattern Edit dis play If Song Seq is off this also selects the pattern to be played see also Loop Bar Song Edit Switches the edit mode of the song sequence on or off see also Sequence Edit Sequence Edit Song Seq If Song Edit is on one can program a sequence of patterns by dragging the pattern symbols with the left mouse up and down The complete song sequence is repeated con tinuously Empty steps within the sequence are omitted
78. nance with a built in click The Click knob controls how loud the click is and the Vel knob determines how the click responds to velocity After Filter 2 the sound passes through a distortion unit then a chorus delay effect Note that an extended version of the chorus delay effect is available in the Fusion Reflections ensemble The Delay Chorus consists of four stereo modulation delays The main delay time is controlled by the Delay knob Diffusion sets the inaccuracy of the delay times to spread the sound 8 8 4 Modulation Green Matrix features three standard ADSR envelopes and a two LFOs that syncs to tempo All three envelopes are velocity sensitive Vel gt A sets how much the velocity will affect attack time The speed of the LFO can be set in musical note values or freely When Unit is set to O then the Frequency of the LFO is set in Hz When Unit is set to any other value the frequency of the LFO takes on the musical units set by Unit For example if Unit is 96 and frequency is 1 then the LFO will be set to the very fast speed of 1 96th note per cycle The display under neath the Freq knob depends on how Unit is set if Unit is set to O then the display automati cally shows values in Hz and if Unit is set to a musical value then the Freq display will auto matically update Width and Phase control the shape of the LFO which can be selected by the switch to the right Key S determines if the LFO will synchronize to note on events
79. of modulation is controlled by Transition Time Modula tion Amount Transition Time Controls the amount and polarity of modulation applied to the desti Modulation nation selected by Transition Time Modulations Select Turn to the Amount left for negative modulation i e shorter attack or decay times at low modulation source values Turn to the right for normal positive mod ulation i e longer times at low values Attack Sets the attack time of the envelope generator Decay Sets the decay time of the envelope generator Sustain Sets the sustain level of the envelope generator Release Sets the release time of the envelope generator Hold Sets the duration of an additional hold phase between attack and decay Delay Adds an initial delay period before the trigger signal restarts the en velope R D Links the release time to the decay time If on the value adjusted by Decay is also used to control the release phase Envelope Genera Record Arms the recordable envelope The recording is started when a MIDI tor 3 gate is received and ends when the gate closes All movements of the Value knob are stored and can be played back as envelope see Play REAKTOR FACTORY LIBRARY Manual 283 Synthesizer Carbon 2 Section Control Function Play Enables playback of the recorded movements triggered like an en velope by MIDI gate signals Loop Loops the recorded mov
80. of the gater effect This is independent of the Main Level Main Level Adjusts the output level of the main signal that is not processed by an effect unit 3 7 3 Modulation Section The three step sequencers of this section don t trigger samples they are modulation sources which change sound engine parameters on the six sample sequencers 4 7 The Modulation section REAKTOR FACTORY LIBRARY Manual 125 Grooveboxes Massive 1 1 Each of the modulation tracks is identified with a color that can be selected within the various modulation source selection controls e g below the Transpose control of the Master sec tion Normally you adjust the modulation amount below the source selection control of the modulated parameter Control Function Track Select Switches between modulation track 1 blue 2 green and 3 orange Sequencer The modulation tracks step sequencers act like the one described in the Sequencer sec Display tion the only difference is the absence of a roll mode Half Tempo Switches between normal and half speed of the respective track read out when pressed each step is interpreted as an eight note otherwise each step is interpreted as a sixteenth note 3 7 4 Sequencer A 7 ED 7 Ea Ier TEDT E ENER KLS t Eh ES RGTR D r 4 8 The Sequencer section REAKTOR FACTORY LIBRARY Manual 126 Grooveboxes Massive 1 1 Each of the six sequenc
81. off Freq Control of EQ frequency Amt Bipolar EQ cut boost 24 db FilterMode Click multiple times to switch through the available filter modes You can choose be tween low pass high pass and band pass Cutoff Filter frequency of the noise filter Depicted in pitch values Cutoff mod Bipolar amount for the modulation track output of the sequencer altering the cutoff frequency Can be initialized with the init mod button Reso Resonance of the multi mode filter Reso mod Bipolar amount for the modulation track output of the sequencer altering the reso nance Can be initialized with the init mod button REAKTOR FACTORY LIBRARY Manual 167 Grooveboxes Sinebeats 2 3 125 FX1 amp 2 You get 2 effects units that receive their input from the sends of the Mixer The effects units are identical and offer a stereo delay with an integrated resonant multimode filter feedback and a return level dial The filter cutoff can be modulated by an integrated three waveform tempo synced LFO Both effects units have a small step sequencer including loop and tempo control that allow for bipolar modulation of the filter parameters of Return levell and Feed back Control Function DLY R Delay Time for the right channel Units are beats per echo DLY L Delay Time for the left channel Units are beats per echo CUT Cutoff frequency of the multimode filter CUT M
82. on or off to modify the sound colour of this oscillator e lt Freq gt Sets the center freqeuncy of the bandpass filter switched on by lt Filter gt Turn left for low freqeuncies right for high ones Filters Titan features a flexible dual filter design that can be routed in series or parallel The number of poles signifies the amount of damping above lowpass or below highpass the freqeuncy adjusted by the Cut control Each pole represents 6 dB octave e Filter 1 offers the following modes o LP4 4 pole lowpass REAKTOR FACTORY LIBRARY Manual 401 o o Synthesizer Titan BP2 2 pole bandpass HP2 2 pole highpass HP4 4 pole highpass HP6 6 pole highpass Pk peak equalizer DFF differentiator brightens the colour of the sound e Filter 2 offers the following modes o o o o o LP2 2 pole lowpass LP4 4 pole bandpass J4 4 pole lowpass with unique resonance control V4 cascaded analog style lowpass with feedback lt FB gt Sets the delay time of the lt V4 gt filter mode There is a feedback with very short delay times to saturate the signal and emulate an analog filter HP4 4 pole highpass Pk peak equalizer HSF hi shelf equalizer e lt Cut gt Adjusts the filter cutoff frequency e lt Res gt Sets the resonance of the filter e lt B gt Sets the amount of peak equalization in lt Pk gt filter mode in all other modes it has no effect e lt Sat gt Switches the Saturatio
83. oscillator waveform lt Tri gt Selects a triangle wave as the oscillator waveform lt Pls gt Selects a pulse wave as the oscillator waveform with pulse width modulateable by the LFO lt Saw gt Selects a sawtooth wave as the oscillator waveform lt Mod Amt gt Sets the amount of FM modulation by the event table sequencer lt FM Offset gt Sets the transposition of the FM operator in semitones lt FM Det gt Sets the detuning of the FM operator in cents lt Width gt Sets the pulsewidth of the pulse wave Further oscillator parameters can be found in the Instrument panel double click on Atmotion s title bar to go to the instrument panel These three parameters control an LFO which is hard wired to pulse width modulation and or vibrato lt Freq gt Sets the speed of the LFO in 16th notes lt WM gt Sets the LFO pulsewidth modulation depth lt Vbr gt Sets the LFO vibrato depth REAKTOR FACTORY LIBRARY Manual 221 Filters Sequenced Synthesizers Atmotion The filters comprise band pass high pass and low pass modes with five types of low pass fil ter to round things out The dbl filter engages two serially connected low pass filters Cut2 and Res2 adjust cutoff and resonance offset for the second filter The fb mode allows you to con trol filter feedback with the FB knob From the main ensemble panel the following parameters can be adjusted lt Mod Amt gt Sets the amount of filter cutoff modulation by the e
84. reverb High Freq Cutoff for the high EQ that acts on the main output of the reverb Lo Boost Cut or boost amount for the low Equalizer Hi Boost Cut or boost amount for the high Equalizer REAKTOR FACTORY LIBRARY Manual 386 Synthesizer Steam Pipe 8 18 Steam Pipe D 12 0 2 0 25 al SIS 0 2 PUSH PULL SATURATION MW FILTER REAKTOR LIBRARY 1 25 Steam Pipe user interface 8 18 1 Introduction Steam Pipe is a physical modeling synthesizer that uses a tuned resonator to create bowed blown and plucked sounds as well as many strange new and hybrid sounds SteamPipe effec tively models air or steam being blown through a tuneable pipe In addition to a large number REAKTOR FACTORY LIBRARY Manual 387 Synthesizer Steam Pipe of controls for the shape of the pipe and a tuned all pass filter there is a mod wheel control led filter to achieve damping and breath noise effects Giving dimension to all of this is an ex cellent sounding reverb unit 8 18 2 Quick Start Since SteamPipe is such a potentially expressive instrument you ll want to plug in your favor ite MIDI keyboard to try it out Step through the presets to get an idea of the different kinds of sounds this thing can make Give the mod wheel a twirl or two and hear how this can add ex pression to the sound 8 18 3 Structure and Signal Flow SteamPipe simulates the passing of air through a pipe where the size and
85. right for nor mal modulation High values at the right result in very much modulation of the Depth control increasing its maximal modulation amount to approx 2400 milliseconds The signal that actually modulates the Depth control is selected below Depth Modulation Source Selects the sequencer track that modulates the modulation depth The amount of modulation is controlled by Depth Modulation Amount REAKTOR FACTORY LIBRARY Manual 205 Samplers Lurker Control Function Modulation Slur Sets the amount of interpolation applied to subsequent steps of the modula tion track Turn to the left for no interpolation and fast delay time changes to the right for soft and slow ramps between different states Modulation Invert Inverts the modulation signal e if on the modulation signal is not added to the static delay times controlled by Quantized Delay Time Left Right and Millisecond Delay Time Left Right but subtracted Quantized Delay Time Left Right Sets the static delay time of the left channel upper control and right chan nel lower control respectively in multiples of sixteenth notes of the global MIDI clock The actual delay time is calculated from the sum of this value the delay time adjusted by Millisecond Delay Time Left Right and the modulation signal see Depth MillisecondDelay Time Left Right Sets the static delay time of the left channel
86. sample rate and bit depth reduction for each sample Use this to add some dirt to your samples or to reduce them to staticy noise All of the envelopes can be scaled that is generally shortened or lengthened in time with the Scale button below the Morph XY pad Use the Scale control to tighten up beats or to make beats seem louder by increasing the overall decay and release times The Loop table controls how much of the sample loops as it is triggered beginning at the point set by the Start control Odd loop lengths can create stuttering and staccato rhythm effects After being contoured the samples can be fed into the effects modules in differing amounts with the Filter Delay and the Mod Delay tables The Filter Delay s delay time is automatically synchronized to the system clock in 16th notes Filter frequency and resonance can be adjust ed with the XY pad Use the Envelope knob to modulate filter cutoff with the sample envelope A Mod Delay for chorus and reverb like effects accompanies the Filter Delay Two xy pads let you adjust the Time Feedback balance and the Amount Rate of delay time modulation The Sync ro nizer module sits on the end of the signal chain after the effects It offers two synced sample players for generating simple metronomic beats to help keep everything in line and lock down your rhythms Select a sample using the Select knob The sample pitch can be GoBox REAKTOR FACTORY LIBRARY Manual 92 Grooveboxes ad
87. sets the centre frequency of the feedback filter The cutoff is also modulated a beat synced LFO controlled by the central XY field and Speed knob The XY X axis sets the LFO phase the Y axis sets the modulation depth and the Speed knob sets the speed cycles per bar Smth controls the speed that delay time changes from the Delay Asym knobs are applied and also the crossfade speed of enabling disabling the effect Filter This section features a sequenced filter The horizontal slider above the sequencer display selects one of the 20 available patterns for the sequencer and the lower hori zontal slider sets the sequencer clock speed Length sets the loop length of the se quencer Mod defines how much the extent to which the sequencer modulates the fil ter cutoff Center and Reso set the filter cutoff and resonance respectively and Width sets the fil ter width Smth controls the speed that of changes to the cutoff frequency from the sequencer or the Center knob REAKTOR FACTORY LIBRARY Manual 42 Snapshot control Section QWERTYUI Bookmark Flow and Write Effects Fast FX Function In Fast FX the REAKTOR snapshot menu is not used for handling snapshots Instead with live performance in mind the snapshot handling is dealt with on the panel Fast FX has a total of 256 snapshot slots represented by 32 x 8 slot programs The 32 programs are selectable by the Program Selector at the bottom
88. shelf equalizer Refresh and a dynamic range controller Norm before it is mixed again with the dry unprocessed input sig nal and sent to the output REAKTOR FACTORY LIBRARY Manual 60 Effects Resochord Section Function MIDI amp Logic Control Chord Structure The main menu in this section selects from various modes of controlling the pitch of the 6 resonators Regardless of the control method the pitch of the resonators is al ways displayed in the 6 values at the top of the Chord Structure menu When Direct Pitch MIDI is selected the pitch of resonators is determined by MIDI note input This mode enables live play as with any keyboard instrument Direct Pitch Manual enables the 6 large pitch knobs at the bottom of the Chord Structure section The Slot modes allow the user to store and recall the pitch of the resonators in 6 memory slots This offers an alternative method of live performance especially for those with lesser keyboard skills allowing the user to recall from the 6 predefined pitch configurations as and when desired When Slot Midi is enabled the 6 memory slots are recalled by pressing MIDI notes C36 D38 E40 F41 G43 and A45 Alternatively in Slot Manual mode the 6 slots can be recalled by the 6 slot buttons on the panel To store a pitch configuration to a slot select Record to Slot then select the desired destination slot by clicking on the appropriate slot button In Manua
89. shift of the left and right channel respectively in semi Shifter tones Grain Size L R Adjust the grain size of the pitch shifting algorithm for the left and right channel respectively Turn to the left for large chunks and echoic sounds to the right for tiny grains and an accurate pitch shift Feedback Controls the amount of feedback Reverse Switches between forward and reverse grain playback Phaser Center Frequency Sets the center frequency of the filters that produce the phaser signal Modulation Rate Sets the speed at which the Center Frequency is modulated Phase Sets the phase of the LFO modulating the Center Frequency See also Modulation Ratel Depth Sets the amount of modulation Resonance Sets the resonance of the internal filters Feedback Sets the amount of feedback Chorus Delay Sets the main delay of the chorus Depth Sets the amount of modulation applied to the Delay time Rate Sets the speed at which the Delay time is modulated Equalizer Bass Boost Controls the boost or damping applied to the bass frequencies below 300 Hz Mid Frequency Adjusts the frequency of the peak equalizer applied to the middle frequency spectrum Mid Boost Controls the boost or damping applied to the middle frequencies around the Mid Frequency Mid Resonance Sets the resonance of the mid equalizer High Frequency Adjusts the frequency of the high shelf equalizer REAKTOR FACTORY LIBRARY Manual 281
90. similar independent units selectable by the tabs at the top of the panel Each unit combines an oscillator and a noise section into one signal that can be equalized before it is sent to the master mixer The sequencer in the middle of the panel con tains two tracks for each sound unit selectable via the same tabs as the units themselves The filled rectangles within the sequencer s display represent the unit s trigger signals and their ve locity the unfilled rectangles form a modulation track whose signal can be used to change nearly every parameter of the sound engine and mixer over time Use the Modulation switch in the unit s master section to select the destination of the modulation The master mixer pro vides classical mixing parameters for each unit solo mute pan and of course level along with controllers to adjust the complete ensemble s reaction on MIDI messages Each unit can be triggered by a selectable MIDI note on a more complex level note messages can recall complete ensemble snapshots 3 1 1 Sound Engine The drum synthesizer is built by two sound generators an equalizer and a master section that also controls modulation routing While the oscillator part on the left side is based on sine waveforms with frequency modulation capacities the noise part on the right side contains a white noise generator with a multi mode filter The mixed signal is sent through an EQ and within the master section a final saturat
91. sound of each preset simply select a preset at random then choose a new filter for it The main parameters of each filter mode cutoff frequency frequency bandwidth resonance and feedback can be set at the right of the mode selector Below each parameter knob there are additional controls to modu late the respective value including the possibility to map the MIDI velocity and the modulation wheel onto the filter s sound The sound comes out of the filter and goes right into a saturator and four band EQ for even more fine control over the sound s frequency spectrum Besides a low shelf EQ a high shelf EQ and peak EQ with adjustable center frequency there is also an additional highpass filter used to increase the sound s brightness 8 34 Modulation Carbon has two envelopes and two LFOs Envelope 1 always controls the amplitude while En velope 2 can control different parameters such as oscillator volume oscillator detune filter cutoff filter resonance filter bandwidth and filter feedback delay There is no modulation ma trix in Carbon all modulations are set in their respective sections For instance to modulate filter cutoff by Envelope 2 simply look underneath the Cutoff knob in the filter section and you ll see a small knob for E2 and a button to activate the modulation amount Carbon s LFOs offer valuable sound shaping functions Using the FSpr knob in either LFO section adds a fre quency spread to the LFO frequency across
92. sound of the Transducer saturation The Color knob lets you adjust a global tone control Turn ing this clockwise results in a brighter sound and vice versa The Level knob controls the volume of the wet signal You can adjust the balance of wet signal to dry signal with the Mix knob Finally you can bypass the effect all together by clicking the On button You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information 2 18 Two Knees Compressor 400 lA 35 O REAKTOR LIBRARY H 1 12 Two Knees Compressor user interface 2 18 1 Introduction Two Knees Compressor is a simple compressor with an important quirk it has two separate ad justable thresholds and ratio controls 2 Knees Compressor can perform as a precisely accurate compressor limiter a distorting sound shaper a transient modifier or anything in between lt includes a compression curve display to show the relationship between the amplitude of the input signal and the amplitude of the processed signal REAKTOR FACTORY LIBRARY Manual 75 Effects Two Knees Compressor 2 18 2 Quick Start Play some audio through Two Knees Try to input a beat and run through the snapshots to hear a clear example of how it can alter transients 2 18 3 Structure and Signal Flow Set the in
93. sources as well as the internal sources available in the Modulation section lower left REAKTOR FACTORY LIBRARY Manual 349 Synthesizer Photone Global Section Section Control Function Tune and Pitchbend Tune Tune offers coarse and fine transposition The PB controls define the effect of the pitchbend wheel on note pitch the range for upward and downward movements are specified independently Gate modes Mode determines whether Photone operates polyphonically or monophoni cally and whether envelope attack reset AR is enabled In the attack re set modes the envelopes are always reset to zero on each gate on event to yield the full attack range i e from zero to peak This is in contrast to standard behaviour where the attack range is from the envelopes current output level to peak The difference between attack reset and standard modes is especially noticeable with long envelope release times Five monophonic modes are available Mono standard 1 voice monophon ic Mono AR as above plus attack reset Mono AR 2V as above but with 2 unison voices Mono AR 3V 3 unison voices and Mono AR 4V 4 uni son voices In these 3 unison modes Unisp determines the amount of voice detuning or spread In mono modes STM selects single trigger legato gate mode Drift simulates analog equipment by applying a small amount of random drift to the note pitch signal and is particularly effective in the
94. the Brightness section The horizontal axis displays the frequency Periodic Filter Shows the effect of the Periodic Filter section The horizontal axis displays the frequen cy Ratio Shows the effect of the Ratio Multiply Ratio Add and the Dispersion sections on the individual partials The horizontal axis displays the individual partials the vertical axis the applied ratio Scope Shows the overall wave shape of the synthesizer signal 8 12 10 Brightness This section acts as a low pass filter and offers a basic modulation matrix Please refer to the Brightness section of the visualization area Control Function Brightness Adjusts the filter frequency The left side of the value field adjusts integer values the right side is used for fine tuning Double clicking the left side of the value field restores the value to its default double clicking the right side will set the value to the closest integer value Modulation Matrix The upper part of the modulation matrix allows switching between the modes off env and Ifo which allow modulating the filter frequency with the Envelope or LFO section at the bottom of the Lazerbass panel If switched on the left value field will adjust the minimum value while the right value field will adjust the maximum value for the filter frequency The modes on the lower part of the matrix off c1 c2 allow manually fad ing between two different individual filter settings by usi
95. the box to the left of the sample window If incor rect the tempo can be adjusted using the slider bar beneath If the correct tempo cannot be selected then the loop is not an integer number of bars in length in which case you cannot use it All of the sampler controls in this section are stored per pattern Clicking a knob with the left mouse button writes to the current pattern only whereas clicking with the right button writes to all eight patterns simultaneously A to H Also double clicking on a knob resets it to its default position REAKTOR FACTORY LIBRARY Manual 106 Grooveboxes L3 Control Function Sample Display Displays the sample currently selected by Sample Select Double click to open RE AKTOR s Sample Map Editor and to load a sample file Tempo Control Displays the automatically extracted tempo of the sample loop in beats per minute Use the slider to select a different value Sample Select Selects a sample from the map within REAKTOR s Sample Map Editor of the Sample Display Pitch Transposes the overall pitch of the loop in semitones Stretch Calculates the pitch at which one bar of the audio file will be the same length as one bar of the actual current song tempo and then transposes the loop accordingly In other words when stretched there will be no gaps between slices caused by the orig inal loop tempo being slower than the current tempo nor will slices b
96. the modulation data e lt Env gt Controls the mix between the triggered envelopes and raw modulation data e lt Del gt Controls the mix between the we dry event delay Left is the dry signal and right is the wet delayed signal Further sequencer parameters can be found in the Instrument panel double click on Atmo tion s title bar to go to the instrument panel The lt Env gt and lt Del gt controls appear in both the Ensemble main view and Instrument panel e lt Thrs gt Sets the envelope trigger threshold the difference between two sequence steps e lt A gt Sets the triggered envelope attack time e lt D gt Sets the triggered envelope decay time lt Ste gt Sets the delaytime of the event delay in 16th notes REAKTOR FACTORY LIBRARY Manual 220 Sequenced Synthesizers Atmotion lt FB gt Sets the feedback of the event delay lt C Dv gt 1 96 clock divisor Reaktor s internal clock sends out values every 1 96th note A lt c Dv gt value of 6 would therefore correspond to 1 16th notes A value of 12 corresponds to 1 8th notes etc This control is useful for odd time sequences Oscillators Atmotion s two oscillators are identical They feature a choice of four waveforms transposition detuning and have an FM operator as well LFOs lt Transpose gt Transposes the oscillator against the MIDI pitch lt Detune gt Sets the detuning of the oscillator in cents lt Sin gt Selects a sine wave as the
97. the note position MIDI note 36 to MIDI note 96 Vel Velocity MIDI Note on velocity MW Modulation wheel CC1 MIDI PB Pitchbend wheel Bipolar MIDI PB Pitchbend wheel Upward movements only MIDI PB Pitchbend wheel Downward movements only MIDI AT Aftertouch MIDI Vibr Vibrato low frequency oscillator Pitch Mod section Routable to filter cutoff only Voice Voice Internal 1 voice number Routable to pan only REAKTOR FACTORY LIBRARY Manual 368 Synthesizer SoundSchool Analog 8 16 SoundSchool Analog OSCILLATOR 1 STEREO DELAY FX Symm Interval Delay DelL R LFO Rate Amount Feedback Lowpass Dry Wet 0 Unison Det Pulse 0 i Random mm GCD 1 24 SoundSchool Analog user interface 8 16 1 Introduction SoundSchool Analog is a well equipped but easy to use software synthesizer It is very suitable as an introductory tool to the subtractive synthesis realm of both analog and virtual analog syn thesis 8 16 2 Interface Areas and Control Elements Oscillator 1 The first oscillator Osc 1 is capable of generating the following waveforms e Pulse A rectangular signal changing between two levels Another interpretation is to dis tinguish between pulse and pause You can adjust the pulse width with Symm the LFO and with the Filter Envelope REAKTOR FACTORY LIBRARY Manual 369 Synthesizer SoundSchool Analog e Tri Saw Tri stands fo
98. the topmost of the two buttons The Diffuser Chorus consists of four stereo modulation delays The main delay time is control led by the Delay knob Diffusion sets the inaccuracy of the delay times to spread the sound The Dly Mod control adds an LFO to modulate delay time The Speed knob sets the rate of modulation The Stereo knob offers still one more method to spread the sound across the ster eo field A two band equalizer lets you shape the chorus tone by attenuating the bass and tre ble frequencies Clicking the buttons above the Bass and Treble faders engages the EQ bands REAKTOR FACTORY LIBRARY Manual 398 Synthesizer Titan 8 21 Titan ELECTRONIC INSTRUMENTS VOL 1 Oscillators Modulators R Hold Smth LFO1 S amp H Pos Freq Ampiwidth sne pps EG E ee O omo LFO2 Freq Ampi Width sne Phs unD Table1 Dec Gate Freq e Loudness DimExp UI ba On Sprd Delay Pan Source e DI e e Chorus Flanger On Flanger Dry Wet Depth Freq Del FB a 06060000 Wet Depth Del Cut cena Fred chg Frea 2 7 Titan user interface StepQ Length Shfl Table2 om aoe y Se w Filters Mode Parallel Parallel Fade v Pitch Coarse oig Glide gga Auto e eVe Pitch to 1 0EB 1 Pitch2 Pitch 2 3 OB A Cutoff Res EG3 D2 KT Split am KT Amt Equalizer Hi Freq B LP Mid Res o 000 mum Freq Depth Low 0 000 m REAKTOR FACTORY LIBRARY Manual 399 Synthesiz
99. the way the various step sequencer displays react to mouse actions When Draw is selected the mouse can set each step value see also Lock and Sequencer Value Display When Copy is activated an area of steps can be selected with the mouse that is automatically copied to the Edit Buffer In Paste mode the buffer s data is copied back to any area select ed with the mouse if the paste area is longer than the buffer s content the material to be pasted is looped Remote enables the separate Copy and Paste buttons Copy If Remote is selected as Edit Mode pressing this button activates the same behavior of the step sequencer displays as the separate Copy mode of the Edit Mode This button can easily be activated by pressing the C key on the computer keyboard i e MIDI note 52 Thus one can quickly edit the sequencers data with one hand on the keyboard and one on the mouse See also Paste and Lock Paste If Remote is selected as Edit Mode pressing this button activates the same behavior of the sequencer displays as the separate Paste mode of the Edit Mode This button can easily be activated by pressing the V key on the computer keyboard i e MIDI note 53 One can quickly edit the se quencers data with one hand on the keyboard and the other on the mouse See also Copy and Lock Lock Keeps the mouse locked on the selected sequencer step in Draw mode see Edit Mode This
100. they occur in each drum module Sequencer The eight channel event table sequencer controls each of the eight percussion generators The tempo of the sequencer is controlled by the system clock The sequencer supports odd time signatures randomization and shuffle e lt 96 gt Sets the division factor for the clock frequency The internal clock produces 96 events per beat each event makes the sequencer proceed to the next step Using every event would result in a seqeuncer with a 96th grid However if only every sixth event is used the segeuncer has a traditional 96 6 16th grid The speed and rhythm of the seqeuncer can easily be changed by modifying the this control A value of 6 translates to a 16th notes 12 is 8th notes 8 gives you 8th triplets etc e lt steps gt Sets the number of steps in one bar e lt from gt Sets the offset in the event table in bars i e the first bar that is used REAKTOR FACTORY LIBRARY Manual 150 Grooveboxes Rhythmaker e lt bars gt Sets the number of bars to be displayed and looped e lt View gt When off only the selected channel see lt chsel gt is displayed and can easily be edited when on all nine data rows of the seqeuncer are shown e lt loop gt Turns the loop mode on or off When on the loop length is set by lt bars gt and starts at bar lt from gt e lt all X gt When off only the currently playing bar is displayed when on the complete loop is shown e l
101. this button will be used as new Start snapl Key sync Incoming MIDI notes are quantized at the given resolution relative to the global tempo Key sync on off Enables disables key sync of snapshot calling This quantizes the start of the next trig gered snapshot to a metric value between 1 16th and whole notes SnapShot Choose a snapshot number to store to Store Stores the current settings of the complete ensemble to the current snapshot number see Snap If Store 1 is activated the subsequent snapshot number will be used to store the data Any data stored there before will be overwritten Therefore one should start a complete new bank of snapshots when working on a project Store 1 If activated upon pressing Store the settings of the complete ensemble will not be saved to the current snapshot as displayed by Snap but to the subsequent one REAKTOR FACTORY LIBRARY Manual 171 Grooveboxes Splitter 3 13 Splitter EXT int CH sais la SEs n out y MODE PATTERN Ensemble In v Out SONG SEQUENCE 8 One day rer E ei 8 One day v voices 64 unison Oo B E Splitter int spliter_522 waw untitled Map CONTROL LFO MODULATION SHAPE Grair 4 18 The Splitter user interface ES EST In w Out pe gt S0 EEUE ppu s 2 unison ENVELOPE H Uu 0 6 0 125 11 0308 1 DUTPUT REAKTOR
102. to combine several tracks into one Like the bass drum from one track and the synth from another and the high hat from a third Use Scenario to create track mutations Simply load a different loop into each of Scenario s loop players in the Loop Engine and tweak the filter settings to focus on a different frequency range in each loop Scenario REAKTOR FACTORY LIBRARY Manual 161 Grooveboxes Make good quality loops Loops have to be cut exactly to 1 2 4 8 16 etc bars in order for the beat looper to play them correctly The loops can be at any tempo however and Scenario will automatically fit all loops to the same tempo All common sound editing programs let you bounce audio with exact bar sizes so check your manual for detailed information Make good scenes then freely improvise For an effective live performance it often pays to spend a lot of time making good scenes and having a good flow between the scenes You can copy and paste scenes in the Scene Memory simply by activating a scene by going to that scene with Flow enabled then by turning off Flow and going to the position you want to write the scene to Press Write and you just copied and pasted a scene from one part to another When performing you can be assured that if any live improvisation gets out of hand you can just go to the next scene and everything will be on track again Use the two band crossfader in the Scene Effects The two band crossfader is a well kept s
103. to external Complete songs can be built using Snapper s snapshot time line The instrument has several horizontal rows of controls The most important one contains the snapshot numbers to be recalled third from the bottom A new recall event can be created by double clicking with the left mouse button into an empty area of the row double clicking an REAKTOR FACTORY LIBRARY Manual 134 Grooveboxes Massive 1 1 existing marker deletes it Each marker can be dragged horizontally with the left mouse button along the time axis by dragging with the right mouse button the snapshot number to be recal led can be altered Below this main row there is the display row here dragging with the left mouse button moves the area to be displayed above while the right mouse button changes the length of the dis played area Above the main snapshot row there is the loop bar that defines the read out loop as well as the edit area of the edit functions see Copy etc Additionally there is a small marker to position the read out pointer manually its position indicates the place where the readout starts after a MIDI clock reset e not after a MIDI continue event In the top and bottom rows finally several values are displayed numerically always in the for mat of bar quarter sixteenth note There are also buttons to copy and paste sequencer data to zoom the currently displayed loop to disable recall during sequence editing and to s
104. to the REAKTOR Factory Library 1 Welcome to the REAKTOR Factory Library The REAKTOR Factory Library comes with more than 70 pre built Ensembles ranging from synthesizers and effects to grooveboxes and sequencers This classic and renowned selection of musical tools unfolds more than ten years of legacy within electronic music All Ensembles are ready to use in your music and sound design projects but their open Structures also allow you to look behind the curtain and discover how they work REAKTOR FACTORY LIBRARY Manual 17 Effects Analogic Filter Box 2 Effects 2 1 Analogic Filter Box Cutoff P Reson Sess EDEB A Co Cutoff P Reson Distortion Limit F foll Rel TE Limit F foll Rel Type Filter Modulation Define Mix 1 Define Mix 2 AA 577 BO DH en jess ER le eo ease amp Gano EEE o Dist Modulation Sch Cijeso Mamo O REAKTOR LIBRARY Are Gate Mode Envelope E Phase Width Envelo pe Follower Modulation Matrix 1 1 Analogic Fllter Box user interface 2 1 1 Introduction The Analogic Filter Box sandwiches a rich and meaty distortion unit between two hearty ana log style filters to create a sound shaping tool for every appetite Juicy modulation is also pro vided on the side An envelope LFO and envelope follower can be freely routed to the most important filter and distortion parameters Analogic Filter Box can handle everything from fat disco loop tweaking to full on mangling
105. unison monophonic modes Stretch mode simulates analog equipment in a second way by introducing slight inaccuracies to the note scaling This results in octaves which are not exactly twice the frequency of each other The amount knob determines the amount and direction of the scaling error to the left results in slight under scaling octaves are less than double fre quency whereas to the right results in slight over tuning octaves are more than double frequency In mode 1 the inaccuracies are only intro duced above middle C note 60 whereas in mode 2 error will be present both above and below middle C resulting in middle C being the only cor rectly tuned note on the scale Glide When a monophonic gate is selected two Glide modes are available Standard and Auto In auto mode note pitch will only glide when notes are played legato style The knob next to the menu sets the glide time REAKTOR FACTORY LIBRARY Manual 350 Synthesizer Photone Oscillators Photone s sound generation engine features 3 standard oscillators Oscl Osc3 and an ad ditional oscillator with several custom waveforms Osc 4 Oscillators 1 to 4 also all share a digital wavetable mode with 37 high quality wavesets The oscillator section also features two slots that provide particular combinations of the four generators via ring modulation slot 5 and a scanner slot 6 Control Function Osc 1 Osc 3 O
106. upper control and right chan nel lower control respectively in milliseconds The actual delay time is cal culated from the sum of this value the delay time adjusted by Quantized Delay Time Left Right and the modulation signal see Depth Channel Swap Amount Controls the modulation applied to the interaction of the left and right feed back signal At low modulation signals the left channel s feedback signal is routed again to the left channel at mid modulation values both channels are mixed to a mono sound that is fed back into both channels identically at high modulation signals the channels are swapped and the left channel s sig nal is routed to the right channel and vice versa This control scales the modulation signal i e at mid position high modulation signals are mapped to mid modulation signals at the complete left there is no modulation and no channel swapping The modulation signal is selected below Channel Swap Modulation Source Selects the sequencer track that modulates the channel swap The amount of modulation is controlled by Channel Swap Amount Cutoff Sets the cut off frequency of the low pass filter within the feedback loop Reset Sets all controllers of the delay unit to their default values Feedback Amount Controls the amount of feedback Bypass Switch Toggles between the dry unprocessed signal when on and the wet delayed signal REAKTO
107. velocity sensitivity for triggering of snapshots via MIDI If you want to hear Sine beats output without MIDI triggering switch this control and the Snap via key toggle off Use single Activates the three additional stereo outputs You can route sound into them with the Mix outs er 3 12 9 Snapshot System The snapshot system is a new feature of Sinebeats 2 enabling you to store and recall snap shots from within the patch The most intriguing feature of this module is the snap via key function When this is active you can trigger complete stored sequences including all sound units via incoming MIDI note data This happens glitch free and in real time Use it to trigger Sinebeats sequences in a live situation via a MIDI controller You can also trigger sequences from another sequencer REAKTOR FACTORY LIBRARY Manual 170 Grooveboxes Sinebeats 2 Control Function On This is the bypass switch for the snapshot calling storing system Snap via key Enables snapshot calling via pitch input Start note Dial in the note that mapping of snapshots across the keyboard starts with Learn start note The first MIDI note value received after pressing this button will be used as new Start notel Start snap Sets the snapshot number that is recalled when the MIDI note adjusted by Root Note is received Snap Via Key has to be actiavted Learn start snap The first snapshot recalled after pressing
108. waveforms At a value of O the waveform is symmetrical Phase Sets the phase of the LFO in synchronized mode 0 5 0 5 Wheel If on the LFO amplitude is controlled by the MIDI modulation wheel on off P itch Range Controls the range by which the LFO section modulates the pitch of the two oscillators This adjusts the maximum level available to the Pitch 1 2 controls Pitch 1 2 Controls the amount of modulation applied to the oscillators pitch by 1 1 the LFO i e vibrato At negative values the LFO s signal is inverted At maximum settings the value adjusted with P Range is reached PWM Controls the amount of pulse width modulation applied to the two O 1 Oscillator sections by the LFO Filter Sets the amount of cutoff modulation applied to the Filter sections 0 120 by the LFO in semitones Amp Adjusts the amount of modulation applied to the main amplitude by 0 1 the LFO tremolo Voice Mode Selects one of the voice allocation modes the arpeggiator is activat Mode ed here too There is a polyphonic mode as well as a 1 voice mono phonic mode in Unisono mode only one note is played at a time like in mono mode but all voices are used to play the same pitch slightly detuned see Detune This results in an effect similar to a chorus Arp Mode Selects the way the arpeggiator works Up plays all triggered MIDI notes in an upward sequence i e the lowest pitch first Down re sults in the opposite
109. wet mix balance Size determines the room size and Damp determines the extent of high frequency damping Dimension Expander Subtle room simulator Exp and Tone define the room type D W controls the dry wet mix balance Sets 1 to 4 have no effect Appendix 3 Modulation Sources The following table contains a complete list of modulation sources available in the drop down menus Not all sources are available to all parameters Name Description Location Source TrkA Key Tracker A Tracking section Key Tracker routable to individual oscillator amplitude and also master amplitude TrkA Inv As above inversed Tracking section TrkF Key Tracker F Tracking section Key scaler hardwired to FM depth but also routable to other destinations Trk3 Key Tracker 3 General purpose key scaler Tracking section El Envelope 1 AHDSR envelope generator Modulation section E2 Envelope 2 AHDSR envelope generator Modulation section E3 Envelope 3 AHD envelope generator Modulation section E4 Envelope 4 Recordable envelope Modulation section LFO1 or LEI LFO 2 Polyphonic low frequency oscillator Modulation section LFO2 or LF2 LFO 2 Monophonic low frequency oscillator Modulation section REAKTOR FACTORY LIBRARY Manual 367 Synthesizer Photone Name Description Location Source Key Note position MIDI Generates a value of O to 1 according to
110. yellow meter displays the actual value of the parameter modulated by E Output e lt Level gt Sets the output level in dB The meters show the post fader output level e lt D W gt Dry Wet control It crossfades between the incoming signal fully left and the processed signal fully right lt Byps gt Bypass switch which turns the effect off When off the CPU is no longer used 2 7 2 EnFX Distortion 1 3 EnFX Distortion is a overdrive effect with a pre and a post distortion equalization filter whose center freqeuncies are controlled by an envelope follower Usefull for all kinds of overdive ef fects but can also be used for guitar wahwah etc due to the responce to level changes of the incoming signal In the distorion section the left knobs belong to the push filter that modi fies the signal before the distortion the right knobs belong to the pop post distortion equaliz er See the envelope follower info above for information about the envelope follower section e lt rEs L amp R gt Set the amount of resonance of the peak eq filters e lt Push gt Sets the freqeuncy of the pre distortion peak equalizer e lt Res gt Sets the resonance of the pre distortion peak equalizer e lt E gt Sets the amount of modulation and its polarity applied to the frequency of the pre distortion peak equalizer Turn to the right for a higher frequency at high envelope follow er signals turn to the left for lower fregeuncies at h
111. 1 2 The Ampl switches activate the filter envelope as a control source for the oscillators amplitude The amplitude is determined by the envelope The LFO is a slowly oscillating oscillator which can be used for controlling purposes Rate Adjust the speed frequency in Hz here Waveform switch Choose between sine triangle rectangle and a random signal Sine Smooth shape with rounded peaks and adjustable symmetry Triangle Ramp like shape symmetry adjustable Pulse Jerkily changing between two levels symmetry adjustable Random Rhythmical jumps to randomly generated values REAKTOR FACTORY LIBRARY Manual 374 Synthesizer SoundSchool Analog e Symm Influences the first three waveforms symmetry At a value of O the signal is per fectly symmetric 50 50 underneath O the increasing part at pulse the upper part be comes shorter and the decreasing part becomes longer Above zero the opposite is the case e Amount Here you determine how strong LFO affects the modulation targets The control affects all targets at the same time e Pitch Osc 1 2 The Pitch switches activate the LFO as a control source for the oscillators pitch The modulation depth depends on the Amount controller setting max 20 half tones e Sym Osc 1 2 The Sym switches activate the LFO envelope as a control source for the oscillators symmetry The modulation depth depends on the Amount controller setting e Filter The Filte
112. 141 Grooveboxes Newscool Control Function Offset Adds an offset to the Wrap X Y parameters thus altering the sequence by shifting it in time Sensibility Determines how many trigger signals are generated from the pattern of the Performer Board Turn to the right for dense trigger sequences turn to the left for the opposite effect 3 8 3 Newscool The sound engine consists of a tone generator in the parameter list below referred to as TG and a multi effect unit Both achieve their characteristic sounds via vast modulation of their parameters by two simple LFOs Those parameters control eight independent synthesizer tracks that are triggered by the Life Sequencer each of the tracks can be muted The Random button sets all those parameters to random values within the TG Effect Poly Control areas they can be controlled manually The parameter shown within these displays is selected using TG Effect Parameter Select controls Control Function TG Poly Control Sets the parameters for the tone generator There are eight bars one for each track the value can directly be drawn into the display The parameter displayed is selectable by TG Parameter Select TG Mute Track Switches the tracks tone generators individually on or off TG Parameter Selects which parameter of the tone generator is displayed and edited within TG Poly Select Control There are six parameters available Pitch Kick Am
113. 2 3 4 Unlike the other three synth modules Kick Snare and Percuss the Toms module is four voice polyphonic Four channels in the sequencer are dedicated to sequencing the toms Rhythmaker REAKTOR FACTORY LIBRARY Manual 154 Grooveboxes lt Sens gt Sets the sensibility of the module to incoming gate events At low values varying velocity of the gate signal doesn t effect the sound much while at higher values velocity modulates amplitude and pitch lt Tune gt Sets the main pitch which is modified by lt offset 1 4 gt to get the effective pitch es of the four toms Technically speaking this pitch is used to control the cutoff freqeun cy of a 2 pole filter whose self oscillation is used as sound source of the synth see also lt kNCk gt and lt Decay 1 4 gt lt Tune offset 1 4 gt Sets the offset values of the four independent toms that are added to the main pitch controlled by lt tune gt lt kNCk gt Sets the attack decay and release value of an ADR envelope This envelope is used as impulse input for the self oscillating filter lt Fenv gt This value is added to the fundamental pitch to calculate the initial pitch when the drum is triggered The pitch will glide down to the fundamental pitch with the glide speed set by lt Decl gt lt Brk gt and lt Rlse gt Unlike the frequency envelopes in the other synths Toms uses a DBR decay break release envelope instead of a simple DR decay release one
114. 3 7 2 Control Section j z EXT ear B Massive 1 1 A Snr nv Gut oie 1 81 Pil Me Home uoces 2 unt 1 49 VOWN BY BITS 1 80 Find Your Home Draw Copy Paste 11 81 Pill Me Home e Remote 4 6 The Control Section at the top of the instrument On the left an edit mode section defines how the various step sequencer displays react to mouse actions The copy and paste controls are here too Next to it a snapshot management system allows for fast storage and recall and also provides the link to an external song se REAKTOR FACTORY LIBRARY Manual 121 Grooveboxes Massive 1 1 quencer see Snapper This section is followed by four edit pages These control the tracks quantization and micro timing two effects and an equalizer Finally there are three knobs to control the output levels for the dry signal and both effects The effects section contains a delay unit and a gater The delay consists of a sequenced input level and a pre delay high pass filter a post delay low pass filter with modulated cut off fre quency and controls for feedback and pan The gater is triggered each sixteenth or eight trip let note and remains open for an adjustable amount of time This amount can be modulated by one of the sequencer tracks and is useful in subtle sound sculpting e g enhancing the sound s transients in a drum n bass context Section Control Function Edit Edit Mode Selects
115. 7 and from velocity 1 to velocity 31 Then load the next 128 samples to MIDI notes O to 127 from velocity 32 to 63 Repeat this process for the re maining two banks of 128 samples You can now select any sample in the map by using the Bank Select and Sample Select lists on the panel Although initial map creation is time consuming it can be extremely useful once set up Imagine having 128 kick drums loaded in to the first bank 128 snares loaded into the second bank 128 hi hats into the third bank and so on This can enable quick and easy kit creation and convenient auditioning of samples on the fly Section Control Function Edit Sample Map Selects the current MIDI note slot for editing You can select a range of notes Displa to edit simultaneously by clicking the right mouse button and dragging the pray mouse Double clicking on this bar automatically selects all notes for simulta neous editing double click again to return to the previous selection Zoom Bar Scrolls the viewable area across the entire MIDI note range Clicking the right mouse button on this scrollbar cycles between 3 different zoom states MIDI Note Displays the current MIDI note selected for editing within the Sample Map Display Track If activated the received MIDI notes not only trigger the playback of the sam ple but also select them for editing Solo If activated only the currently selected sample can be triggered by MIDI notes Sa
116. 79 JIA A EE 180 34d Grain ECT uta 181 314 5 Sample Loader iii dt ido 183 3146 MD arranca 183 2 IMTS ini A 185 4 1 als e e o CO EE En 185 4 1 1 Lina a A o PE OO O O 186 4 1 2 Global Section E PPM o O e PE E CO A 186 4 1 3 aire TEE 187 4 1 4 Slice P rameteTs rra od cs 188 4 1 5 AAA 189 4 2 Memory LTE 191 4 2 1 dreet Te PP e PE OU A 192 4 2 2 Global Paramete A nn kacdeoudantateaiautecste tia beenTemenctteds 193 4 2 3 Sample k EE 193 4 2 4 Sample Parameters cccccssscsssccssessssessesessssessescessssssessssessssessescessavaseavsssanessanescanesaee 195 4 2 5 Modulos naa ta 196 43 Gralistates Espacio AAA 198 MA TA dai RR 199 4 4 1 O A A 199 4 4 2 BALL es y EPA a OP OO PEO NS o RE O O ET E 200 4 43 Structure and Signal FIOW ccccssscsssecssessscsssssessssssssssessssssecessscsesesssseeseeetesseeseess 200 4 5 LU E E Eeer betel ood he 202 4 5 1 Jus lie 203 REAKTOR FACTORY LIBRARY Manual 9 Table of Contents 4 5 2 A A A 203 4 5 3 Sequence acacia abia Di aia 204 4 5 4 SEN SITE 205 4 5 5 A needa cee ioaaeeet ncaa 207 4 5 6 Master and Enveldpe gt lt tad 207 4 5 7 Additional Delay EE 208 5 Sequenced EE 210 5 1 Po E ES O dee E E 210 5 2 A E e OS ECO obra A ating 218 5 3 E EN 224 5 3 1 IMEFOCUCTION E 224 5 3 2 Quick Stat EE 225 5 3 3 Structure and Signal le EE 225 5 3 4 ES le aiii cad ici 227 5 3 5 leet 10 AIR PON oO UE RUE A 229 5 4 IEN 231 5 4 1 ICI creian 231 5 4 2 Structure and Signal Fl
117. ASE gt Slope Car Mod REAKTOR LIBRARY SMOOTH L AMPLITUDE L 1 3 Classic Vocoder user interface 2 4 1 Introduction The Classic Vocoder was designed to faithfully emulate the well known tones of singing robots made popular in the seventies The instrument combines a vocoding engine a vintage type synthesizer and a four band dynamics processor for a warm smooth sound 2 4 2 Quick Start The audio input is vocoded with the built in synthesizer Play some audio into the vocoder You don t have to sing into it the Classic Vocoder also gives great results with drum loops or other sounds 24 3 Structure and Signal Flow Audio input 1 is the modulator and is vocoded with the Classic 2 VCO synth which is the car rier The entire signal flow is mono If you are using a stereo signal only the left channel will be used The output of the vocoder is fed into the four band normalizer to smooth out the sound and remove any uncomfortable signal peaks that could come with vocal sibilants or drum transients REAKTOR FACTORY LIBRARY Manual 25 Effects Classic Vocoder 2 4 4 The Vocoding Engine Sonically Vocoding uses the characteristics of one sound to control another To achieve the popular robotic singing effect a voice technically called the modulator is vocoded with a con stant sound such as a synth or string sound the carrier The frequency content of the voice is split up into many differen
118. Along with a pulse width control for the pulse oscillator there is an Unphase knob which causes the oscillator tones to trigger successively out of phase with each other thickening the sound The oscillator feeds into the Pan Overdrive module The Drive knob allows you to overdrive the stereo amplifier that the oscillator is fed through Use the Pan control to widen the stereo soundfield After the Overdrive circuit the signal reaches the stereo lowpass filter The Filter module gives control over cutoff frequency resonance and envelope contour amount The filter modules are taken from the Pro 52 and give out a rich creamy sound The Filter Freq AHD envelope works the same way as the Amplitude envelope Hold sustain can be activated by velocity allowing you create dynamic bass drum patterns and expressive lead lines Velocity can also be routed to filter contour amount The AmP knob routes the Filter envelope signal to the oscillator pitch This can be useful for making the little blip at the be ginning of those classic bass drums Synthesizer Sum Synth REAKTOR FACTORY LIBRARY Manual 397 Synthesizer Sum Synth The Amplitude ADHSR envelope has a hold stage that can be activated by velocity click the bottom button to the left of the amplitude envelope display to turn it on Less velocity will re sult in more hold time which can create interesting gating effects in your playing Velocity can also be routed to volume by clicking
119. Alt control below the main mode selector increasing the effective number of modes to 11 Many of the filter types are very similar and offer a quick and easy way to modify the sound of each preset simply select a preset at random then choose a new filter for it The main parameters of each filter mode cutoff frequency frequency bandwidth resonance and feedback can be set at the right of the mode selector Below each parameter knob there are additional controls to modu late the respective value including the possibility to map the MIDI velocity and the modulation wheel onto the filter s sound The sound comes out of the filter and goes right into a saturator and four band EQ for even more fine control over the sound s frequency spectrum Besides a low shelf EQ a high shelf EQ and peak EQ with adjustable center frequency there is also an additional highpass filter used to increase the sound s brightness 8 44 Modulation Carbon has two envelopes and two LFOs Envelope 1 always controls the amplitude while En velope 2 can control different parameters such as oscillator volume oscillator detune filter cutoff filter resonance filter bandwidth and filter feedback delay There is no modulation ma trix in Carbon all modulations are set in their respective sections For instance to modulate filter cutoff by Envelope 2 simply look underneath the Cutoff knob in the filter section and you ll see a small knob for E2 and a button to activa
120. Anima level changes Use the cutoff controls of the internal highpass and lowpass filters to select a specific frequency band of the incoming signal to trigger the envelope follower The Envelope is a standard attack decay sustainrelease envelope generator triggered by MIDI note on events However an additional auto trigger feature allows it to be triggered by the incoming audio set table with the Tresh slider It s even possible to combine any two MIDI controllers to make one dependent on the other for instance to have the amount of LFO modulation dependent on MIDI pitch You can define custom mix modulation combinations in the Define Mix 1 and 2 areas as the bottom of the instrument You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information 2 2 Anima ELECTRONIC INSTRUMENTS VOL 1 ANIMA 2 1 Anima user interface Introduction Anima is a polyphony dependent filter bank animated by an LFO that can produce complex wave effects Input lt Level gt Sets the input level in dB The meters show the post fader input level REAKTOR FACTORY LIBRARY Manual 20 Filters A single bandpass filter corresponds to every voice of polyphony All of the filters are controlled together in the main XY display lt Y gt Wdth gt If ON
121. Appendix 2 MIDI English QWERTY Keyboard Shortcuts MIDI note Qwerty Remix now 61 2 Half tempo 56 H Kick on off 60 Q Snare on off 62 W Hat on off 64 E Tie on off 65 R Pod on off 67 T Pulp on off 69 Y Kick solo 48 Z Snare solo 50 A Hat solo 52 C Tie solo 53 V Pod solo 55 B Pulp solo 57 N XFX on off 63 3 Delay on off 66 5 Mix on off 68 6 EQ on off 70 7 REAKTOR FACTORY LIBRARY Manual 119 Grooveboxes Massive 1 1 MIDI note Qwerty Filter on off 73 9 Magic on off 75 0 3 7 Massive 1 1 W B Massive 1 1 la Sin in e out iar 1 81 Pi m y voices 2 unison WM 66 Brau copy EXT 1 o VOWN By BIS Copy 1 80 Find Your Home Paste S 11 81 Pill Me Home RND LOAD SAVE BLOE cATer ME HI Rm M e HALF TEMPO Geer QUAKTOO LIDOACY ETT TCE TARAA Re 4 5 Massive user interface 1 ran reir starr rurer cren ES ep SS BO EOI HO ELO P Bie REAKTOR FACTORY LIBRARY Manual 120 Grooveboxes Massive 1 1 3 1 1 Introduction This drum computer is massive in at least two ways First it contains a vast range of signal shaping capacities samples in the six drum tracks don t determine the instrument s sound like in a standard drum machine they only provide the material from which the beats can be sculpted Envelopes filters and
122. EG2 switch in the Gate Router section on to control the peak val ue of the envelope by the velocity of the current midi note if that control is off the peak is independent from the current velocity See EG1 above for information on the specific parameters LFO 1 supports the following waveforms o o o o lt Sin gt Sine waveform lt Tri gt Triangle waveform lt Pls gt Pulse waveform lt Rnd gt Random waveform lt S amp H gt Activates the sample and hold generator that according to the adjusted fre quency grabs a random audio value and holds it until the next sampling of the audio signal An oscillator with random steps is used If this switch is on the waveform se lection has no effect lt Snc gt Switches synchronization of the Ifo to the midi gate on or off If off the phase control on the left shows no effect lt Phs gt Sets the phase of the Ifo when a re triggering synchronization event arrives O represents a phase of O degrees 1 a phase shift of 180 degrees If lt Snc gt is off this control has no effect lt Freq gt Sets the freqeuncy of the Ifo ranging form approx 0 08 Hz to approx 14 5 Hz in logarithmic steps lt Ampl gt Sets the amplitude of the Ifo i e the max output value reached during os cillation lt Width gt Sets the pulse width of the Ifo If in Rnd or Sample and Hold mode this control has no effect lt EG gt Switches the internal envelope generator on or off If on t
123. ESSOR STEREO TRESH A 0 98 26 MID HIGH COMPRESSOR STEREO TRESH 26 MID LOW COMPRESSOR STEREO TRESH A 4 1 05 24 gt LOW COMPRESSOR INPUT REO A 00 0 4 1 The Flat Blaster 2 user interface 2 9 1 Introduction DHAHAR int RATIO RATIO RATIO a 09 00 09 00 ATTACK 09 00 09 00 RELEASE RELEASE 4 RELEASE a 001 RELEASE 4 FULL BAND PEAK LIMITER GAIN BYP TRESH PEAK 4 MUTE g gJ GAIN W 00 0 00 0 BYP 0 00 00 0 The great final stage mastering tool FlatBlaster 2 has been rebuilt using the new REAKTOR Core features This patch combines four frequency specific compressors with a full spectrum peak limiter to produce a high end package for your multiband dynamics shaping needs As it does not introduce any delay it is not limited to mastering use but can also be applied on a per channel basis The controls might appear intimidating at first glance but are actually straight forward when you examine the signal chain The separately compressed bands get mixed to gether and then processed by a full band peak limiter Please note that the master bypass for the complete patch is situated to the left above the X Over section REAKTOR FACTORY LIBRARY Manual 45 Effects FlatBlaster 2 2 9 2 What s New in 2 0 2 Version 2 0 2 of Flatblaster 2 sports the following improvements e Lookaheads in compressors and limiter e Smoother behaviour of envelope the foll
124. Each channel s sound can additionally be routed to a second stereo output where further effect instruments can be chained REAKTOR FACTORY LIBRARY Manual 253 Sequencers SQX Section Control Function Envelope Decay Sets the decay length of the envelope triggered by the TrackSeq instrument After this period the Release time starts thus the envelope is divided into two parts with individual duration and slope Release Sets the length of the release that starts after the decay period of the envelope has ceased Thus the envelope is divided into two parts with individual duration and slope Velocity Switches on or off the influence of the trigger signal s velocity on the envelope s amplitude Noise Noise Sets the amount of noise that is mixed to the envelope signal Turn to the left for no noise and the pure envelope signal turn to the right for a noise signal shaped by the envelope This signal is used to attract the resonant filter so different amounts of noise result in very different resonance sounds Color Shapes the filtering of the noise in each Filter Mode this control cross fades be tween two characteristic settings of the filter This control can be modulated by the trigger signal s velocity see Velocity Filter Mode Selects one of three filter types that can be used to shape the noise generator s output A fourth entry turns the noise signal off the Noise control then
125. Effects con sists of four effects Loop Slicemanipulator InfinityFFB and Gate routed serially and a master two channel crossfader The first effect is a looper it simply loops the incoming audio but it does it very precisely The Loop knob controls how long the loop will be in bars and the Loop button activates and deactivates the loop Slicemanipulator is an extremely unusual yet performance friendly effect It divides the audio into slices then lets you rearrange and even reverse the audio in time Split controls how many slices there will be per bar Shift A Scenario REAKTOR FACTORY LIBRARY Manual 159 Grooveboxes Scenario moves even slices forward in time in sixteenth notes while Shift B moves odd slices forward Rev A reverses the even slices while Rev B reverses the odd slices Enable turns the effect on or off InfinityFFB is a delay effect with a finely tuned feedback path This means that you can freely perform with the Delay Feedback and Filter knobs without risk of overloading or running into distortion Delay sets the delay time in sixteenth notes while Smth controls how smooth changes in delay time will be Fback sets the amount of feedback within the delay while Filter controls the filter frequency of a filter built into the delay feedback path Wdth and Reso also control that filter the structure of this filter is also a dual two pole filter like the filter for each looper channel Enable turns the ef
126. Envelope Follower The envelope follower tracks the amplitude of the input signal and then uses the de rived signal to modulate resonator feedback cutoff and colour Hold adjusts the length of the hold period of the envelope follower after an envelope peak in the input signal 1 to 10000 msec and Release adjusts the length of the release period 1 10000 msec FB Cut and Colour define the extent to which the envelope follower modulates resona tor feedback cutoff and diffuse feedback colour respectively Note that as that FB is unipolar setting to hard left results in no modulation where as Cut and Colour are bipolar and thus setting to centre results in no modulation LFO Rate specifies the oscillation rate of the LFO OHz to 3 6 Hz Width sets the symme try of the LFO shape Delay specifies the amount to which the LFO modulates the resonators delay time i e amount of vibrato Ratio sets the amount of influence of the LFO on the Har monics Ratio REAKTOR FACTORY LIBRARY Manual 64 Effects Space Master 2 2 15 Space Master 2 oO B Space Master 2 E EM maoe 114 Room Front S uoces 1 e d PREDELAY EARLY REFLECTIONS LATE REFLECTIONS REVIBRATION MODULATION TIME E e TIME fe RATE e 0 014 J y 043 y 0 23 e f A f f4 SYMMETRY SYMMETRY SYMMETRY ls DEPTH Jy 0 56 y 17 Y 0 15 gt A SS yy DIFFUSION EARLY LATE BAL ORY WET py 0 70 0 58 4 3 The Space
127. IDI clock is running Each part can contain three four six or eight steps adjustable for each part individually by the Subdivision controls A step s bar height represents the velocity of this step that can be used inside the ToneGen instrument to modulate the ensemble s sound REAKTOR FACTORY LIBRARY Manual 251 Sequencers SQX There are several additional edit features The Copy and Paste buttons can be used to dupli cate the current loop area at a different position or within a different track The Randomize button sets all steps of the current loop area to random velocities if the Gate button is switch ed on only steps that already have a velocity above zero are randomized to preserve the rhyth mical structure The Set button sets all parts of the current track to the selected division fac tor Except the Run Copy and Paste buttons all controls are bound to one of the four tracks and can be set to individual values Control Function Run Switches the track sequencer on or off When on MIDI clock signals are recognized This is independent of the snap sequencer s Run control Clock Controls the speed at which the track is played back A value of one represents normal speed each part is interpreted as a quarter note according to the global MIDI tempo Lower values slacken the tempo at a value of 0 5 the sequence is played at half speed i e each part lasts for two quarters higher values accelerate the read
128. ITION EOOKMARK 56 TEST EMPTY me af pee e a 3 3 FAST FX user interface REAKTOR FACTORY LIBRARY Manual 37 Effects Fast FX Introduction Fast FX is a set of 6 different effects Freeze zZZzZ Slicemanipulator Gate Delay and Filter These effects can be chained in a variety of ways offering a large range of sounddesign possi bilities However Fast FX s speciality is live performance Not only are all controls designed to be tweaked in real time but Fast FX features a special live snapshot system enabling any of the 256 states to be instantly recalled via simple keyboard strokes This ability to instantly switch between sets is what really brings Fast FX to life Quick Start The most important thing to note is that Fast FX does not use the standard REAKTOR snapshot system Instead it uses a special 256 slot system operated by the panel and computer MIDI keystrokes The 256 snapshots are made up of 32 x 8 slot banks Select bank by the using the 32 step Program Selector slider at the bottom of the panel and select the slot by using the QWERTUI Selector above When Flow is enabled selecting a new bank or slot automatically loads the preset Press Write to save the current ensemble state to the selected bank slot Fast FX is supplied with a Loop player for a useful sound source in REAKTOR standalone mode but it can also process live input e g when used as a plug in in a host sequencer The Loopplay
129. LIBRARY REAKTOR FACTORY LIBRARY Manual 172 Grooveboxes Splitter 3 13 1 Introduction The Splitter is a sonically flexible sequenced sample player Geared towards granular beat pro duction it can also be used for melodies or padwork The main idea behind this sequencer sample player combo are the 16 sample slots You can assign different fragments of the se lected sample with individual settings for all parameters to the different slots above the wave form display You can also assign individual MIDI notes 3 13 2 Sequencer B E SQ 16 a 957 nv 0ut e 25 le one day PATTERN SONG SEQUENCE 4 19 Sequencer user interface The monophonic sequencer delivers classic step sequencing in a very useable package It of fers 16 parallel tracks where each track represents one of Splitter s sample slots see also Splitter below The leftmost sample slot corresponds to the bottom track the rightmost sam ple slot corresponds to the top track A note placed on the track triggers the respective slot the vertical bar crossing the note represents its velocity the horizontal bar its length By clicking with the left mouse button on an existing note one can alter ts position on the hor izontal time axis or shift it to a different track vertically Clicking an empty area with the left mouse button creates a new note double clicking deletes an existing one A note s velocity vertical movements and length horizontal
130. Master 2 user interface 2 15 1 Introduction The well known Space Master series of reverb modellers has been updated for REAKTOR 5 Based on several diffusion delays Space Master 2 can produce a wide array of high quality natural or experimental ambiences The patch s efficient set of reverb parameters include an early reflections section a late reflections module and a post EQ Dials for main reverb time control of balance between the two reflection stages and between dry and wet signal round off the controls REAKTOR FACTORY LIBRARY Manual 65 Effects Space Master 2 2 15 2 Input and Output Stage You can introduce an initial delay into the reverb signal with the predelay Time dial and con trol the predelay s stereo position with the Symmetry knob The Early Late Balance slider can be used to move the source in space more early reflections bring the signal to the front and more late reflections make it appear further back in space At the end of the signal chain the Dry Wet slider crossfades between the dry original signal and the processed sound Section Control Function Predelay Time Sets an initial delay for the wet signal Symmetry Introduces a difference into the delay times for the right and left predelay channels Use this to shift the signal around in the stereo image Mixing Early Late With this parameter you can set how much of the early and late reflections re Balance spectively can be
131. OD Switches on modulation of the cutoff frequency by the effects unit s modulation sequenc er RES Resonance control of the multimode filter RES MOD Switches on modulation of the resonance by the effects unit s modulation sequencer Filter mode Click multiple times to switch through the available filter modes You can choose between low pass high pass and band pass Right click ctrl click if you re on a Mac to choose the low pass mode directly TEMPO Dial in the tempo of the LFO Units are fractions of one bar in quarter notes TEMPO MOD Switches on modulation of the LFO tempo by the effects unit s modulation sequencer AMT Control of LFO modulation depth AMT MOD Switches on modulation of the LFO depth by the effects unit s modulation sequencer LFO waveform Choose between sine pulse and triangle for the LFO waveform Modulation se Click into the sequencer and drag the mouse up and down to change the value of the bipo quencer lar sequencer steps The sequencer output can be routed to the filter Cutoff frequency filter Resonance LFO Tempo LFO Amount and Feedback RANDOM Click to randomize the steps of the modulation sequencer Loop bar With the loop bar you can define a region in the sequencer that gets repeated Drag the start or the end to change length and drag the bar to change position REAKTOR FACTORY LIBRARY Manual 168 Grooveboxes Sinebeats 2 Control Function Choose between fo
132. OR FACTORY LIBRARY Manual 57 Effects Longflow e lt Dpth gt Sets the amplitude of a low freqeuncy oscillator whose output is modulating the delay time Turn right for higher amplitudes i e more modulation of the delay time e lt Feedback gt Sets the feedback level i e the loudness of the delayed signal that is mixed with the incoming signal and delayed once more e lt Swap gt Sets the amount and mode of channel swapping of the output signal Turn to the left for no swapping i e the left channel remains the left one the right channel the right one Turn to mid position for mono processing i e both signals occur in both channels Turn to the right for crossfading i e the left channel signal becomes the right channel signal and vice versa Output e lt Level gt Sets the output level in dB The meters show the post fader output level e lt D W gt Dry Wet control It crossfades between the incoming signal fully left and the processed signal fully right lt Byps gt Bypass switch which turns the effect off When off the CPU is no longer used REAKTOR FACTORY LIBRARY Manual 58 Effects Resochord 2 14 Resochord INPUT IGHPASS J cone FILTER DIFFUSE FEEDBACK HARMONICS REFRESH NORM BOM INPUT CLIP FB FILTER FB CONTROL ON COLOR AMT on RATIO o e 2 mp ca jo e elo Y MIDI amp LOGIC CONTROL CHORD STRUCTURE Direct Pitch MIDI SLO 60 55 33 55 60 76 Direct Pitch Manual LEY Slot MIDI FB
133. OW c cccssssssessessssssessescssssssssesssesssssssssssssavsssasnsaeesavescaeeseaee 232 5 9 WAVE EE 233 55 1 IntrodUCUON sevi tot 233 5 5 2 Quik Stani areng aed A o 234 5 5 3 The Seouencer AE iava dravik sawai ataa alai 235 O H 237 6 1 A teat teeth ce eases aetna 231 SEI us dier ET 238 6 1 2 A EA Po tease ovsiesseertetelanstee 238 REAKTOR FACTORY LIBRARY Manual 10 Table of Contents Be 241 6 2 1 are dao dansa 242 6 2 2 EE 242 6 3 PP toes avec scapes ceed teeta scp 243 6 3 1 us lie EE 243 6 3 2 Detalls rereana eranariiein tact EER 244 E DEE 245 6 4 1 REESEN PA MT o y A ered tale wena 246 6 4 2 Detalls AAA E i o e CE PO A 246 A ar REPO MER o O Om on REO Tn A EN 247 6 5 1 us lie LEE 247 6 5 2 Detalls siceniiressionei eaii EAN E waive With wen choi ae 248 60 249 6 6 1 REINER 250 6 6 2 A hepa deca deateotn ves vithans Disdevs E eas ees 250 6 6 3 EEN e EE EE 251 6 6 4 O A O RI A aan oiiaaie iTEC 253 Soud GONGNANGS pirita 256 7 1 Metaphysical RUNCUON icono aia 256 7 1 1 uge 257 1 1 2 QuickStart ria iaa 257 7 1 3 Details teuer 258 7 2 A Eege 262 7 2 1 An A A 263 7 2 2 Operation MES ug Aen theta Neth tale hte Letra oder lora petit ates Shs 263 7 2 3 OI Ae o 263 REAKTOR FACTORY LIBRARY Manual 11 Table of Contents 7 2 4 Master Controls ara 264 7 3 Space DONE o das nc idttaa Ee EE ee 265 7 3 1 Introductio pennaenn a meteasevilsisunbowinits 265 1 3 2 Sound Engines adios E 266 7 3 3 RE stier O E 267 A A
134. Output Mute Mutes sound output from the sample player Gain Controls the main volume of the sample player REAKTOR FACTORY LIBRARY Manual 148 3 10 Rhythmake Hick Snr Pcl FC Toms Percussion 1 is Pi FF AF Fdst Adst Dpth itch 83 CB Bibs SC Percussion 2 Pitch FF AF Fdst Adst Dpth 2 6 Rhythmaker user interface r 1 7 Comquinoo Shpe Crve Cres 1 7 Comquinoo Ec Fitter 2 2 2 z O 1 7 Comquinoo Fenw Fdec Cut 0 3 35 26 69 02 1 7 Comquinoo Fenv Fdec high Se ee e am Master Mi MIDI Cut Res Hold Rel Voices 64 Res Decay Grooveboxes Rhythmaker REAKTOR FACTORY LIBRARY Manual 149 Grooveboxes Rhythmaker Introduction Rhythmaker is a sequenced drum machine that can also be played over MIDI It is composed of a single 8 channel sequencer and eight sound generators kick snare two percussion mod ules and a four voice tom generator The system clock needs to be running for the sequencer to run To use Rhythmaker as a MIDI controlled percussion module simply play MIDI notes Cl to G1 which correspond to the following map e Cl Kick e C 1 Snare e D Percussion 1 e D Percussion 2 e E Toms 1 e F Toms 2 e F Toms 3 e G Toms 4 Since this ensembles contains many similar controls repetitive structures are explained only once For instance the lt Lev gt lt Power gt and lt Mute gt controls in the drum panels are explained only once as
135. P LFO 1 by virtue of its polyphony can also be set to oscillate at note pitch In this mode the LFO frequency can be transposed in semitones with the 2 controls beneath the rate knob With the Ph Reset button enabled the LFO will restart at the phase position set be neath each time a gate signal is received Finally there are also two modulation source selector menus that allow modulation of rate Mod and amplitude Amp Mod De click If activated triggering Envelope 1 is always delayed until the next zero crossing in the audio signal This can prevent unwanted clicks at the beginning of notes Appendix 1 Oscillator 4 Special Wave Types Photone features a collection of special wavetypes each with a special modulatable parameter For these oscillators the Sym and FM sections are used to route modulation sources to the special parameter Note that the sin oscillator is unique in that it features 2 modulatable parameters Drive from the Sym section and Phase Offset from the FM section REAKTOR FACTORY LIBRARY Manual 360 Synthesizer Photone WEN SinQ Description This is a Sine wave sent through a quantizer effectively reducing the bit rate The SinQ is useful for electric bass imitation when used with a filter with the quantisation producing a certain metallic quality An another interesting sound can be obtained by tuning the SinQ very low and then heavily overdriving
136. Ph Shift controls the phase to which the oscillators are reset at synchronization events that can be specified with the LFO Reset switch the button below this menu can be used to manually synchronize the oscillators Saturator and Equal After the chorus section itself the audio signal can be saturated and equalized izer Mix automation and Finally the chorused signal is mixed with the unprocessed sound defined by the Dry output Wet balance knob position Mix balance can also be automated by a ramp generator the speed of which is adjustable by the Speed knob The ramp generator trigger source can be selected at the left of the Att knob The small switch below the main Dry Wet knob mutes the unprocessed audio effec tively converting the Dry Wet knob into an amplifier for the processed signal This is especially useful when using Cyan as a send effect Tremolo enables amplitude modulation synchronized to the delay time modulation The Stereo knob controls the spread of the audio within the stereo panorama REAKTOR FACTORY LIBRARY Manual 28 Effects Echomania 2 6 Echomania EQ Mod LFO o e E gt Ei CG e O REAKTOR LIBRARY 1 4 Echomania user interface 2 6 1 Introduction Echomania is an advanced and spectacular sounding delay box that excels at tight tempo synced rhythms It includes two LFOs to to modulate the delay time and built in EQ The delay time is handily synced to the
137. Pull sections act on signals diverted from the main signal chain and passed back into it via feedback loops REAKTOR FACTORY LIBRARY Manual 388 The Del Tune module contains the tuned delay that provides pitch to the Steam The Tune and Fine knobs allow you to dial in the fundamental pitch of the signal The A440 oscillator at the bottom of the ensemble is there to give a stable pitch to tune the pipe to The Err knob intro duces small amounts of detuning to the pitch to give a more human quaver The Delay pitch can be swept negatively or positively by the mod wheel with the amount of modulation set by the MW knob The Allpass filter receives the tuned signal from the single delay It can be turned on and off with the Power button in the Allpass section The Allpass can be tuned to create resonant ef fects You can make glassy metallic and bell like sounds by detuning the All pass filter against the Delay By adjusting the Diffusion knob you can also create a variety of reverb sounds the simulation of air echoing along a pipe s hard surface The Saturation module morphs between saturation and clipping overdriving or breaking up the signal before it hits the MW Filter The MW Filter controlled by the mod wheel features a 1 pole high pass followed by a 1 pole low pass filter Each filter allows you to set a wheel down and a wheel up setting making it possible to set up complex timbre changes and damping effects Each filter can have it
138. R FACTORY LIBRARY Manual 206 Samplers Lurker Control Function Mode Select Switches between parallel and serial modes In parallel mode both delay units receive the same input signal and the Crossfade control can crossfade between their output signals In serial mode the signal enters the upper de lay unit and is then routed to the lower unit Crossfade Mixes between the sound of the upper and lower delay unit when Mode Se lect is set to parallel 4 5 5 Filter The filter is placed after the two delay units The low pass filter s cut off frequency and reso nance can be edited you can adjust left and right channels independently the cut off can also be modulated by one of the four modulation tracks Control Function Cutoff Adjusts the cut off frequency of the filter The horizontal axis controls the left channel the vertical axis the right one Cutoff Modulation Sets the amount and polarity of the modulation applied to the low pass filter s cut off Amount frequency Cutoff Modulation Selects the modulation track that is used to modulate the filter s cut off frequency Source Resonance Adjusts the resonance of the filter The horizontal axis controls the left channel the ver tical axis the right one Reset Sets all controllers of the filter to their default values 4 5 6 Master and Envelope The master section simply controls the instrument s output level before
139. RARY Manual 214 Sequenced Synthesizers Akkord Section Function Cutoff determines the filter cutoff frequency and Reso determines the filter reso nance Ktr key track sets the amount of influence of MIDI note on cutoff frequency The middle drop down menu selects an envelope modulation source which corre sponds to the Env depth knob Similarly the lower menu selects an LFO modulation source which corresponds to the LFO depth knob Effects section Section Function Phaser Center determines the phaser centre frequency Depth determines the amount of fre quency modulation and Rate defines the frequency modulation rate The frequency modulation is conducted by 4 internal LFOs and the Phase knob de termines the phase offset between them FB defines the amount of feedback and Flange enables flanger mode a small delay is applied to the feedback signal Mix crossfades between the input and the wet signals Chorus Tremolo This section features a stereo chorus tremolo effect which splits the input signal into high and low frequency bands and then modulates them independently Centre sets the pitch at which low and high bands are divided and D Lo and D Hi set the delay time for the low and high bands Rate sets the modulation rate Phase de termines the amount of phase offset between the internal LFOs D Mod controls the amount of delay time modulation and A Mod controls the amou
140. RARY Manual 4 Table of Contents 2 8 A EE 37 2 9 HA aras 45 2 9 1 REESEN ee 45 2 9 2 Whats Newin 20 cht aaa anced ae dno aos 46 2 9 3 Multi band COMpressOr scissioni a 46 2 9 4 Full band Peak LiMiter ooiosia riada 47 A A A a onaniutt 48 O LO e A A eo er erg 48 210 2 Quick E 49 2 10 3 Structure and Signal FlOW c ccccesseccsssscsesssssssssscesessscessssscsceussssesssscstsssecetessceesesseesees 49 2 10 4 Frequency Specific Compressor issiria 49 210 5 PUM Baal Peak ur 50 2 11 F sion Reflections x ceased nce ila eve ee ci A snail 51 SEE MMO CMG GIN PA PEO o eaea ta TAA rRiciauaniobeasentel 51 CA E e EE 52 2 113 Structure and Signal FOW siiin aa 52 211 4 Diffusion TEE 52 2 12 Grainstates Pira 53 LIAN MEMO eeen E gant ieeieinienasioust 53 2122 AA E O CO E O 54 2 12 3 Structure and Signal FIOW u cccssssssessssessesessescssesssssesssessssssssscsssavassasssaessasescaeescaes 54 2 12 4 Additional Controls cocinar a dustin dhusdestids divcdnanbdicee 55 CN MIDI COTO AAA e A an 55 NK LONON EE 56 214 Resochord E 59 215 Space Master Zinni a o E teecleecrsusreeteies 65 REAKTOR FACTORY LIBRARY Manual 5 Table of Contents 2151 A O 65 2 15 2 Input and Output Stagenn tuia 66 215 3 REN radican 66 2 15 4 Frequency RESPONSE c ccsssssssescssessssessesessesessescessessseassseessseassacessavassavassanensaneasaneaans 67 UE Eeer rarest ele thts 68 Selten O 68 2 16 2 SpaceMaster 5 1 Surround c
141. Ramp enables a ramp type envelope to either increase or decrease the oscillators pitch over time At the bottom of this section there is an additional menu to select another source for global pitch modulation Filter Section The outputs of the 6 oscillators are routed to the filter bank which features 3 internal path ways Filter 1 Filter 2 and Filter bypass the signal direct from the oscillators The output of Filter 1 and 2 are then combined in according to the filter mix configuration and then added to the filter bypass pathway REAKTOR FACTORY LIBRARY Manual 354 Synthesizer Photone Section Control Input Select Function Photone provides complete control over which oscillators are routed through which pathway Filter 1 2 or bypass This is configured using the menus in the 3 Input Se lect boxes at the top of the filter section For convenience filter 2 has an additional option in its second input menu As F1 When this is selected Filter 2 receives the same input as Filter 1 Note that the Filter 2 input menu is only relevant in Parallel mode see below Filter Routing This section configures the relationship between filter 1 and 2 and control over the amplitude of the bypass signal If Parallel is selected then the 2 filters operate with independent inputs configured by the input select boxes If Serial is selected then the Filter 2 Input Select configuration is igno
142. Selects the slot whose parameter settings are active and editable if Morph is moved completely to the right Each bank has sixteen slots See B Bank REAKTOR FACTORY LIBRARY Manual 182 Grooveboxes Vectory Control Function Selects the bank from which the B Selection Display loads its data Eight banks are available Drive Adjusts the amount of compression applied to the final output signal High values rep resent high compressor thresholds all audio data below this threshold will be amplified 3 14 5 Sample Loader The Sample Loader imports audio material Only one sample can be loaded but you can as sign playback for different loops and parts Control Function BPM Sets the tempo of the loaded sample in beats per minute This should be done accu rately three small boxes to the right of the main BPM box allow you to set the tempo with three decimals as this value is used to calculate the positions within the sample file see Sample Bar and Sample Offset Start Adjusts an offset in milliseconds at the beginning of the sample file that is skipped by all calculations concerning positions within the sample file Bar Sets the number of sixteenth notes according to the tempo adjusted in BPM within one bar see Sample Bar 3 14 6 MIDI Controller This sub instrument of Vectory provides various automation possibilities to control the parame ters via MIDI or
143. Sets the delay time in milliseconds 100 1000 Feedback Sets the amount of feedback 0 1 LFO Rate Sets the rate of the LFO that modulates the main delay time in Hertz 0 1 1 LFO Controls the amount of delay time modulation in milliseconds 0 20 Amount Mix Controls the balance between dry unprocessed signal at the left 0 1 and wet effect signal at the right REAKTOR FACTORY LIBRARY Manual 295 Synthesizer FM4 a Elke D s EX Int Fix Freq Ratio Fix Freq Mod Mod2 Mod3 Mod4 0999 EN Asymetry e X nspose Tune G 4 Ez 0 377 0 564 0 0 0 0 4 43 EMA user interface 8 6 1 Introduction FMA as tells the name is a synthesizer based on the familiar frequency modulation techni que It contains four operator sections their outputs are not only mixed and sent to the sound card but they also modulate each others frequency controlled by a flexible routing matrix While this is a well known way to generate sounds since the 1980 s the FM4 excels in its im plementation of the basic idea by using Reaktor Core The instrument s control logic and logical structure is implemented in classical Reaktor the audio processing in Reaktor Core By doing so a huge Core Cell implementing the complete functionality of the instrument is avoided instead this results in several re usable Cells But REAKTOR FACTORY LIBRARY Manual 296 Synthesizer FM4 why is the audio processing realiz
144. The Time FB XY pad allows you to smoothly adjust delay time and feedback The Amt Rate XY pad lets you set the amount and frequency of the LFO modulating delay time The FilterDelay is a tempo synced delay with a resonant low pass filter to alter the sound out put You can change the filter cutoff and resonance with the Cut Res XY pad Since the delay time is automatically synced to the system clock you can use the Time knob to change delay time by beat divisions 5 5 3 The Sequencer The three part sequencer is started and tempo controlled by the global MIDI clock Swing can be added with the Shuffle control You can adjust the sequence start point and loop length with the Start and range knobs Pressing the Reset button in the Clock section forces the se quence to reset itself to the position determined by the Start knob The Skip knob sets the number of steps in the sequencer s event table left out after each time the sequence advances WaveWeaver REAKTOR FACTORY LIBRARY Manual 235 Sequenced Synthesizers The Bidir and Inv buttons change the order in which the sequence steps play back Bidir caus es the sequence to run forward then backward while Inv inverts the playback order These controls are extremely useful for nondestructively altering the character of a sequence in per formance for example You can also modulate the current playback position of the sequencer over time with the two Position Mod LFOs Each can have the modu
145. This can create a variety of woozy stereo spinning and phasing effects The EQ module processes the delayed signal It is essentially a parametric EQ that contains an LFO identical to the one in the Delay module You can create synchronized filter sweeps fizz ing hi frequency delay tails and all manner of dubby effects by boosting and modulating se lect frequency bands The Eq Res control lets you dial in the peak width of the frequency while EQ Boost lets you crank it up Tapedelay s Feedback module provides an offset control labeled FB gt 1 which boosts and shapes the feedbacl signal making it seem to get louder and louder but without degenerating into uncontrollable noise The Mixer lets you add a tape saturation like Dist Drive effect and Noise to give everything that just pulled out of the closet feeling The Dry Wet section allows you to balance the amount of dry and delayed signal You can also use the Tap buttons to select whether the delay tap comes before or after the saturation noise circuit You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information REAKTOR FACTORY LIBRARY Manual 30 Effects EnFX 2 71 EnFX ELECTRONIC INSTRUMENTS VOL 1 ENFX FILTER Input Gilena Follower Slow Random Filter Output Rel
146. While this can be done manually with the wave position knob things get much more interesting when the various modulators e g enve lope sequencer LFO are used to mix between waves Apart from the Wave Selector all the controls underneath the wavetable position bar are used to modify wave shape When using these controls it is important to remember that they only affect the wave in the selected slot i e the green box which is not necessarily the wave shape currently being played i e the green line Control Function Ratio Sets the number of times the wave shape will repeat in a single oscillator cycle Note that the integer and decimal values can be set independently also note that adjusting the ratio will cause pitch shifting Phase Rotates the wave start position within the oscillator cycle Shape Skews the wave shape to either the left or right on the pulse wave this is identical to a pulse width control Digitize Reduces the wave s bit depth Amp Attenuates the wave volume Copy Stores the current settings into an edit buffer that can be read out again by the Paste button Paste Recalls the data from the edit buffer see Copy Distortion Amount Controls the amount of distortion See also Distortion Model Distortion Mode Selects the way the signal is distorted Saturate applies a standard saturation curve to the signal Trianglel and Sine both involve wrapping their respecti
147. X delay is a delay whose time is modulated by an envelope follower It s useful for very long delays due to internal feedback enhancements as well as for unique pitch shifting See the envelope follower info above for information about the envelope follower sec tion Effects EnFX REAKTOR FACTORY LIBRARY Manual 32 lt Left gt Sets the delay time of the left audio channel The display below shows the delay time in 16th notes according to the midi tempo Internally the linear output of the knob is processed by a function mapping it onto a grid to allow very short decays as well as very long decays The grid also performs triplet division of the time 0 3333 0 1667 0 0833 etc lt E gt Sets the amount of modulation and its polarity applied to the delay time of the left channel Turn to the right for a longer delay times at high envelope follower signals turn to the left for shorter delay times at high envlope follower signals Use mid position to switch the modulation off lt Right gt Sest the delay time of the right audio channel lt E gt Sets the amount of modulation and its polarity applied to the delay time of the left channel Turn to the right for a longer delay times at high envelope follower signals turn to the left for shorter delay times at high envlope follower signals Use mid position to switch the modulation off lt LP gt Sets the cutoff freqeuncy of a lowpass filtering performed to the feedback signal l
148. Y Manual 227 Sequenced Synthesizers semitones for instance simply arrange the horizontal and vertical edit bars to cover the length of that figure hit copy then insert Likewise V inc sets the velocity increment of pasted or inserted data Randomizing and Quantizing data In addition to copying and pasting the range denoted by the edit bars you can also randomize data within this range Simply click on Rand and the edit areas will be filled with random pitches whose properties are determined by the Hold Retrig and N On functions Data in the edit range can also be quantized with the Quant button with resolution set by Step An undo function is available for copy paste randomizing quantization clear and recording data into the table Gate table and Glide Underneath the Pitch table is a table where you can draw in gate note on events The height of the event corresponds to velocity Note that in Blue Matrix s sequenc er pitch and gate are separate The sequencer still sends out pitch information even if there is no gate signal The means that you can create custom glides The Glide time is set with the small Glide knob to the left of the pitch table Small values of glide mean the oscillator pitch reflects what s shown in the pitch table Large glide values create a ramp or smoothing from one pitch to the next In Leg Legato mode then glide is only active for overlapping notes Modulation Table The third table in the se
149. a potent grain re synthesis algorithm mangle the fundamental sound until it is completely different but still musical Second these versatile sound editing features are combined with an advanced step sequencer offering copy and paste functionality three different roll types a triplet mode independent loop length for each of the six drum tracks three modulation tracks whose signal can be routed to nearly every parameter of the sound engine the list of features could be continued Yet those capacities are not hidden behind an endless array of knobs and faders that prevent productive working The panel is opti mized for usability and fast access to all controllers making Massive to a powerful sound de sign workstation At the same time thanks to a complex and glitch free snapshot recall sys tem Massive can be used in live performances or slaved to a master song sequencer that changes the snapshots automatically see Snapper Three panel sets give access to Massive and two related utilities The default view shows Massive s main panel alone ready to program a snapshot s sound The alternative view contains a small display of Massive mainly focused on the list of already existing snapshots Snapper the song sequencer and a soundcard utility to route the instrument s signals to several output slots A third view shows nothing the instru ment still works but does not consume CPU power to process the graphical user interface
150. ach voice for an organic living sound Each one of Carbon s breathtaking pads cut ting leads ripping basses and quivering atmospheres will convince you that all life is based on Carbon 8 3 2 Quick Start Even though Carbon s panel may show many controls its clear layout and function grouping make operation easy Simply step through some presets at random to get a feel for the type of sounds that Carbon can make In the filter section try modifying Cutoff and Resonance You can even try choosing different filter types in the menu panel to the left of Cutoff to see how the different filters change the sound 8 3 3 Signal Flow and Structure Carbon s sound is routed as follows Oscillators gt Filter gt Saturator gt Four band EQ gt Chorus gt Delay Carbon features four oscillators plus a noise generator The level of each oscillator is set with the large knob on top of each oscillator channel while LFO modulation of the amplitude can be switched on or off directly underneath this knob Each of Carbon s four oscillators offer two different modes with each mode making a unique sound Oscillator 1 is focused on pulse width modulation switchable between square or sinusoidal waveforms Oscillator 2 concen trates on saw waves switchable between a massive 7 saw seven parallel saw oscillators each slightly detuned or a single sawtooth waveform Oscillator 3 is based on interrupting the waveform with a quantized sine wave being interr
151. ack Right click ctrl click if you re on a Mac to delete the event along with its trigger event You will automatically create Trigger steps asso ciated with the modulation events See Trigger tracks for more information Drag the modulation bar completely down to have a trigger event without modulation output The three tracks can be selected with three buttons below the sequencer Select Offset and Pitch tracks REAKTOR FACTORY LIBRARY Manual 145 Grooveboxes Random Step Shifter Control Function Trigger track Click to create events that trigger the Envelopel Drag down the corresponding modula tion event to zero if you want a sole trigger without modulation All three trigger tracks can be used to start the envelope Use the respective buttons in the Envelope section to choose which track will do it Furthermore the Offset trigger track can reset the sample offset if the Seq button in the Sample offset section is active Select These buttons switch the view to show the three tracks of the sequencer The modula Offset tion part of the Select track is wired to the Sample Select module the modulation part of the Offset track is wired to the Sample Offset module and the modulation Pitch parts of the Pitch track is wired to the Pitch module Copy Copies the current loop region into the clipboard Paste Pastes the pattern clipboard into the
152. ain level at which the envelope generators signal is hold 0 1 S stain after the attack decay phase as long as the MIDI Note gate signal is present R Sets the release time of the envelope generators respectively 20 10 Release a REAKTOR FACTORY LIBRARY Manual 272 Synthesizer 2 Osc Section Control Function Range Vel ocity to Sets the amount of velocity mapped onto the envelope s amplitude 0 1 Amplitude At a value of O the amplitude is independent of the MIDI note s ve locity at a value of 1 it is completely determined by the velocity Key board to Controls the amount of key following of the envelope generator s tran 1 1 Times sition times i e attack decay and release At positive values the times become shorter at high MIDI note pitches simulating the fast er response of mechanical instruments at high pitches at negative values the times become longer at high pitch settings Legato If monophonic mode is used see Mode in the Voice Mode section on off and this is switched on tied notes don t re trigger the envelope gen erator P itch Range Controls the range by which the Osc Env section modulates the pitch of the two oscillators This adjusts the maximum level available to the Pitch 1 2 controls Pitch 1 2 Controls the amount of modulation applied to the oscillators pitch by 1 1 this envelope generator At negative values th
153. ameters providing pitch shifting delay and filter are similarly modulated The sequencer is based on the Life model developed by John Conway in the 1970s A two dimensional pattern is processed in steps An element of the pattern becomes alive dark in this implementation in the following step if three of its eight neighbors are alive in this step it remains alive in the subsequent one if two or three neighbors are alive in the current one else it dies and becomes a light square again Several patterns emerge over time by this set of rules Gliders move over the grid crosses oscillate in several phases some objects remain sta ble and don t change from step to step while others remain unstable forever These patterns trigger the sound engine generating lively sequences 3 8 2 Life Sequencer As explained above the sequencer proceeds from one step to the next one by a set of Life rules that translate the current pattern into the following one The two dimensional Life pattern is mapped onto the eight channels of the tone generator by the grid of the Performer Display By using the Wrap X Y controllers this mapping can be modified smoothly The Sensitivity knob also interacts with the trigger signals Within the Board Display Life patterns can be loaded from a bank of factory presets These patterns can be altered or you can build completely new ones The Board Display s content can be copied to the Performer Dis
154. amount At a MIDI pitch of 60 C3 there Amplitude 8 A is no influence on the amplitude KT Controls the influence of the MIDI notes pitch on the envelope s tran 1 1 K yb ra to sition times At positive values the times become longer ar high keys Sey at negative values they become shorter At a MIDI pitch of 60 C3 Times q b there is no influence on the envelope times Ratio Defines the ratio between the instrument s main pitch and the opera 0 64 tor s frequency Musically speaking this adjusts the harmonic of the fundamental frequency to be played i e at a value of 1 the first har monic is played etc Integer values can be controlled at the left side of the control fractional values at its right For a fixed oscillator frequency set the Ratio to zero Fix ed Adjusts a frequency in Hertz that as an offset is added or subtracted 0 9955 Freq uency to from all other frequencies of this operator At the right side a value can be adjusted at the left side the decade is controlled Fix Freq Sign Specifies whether the fixed frequency is added or subtracted from the variable frequency Phase Sets the phase in degrees at which the operator s oscillator starts when 0 360 synchronization to the keyboard signal is activated Key Sync Switches synchronization of the operator s oscillator to MIDI Note On on off signals on or off If on the oscillator starts at the position adjusted by the Phase cont
155. ample frag ment Pitch Transposes the pitch of sample playback independently from speed O is original pitch fine Fine tunes the sample fragment transposition Speed Knob Sets the speed of sample playback independently from pitch 1 is origi nal tempo 2 is double speed This interacts with the Speed Factor con trol Speed Factor With this dial you can multiply the Speed control value by a factor Use it to change the range of the Speed knob Grain Control of grain length This interacts with the Grain Factor control Grain Factor With this dial you can multiply the Grain control value by a factor Use it to change the range of the Grain knob Envelope Attack Sets the time that passes until the amplitude envelope reaches its peak after triggering Hold Sets the time the envelope stays at its peak value before it moves to the release phase Release Sets the time that passes until the amplitude envelope is completely fad ed out after the hold period has ended Amp Sets the maximum level the envelope will reach This gets modulated by velocity if VelSns is on Out Gain Sets Splitter s master volume Mute Mutes Splitter s audio output REAKTOR FACTORY LIBRARY Manual 177 Grooveboxes Vectory 3 14 Vector Sequencer SE EI AA el T L Reverse e BE 0 Amplitude H El FRERES E Rien Qo Rina qa Rada 8 TA E o Ju 4 20 The Vectory user interface REAKTOR
156. an be used to move the source in space more early reflections bring the signal to the front and more late reflections make it appear further back in space At the end of the signal chain the Dry Wet slider crossfades between original signal and reverb Function Predelay Time Sets an initial delay for the wet signal Symmetry Introduces a difference into the delay times for the right and left predelay channels Use this to position the signal around in the stereo field Mixing Early Late With this parameter you can set how much of the early and late reflections re spectively can be heard in the output Balance Dry Wet This controls the balance between dry and wet signal Power button Switches the reverb on or off REAKTOR FACTORY LIBRARY Manual 384 Synthesizer Steam Pipe 2 8 17 7 Reflections Use the two Size and Diffusion parameters to control two stages of variable density diffused reflections The early stage commonly represents the direct response of the virtual space whereas the late reflections define the sound when the early reflections have died away For dynamic reverb effects you can use the Modulation section It offers an LFO routed to the de lay times with Rate and Depth control The LFO can enhance your reverb signal by adding liveliness Section Control Function Early Late Size Determines the amount of space generated by the early or late reflections
157. an be can be blended into each other and you can use an XY pad to simultaneously select among them REAKTOR FACTORY LIBRARY Manual 233 Sequenced Synthesizers and modify the loop start point A built in sequencer with scale correction allows you to create some unique shifting grooves MoDelay and FilterDelay let you add some effects to your sounds 5 5 2 Quick Start WaveWeaver s wavetable which can be extensively modulated and morphed in tone feeds through a distortion circuit and a bit reducer before joining an auxiliary sine wave oscillator and a noise source at the 4 pole low pass filter After the filter the signal travels through the ModDelay and the FilterDelay Along the way an LFO two ADSR envelopes and the sequencer modulate the wavetable and filter The Wavetable Oscillator section in the upper left corner is where the controls for sound gen eration are located There are actually two wavetables which can be detuned from one another for a wider sound You can crossfade between the various soundfiles of the waveset and set loop start points by moving the cursor in the XY pad Soundfiles are located on the vertical or Y axis and the start is on the horizontal or X axis The Octave knob to the left of the Waveta ble pad lets you set the octave shift for both the main oscillator pair and the auxiliary oscilla tor The Interval knob immediately below this controls the pitch shift in semitones of the second waveta
158. ap B Scene Memory 1 Default Voices 100 Part ANT Scene BE Pos MT Controllers list SCENARIO II Instrument by Lazyfish Il Panel Design by Timothy Lamb Il Presets by Jake Mandell 1 14 Scenario Ensemble interface 3 11 1 Introduction Scenario is a complete live performance environment with realtime timestretching perform ance oriented effects and memory and instant recall of thousands of scenes Have you ever played live with a computer and been frustrated that you don t have enough control over the audio Or at the oppositve end of the spectrum have you ever been performing and been overwhelmed with the possibilities Scenario solves both of these seemingly opposing prob lems in an elegant and ingenious way REAKTOR FACTORY LIBRARY Manual Scenario 157 Grooveboxes First let s take a look at what Scenario is and then we ll see why it s an ideal live performance tool Scenario consists of a Loop Engine that contains four identical time stretching loop play ers that fits each loop to the system tempo Each loop player lets you perform in realtime with the loop length loop start pitch and animated filter A powerful performance oriented effects block is also included which lets you do things never possible before since the Scene Effects and Loop Engine are controlled by the same sample accurate system clock For instance you can reshuffle and even reverse the music rhythmically gate the sound exa
159. artials tra BRIGHTNESS MASTER ENVELOPE RELEASE MODE 00 s 0000 1 D fund beating PERIODIC FILTER ATTENUATION DISPERSION 0 5 pattern 0 stretch oo key trig 324 32 e OSC PHASE e PART BEATING GLIDE 9090 O2 5 random balance Ifo peak MOD ENVELOPE NO MOD LFO mob macros 14 o O o o m a gt oO OO label times dot trip shape 4 51 Lazerbass user interface REAKTOR FACTORY LIBRARY Manual 323 8 12 1 Introduction Lazerbass is the newest addition to the Reaktor Library Lazerbass is a monophonic synthesizer delivering a pure and direct sound without any additional effect units Its sonic capabilities range from metallic effect sounds to pervasive sub bass sounds as well as your bread and but ter leads all with a new standard in signal quality It serves well for science fiction and old school effects as well as for a wide field of electronic and digital music styles such as dubstep where it can deliver the typical deep wobbling bass sounds Lazerbass uses additive synthesis to create its sounds which allows creating a wide range of musical timbres These timbres are composed of multiple harmonic or non harmonic partials individual sine waves of different frequencies and amplitudes Additive synthesis allows the emulation of sounds by giving control over the frequency and amplitude of each partial and how these change over time But don t worry too much about the
160. as deliv ered by the sequencer All of Green Matrix s modulation sources are routed in a comprehensive modulation matrix The LFO two envelopes four modulation channels from the sequencer and typical MIDI controls like mod pitchbend velocity can be routed to synthesizer destinations using the comprehen sive modulation matrix Switch to the B view of the synth to see the modulation matrix You can easily switch to the B view by clicking the B button in the title bar of the synth You can route the modulation to the following synth parameters Oscillator pitch osc 1 osc 2 or osc 1 2 osc 1 FM osc 2 shape osc Y mix filter cutoff osc 1 osc 2 or osc 1 2 filter 1 FM filter resonance 1 or 2 envelope parameters and even distortion delay time and delay feed back In short nearly everything Synthesizer Green Matrix REAKTOR FACTORY LIBRARY Manual 311 Synthesizer Grobian The modulation sources LFOs envelopes etc are arranged vertically The modulation destina tions synth parameters such as filter cutoff oscillator pitch etc are arranged vertically Sim ply activate the switches for the combination you d like to modulate Underneath each modula tion column is a switch to turn the modulation on or off and a knob to set the modulation amount 8 9 Grobian ELECTRONIC INSTRUMENTS ULI GROBIAN 0 007 2 4 Grobian user interface Introduction Grobian is a bass synthesizer that can produce very
161. aste Pastes the content of the internal buffer to the current loop area This buffer is not bound to a specific track and can also be used to copy between them REAKTOR FACTORY LIBRARY Manual 252 Sequencers SQX Control Function Shuffle Sets the amount of delay applied to each second step At Subdivision values of four this results in standard swing shuffle at other Subdivisions this produces more experimental rhythmic shifts Randomize Sets the steps within the loop area to randomize velocities This function uses Density and Gate as parameters Density Controls the density of the rhythmic pattern generated when pressing the Randomize button Gate If switched on only steps with a velocity above zero are randomized if off every step within the loop area is set to new velocity 6 6 4 ToneGen Unison 1 a 4 36 ToneGen user interface This instrument audibly illustrates the programming capacities of the track sequencer howev er its sound quality exceeds that of a mere demonstration instrument It consists of four iden tical channels connected to the four tracks of the TrackSeq instrument Each channel con tains on the instrument s panel from top to bottom a trigger envelope a noise generator whose signal is shaped by the trigger envelope a high quality resonant filter based on Reak tor s Core Technology attracted by the envelope noise signal and finally an output section
162. asy to use interface that make it easy to see what s going on Apart from sample modulation capabilities there are a tempo synced Filter Delay a Mod Delay and the Sync ro nizer module which can play patterns of short samples metronomically REAKTOR FACTORY LIBRARY Manual 91 Grooveboxes 3 3 2 Quick Start Start the system clock and check out some of the presets As the sequence plays try adjusting some of the sample modulation parameters like Attack Loop or Octave Try out the tap n drag slider located under the waveform display to manually modulate a sample as it plays 3 33 Structure and Signal Flow GoBox is a sequenced sampler of an unusual sort Instead of playing loops it triggers one short sample at a time monophonically This can lead to bizarre junky funky beats uncertain patter ings and minimalist dance floor workouts Two event tables sequence the pitch and trigger state of each of four sampler modules The Start point Octave and Pan position can be set using event tables for each of the sam ples Start determines where in the sample the loop will start while Octave tunes each sample in octave steps Pan lets you position the sample in the stereo field The samples have their amplitudes contoured by four ADR envelopes The tables for these are located in the second row in the sample modulation area Overall volume for each of the four sample channels can be set using the Gain control The Reduktor performs
163. ators Metaphysical Function 7 1 3 Details Signal flow overview Metaphysical Function features two independent signal generation sections named A and B Section A features three sine waves a triangular wave a bipolar pulse wave and a lowpass filtered noise generator Section B is composed of two sine waves a triangular wave a pulse wave a bipolar pulse wave and a two mode noise generator The oscillators in each section are summed and then amplified and then passed through a 12db filter The output of the section A and B filters are then combined both additively and by ring modulation The mix section is used to cross fade between the summed signal and the ring modulated signal Metaphysical Function also features a sampler module the output of which is mixed with the combined output of sections A and B The signal is then passed through the Master Filter the EQ unit the Spin module and then the Resochord and Reverb effects The signal is then amplified according to the main volume control The main XY display visualises the post Spin output Sections A B and Sampler Module Control Function Oscillator Level The amplitude of each oscillator can be controlled by the row of automatable faders in Pitch and Shape each bank Above the amplitude faders are knobs to define the base pitch of each oscillator the upper knob sets the pitch in semitones and the lower knob is for fine adjustment For the noise oscillators the
164. ay Time Left Right Millisecond Delay Time Left Right Sets the static delay time of the left channel upper control and right channel lower control respectively in milliseconds The actual delay time is calculated as the sum of this value and the delay time adjusted by Quantized Delay Time Left Right Feedback Amount Controls the amount of feedback Highpass Sets the cut off frequency of the high pass filter within the feedback loop Lowpass Mix Modulation Source Sets the cut off frequency of the low pass filter within the feedback loop Selects the sequencer track modulating the ratio between dry unprocessed signal and wet delayed sound see Mix Mix Controls whether the ratio between dry unprocessed signal heard at mid posi tion and wet delayed sound at the right Turn to the left to use the sequencer track selected by Mix Modulation Source as control At high modulation levels the wet sound is passed on at low values the dry signal REAKTOR FACTORY LIBRARY Manual 209 Sequenced Synthesizers Akkord d Sequenced Synthesizers 5 1 Akkord QUENCER RLS CEs AL NS CAEN REL SSL I REED Fees CES S Ee E EE EE EE SE A B AKKORD 2 17 Floating Point AKKORD DELAY 1 LED MAIN OSE par e MOD OSE R 3 e ENM 2 DELAY 2 MONO VELATT PORTA TIME KEY PITCH FINE gt BEND TUNE se f a Q en Y mua CHORUS TREMOLO 3 1 Akkor
165. ayed pattern 64 st REAKTOR FACTORY LIBRARY Manual 244 Sequencers SQ 8x8 Section Control Function Clock divider Chooses between different clock divisions This speeds up or slows 1 6 1 8 down the pattern but retains a metric relationship to the original i speed You get original speed with the 1 16 setting 1 12 1 16 1 24 1 32 Rev Toggles reverse play on and off The direction is reversed by pat tern mirroring Stepshifter This menu determines the playback mode is normal 1324 and 1432 let the steps swap their positions lt gt plays in random di rection lt gt randomly jumps to the previous or next step jumps to a completely random step Shffl Shuffle function Click and drag mouse up or down to select the amount of shuffle Run Starts and stops the sequencer 6 4 SU 8x8 4 31 The SQ 8x8 user interface REAKTOR FACTORY LIBRARY Manual 245 Sequencers SQ 8x8 6 4 1 Introduction The SQ 8x8 is a small step sequencer with a twist You put events in a grid and drag a rectan gle around a group of them by right clicking and dragging ctrl click when you re on a Mac This rectangle defines the sequencer s loop area controlling what gets played line wise You can change this area in realtime Think of it as a two dimensional loop bar Some nice realtime step shifting and shuffle features are also part of the package 6 4 2 Details Con
166. b s mix control to zero to listen to the isolated dry signal then place all five circular controls at the bottom and set them to minimum spread Now the instrument will generate a relatively dull sound upon MIDI note events as the range of each parameter is REAKTOR FACTORY LIBRARY Manual 306 Synthesizer Gaugear small movements within the rectangular control will only show small effects on the sound Drag the pitch ring to the right it will spread around the left side of the control and the oscil lators pitches will also spread If the control ring reaches the upper center it will wrap around producing the lowest pitches after the highest ones Movements within the box area now change the sound audibly as the controller picks values from a larger pitch range Drag the pitch ring a bit to the bottom the complete spectrum will be lowered Finally drag the de lay ring to the left to add some long delay times and add some reverb an evolving atmosphere has been created By stepping through the instrument s presets you ll hear a great variety of possible sounds There are deep percussive bass patches as well as light ethereal pads Use them as starting points for your own explorations into the instrument s sonic world always remember that you can easily alter each preset by moving the boxes of the rectangular display while preserving the main character or use the random functions Double click the center of
167. back on or off Q 96 Q 32 Quantization setting for the note length resolution Q 96 means 96th resolu Q 16 tion Q 32 is 32th resolution and Q 16 is 16th resolution REAKTOR FACTORY LIBRARY Manual 242 Sequencers GO Section Control Function Copy Copies the currently selected notes or modulation events into the clipboard Paste Pastes the pattern clipboard into the current pattern Select Toggles select mode on or off When on you can select multiple notes in the notes track by clicking or by dragging a square around them You can also select a range of the modulation track Rec Switches on note recording via MIDI in Init Deletes all pattern notes and resets the modulation track events to zero You need to double click on it 6 3 SUR fei Ale E aT in w Outw ec EEGEN wtkoeeesl 512 unison 1 MODE PATTERN SONG SEQUENCE 4 30 The SQ 8 user interface 6 3 1 Introduction The SQ8 is your standard building block for rhythmic step sequencing It sports a clean inter face 4 patterns with 8 tracks consisting of 64 steps each You also get variable looping shuffle reverse play and multiple viewing options On top of that you can chain 16 patterns together into a song REAKTOR FACTORY LIBRARY Manual 243 Sequencers GO 6 3 2 Details Section Control Function Mode Song Seq Toggles the song mode on and off If on the pattern
168. ble The Detune knob allows you to fine tune the interval of the two oscillators You can also set the amount of pitch glide for the oscillators using the Glide knob The four knobs to the right of the XY pad control the intensity and polarity of different modula tion sources that can have an effect on the wavetable At the top the W lt Mod gt S knob sets the amount of position modulation within the waveset when turned to the left and modulates the selection of the soundfile when turned to the right Below this knob the Envelope Gate and LFO knobs control the mixing of the various modulation sources You could for example mix the negative output of the filter envelope with the positive output of the LFO to modulate soundfile selection The signal from the wavetable passes through a distortion circuit and a bit reducer The Drive and LoFi knobs control control the amount of processing by these effects In addition the wavetables can be frequency modulated by the auxiliary sine wave os cillator for extreme FM sounds You can set the amount with the FM knob Pressing the Gsync switch causes the two wavetable oscillators to trigger in sync with one another on gate signals Otherwise the oscillators start at their current free running position Playing with the Drive Lo Fi and FM controls can yield a variety of sounds ranging from spiky to metallic to liquid WaveWeaver REAKTOR FACTORY LIBRARY Manual 234 Sequenced Synthesize
169. c 1 The val ue equals the maximum change of frequency in Hz The frequency modulation produces a complex mixture of additional frequencies in Osc 2 which can be very useful for metallic noisy sounds Oscillator 2 The second oscillator Osc 2 can be frequency modulated by Osc 1 and hard synchronized to Osc 1 It is capable of generating the following waveforms e Pulse A rectangular signal changing between two levels Another interpretation is to dis tinguish between pulse and pause You can adjust the pulse width with Symm the LFO and with the Filter Envelope e Saw A sawtooth waveform not adjustable e Triangle A triangle waveform not adjustable e Sine A pure sine without any overtones not adjustable REAKTOR FACTORY LIBRARY Manual 370 Synthesizer SoundSchool Analog Puls Symm lets you set the symmetry or respectively the asymmetry of the Pulse At a value of O it is totally symmetric 50 50 At higher values the negative part of the Pulse is getting longer while the positive part is shortened This also creates a brighter sound because short pulses as well as steep flanks manifest in increased overtones At a value of 1 the Pulse be comes infinitively narrow and disappears With the Interval controller you can detune the pitch of the triggered note by up to 60 half tones 5 octaves up or down Detune allows for fine detuning of the second oscillator This lets you adjust floating and well tuned inte
170. c for electronic sequence production Each of the four instruments features a sequencer and individual sound parame ters including distortion and filter Two flexible filters and two delays which are fed via a send return feature in the mixer add even more motion to the generated beats In its new incarnation Sinebeats got an enhanced mixer with the possibility of routing the in dividual sound units to single outputs a two band equalizer and a simple compressor for the sum The sequencers got updated with individual looping individual clock settings and the REAKTOR FACTORY LIBRARY Manual 163 Grooveboxes Sinebeats 2 possibility to introduce rolls for every step You can also record the pitch information via MIDI input Modulation of sound parameters has undergone a major overhaul the sine instruments now have multimode filters and all the instruments now sport an individual overdrive section and an equalizer A valuable addition to the effects section are the two modulation sequencers that provide dynamic effects sequencing Also there is a new snapshot system that enables you to trigger complete snapshots including the sequencer tracks via MIDI note triggers and in sync with the global tempo 3 12 2 Sequencer Each of the four instruments is equipped with its own 16 step sequencer with 2 tracks The first contains the triggers for the sound units The second track sends modulation data which can modulate different sound paramet
171. can be set as multiples of MIDI clock increments like in the LFOs or can be adjusted in milli seconds Feedback Adjusts the amount of the delayed signal routed back to the inputs of O 1 the two delay lines X Amount Controls the amount of cross feedback between the two channels as 0 1 part of the Feedback Hi gh Cutoff Controls the cutoff frequency in Hz of a lowpass filter that damps 100 200 the delayed signal s high frequencies 00 Mix Controls the balance between the dry unprocessed signal at O and 0 1 the wet delayed signal at 1 On Switches the effect unit on or off saving CPU power on off REAKTOR FACTORY LIBRARY Manual 275 Synthesizer Carbon 2 8 2 Carbon 2 DENT f ai Escale dl Ve la Bat a C A R B 0 N 2 REAKTOR LIBRARY e Gs e Routing Shift Grain FB Mis Noise Ring Osel Ose2 Ose3 as AS Lu El ee ae PreAmp Mode Phaser Center Rate Phs Dpth Res FB Mix Level Level Level Level Level Em o a y OIII Cutoff i SS Chorus Delay Rate Depth Min noss D MEA Resonance Bass Mid Res MFrq High HFrg MILIT Delay Delay Fine LP Res Mig a CO mmm 9660 kend 16th e WI coa EFFECTS source 4 41 Carbon 2 user interface 8 2 1 Introduction Carbon 2 is based on REAKTOR 4 s well known workhorse synthesizer but it has been com pletely rebuilt In particular the oscillators and filters are now based on REAKTOR Core compo nents de
172. cer envelope delay oscillator level sequencer envelope delay FM depth sequencer envelope delay filter cutoff Atmotion REAKTOR FACTORY LIBRARY Manual 219 Sequenced Synthesizers Atmotion The envelope is triggered if the difference between to consequent sequencer steps is greater than the threshold set by the thrsh knob Before the sequencer output can be smoothed us ing the Glide knob Both signals the one modified by the envelope and the smoothed one can be mixed using the envd knob The pattern length of each sequencer can be adjusted with the slider below its display These controls can be found on the Instrument panel The tmod and Imod sliders fade the modulation of the seqeuncesr tmode and the Ifos Imod in and out to softly control their effect on the sound They are also controlled by midi Programming new sounds some things sould be kept in mind e Use the pat knob to select a new and empty row in the seqeuncer tables If you modify the existing table values also the sound of the old snapshots that use that data will be modified e The sequencers are controlled by the global clock that has to be running to start the se qeuncers Sequencers Each of Atmotion s six sequencers operates identically e lt Table gt Displays the modulation data Data can be graphically edited e lt Slider gt Sets the length of the modulation data sequencer in 16th notes e lt Glide gt Smooths
173. chromatic scale They contain all twelve pitch classes c c d d and so on Often Spiral s melodies become more musically usable when restricting the pitch classes to a traditional scale like the major scale where only seven distinct classes are used c d e f and so on e Scale Determines the scale to which all pitch values are mapped Major and Minor are commonly known but all others can also be used when the actual scale is undefined They can be treated as colors that are blended onto the melodies e Root Specifies the root pitch of the scale For example if Scale is set to major a value of C will result in a C major scale C D E F and so on Consequently C will use a C major scale C D E F and so on Spiral Pitch Velocity These three tabs control the values for rotation speed Spiral tab pitch and velocity are as signed to each object Within the Spiral tab the number of rotating objects can be controlled as well These values are the main controls to manipulate the fractal melodies of the Spiral en semble Note that their usage is simpler than their detailed explanation If the following de scriptions don t help just try experimenting e Spiral Objects Controls the number of objects rotating around the display s center The higher the number the higher the density of notes triggered by the Spiral sequencer Sequencers Spiral REAKTOR FACTORY LIBRARY Manual 239 Spiral Spiral Control
174. classical mixing parameters for each unit solo mute pan and of course level along with controllers to adjust the complete ensemble s reaction on MIDI messages Each unit can be triggered by a selectable MIDI note on a more complex level note messages can recall complete ensemble snapshots 3 2 2 Sound Engine The drum synthesizer is built by two sound generators an equalizer and a master section that also controls modulation routing While the oscillator part on the left side is based on sine waveforms with frequency modulation capacities the noise part on the right side contains a white noise generator with a multi mode filter The mixed signal is sent through an EQ and within the master section a final saturator unit before it is passed on to the mixer Aerobic REAKTOR FACTORY LIBRARY Manual 85 Grooveboxes Aerobic Section Oscilla tion Control Envelope Attack Function Selects the operation mode of the envelope shaping the unit s amplitude Lin activates a standard AD envelope whose transition times are controlled by the At tack and Decay knobs When in Roll mode this envelope is re triggered fast until the next beat the Attack knob in this case also controls the re triggering frequency Roll Lin adds both signals of the modes described above Noise Env uses the envelope of the Noise section see below Sets the time that passes until the amplitude envelope reaches its peak In
175. ct Selection Display and Sequencer Select Bank before pasting the buffer Paste Pastes the buffer s data into the current sequencer pattern overwriting the old values See also Copy 3 14 4 Grain Effect This section controls the multi effect placed after the sampler and the re arrangement se quencer The separation between sound generator and effect unit is only true for the panel in ternally those sections are closely interrelated For example both the frequency modulation REAKTOR FACTORY LIBRARY Manual 181 Grooveboxes Vectory and the grain resynthesis parameters show no results within the effect unit but inside the sampler itself they are placed here because they impact the instrument s sound as much as the other effect parameters There are two slots named A and B containing two different sets of effect unit settings The Morph control interpolates between both settings for smooth transitions in live use Control Function Parameter Display Shows the currently active effect parameters If Morph is set completely to the left or right thus selecting either the A settings or the B settings and not an interpolation the parameters can also be edited There are eleven parameters FM Pitch FM Amount Bias Pre Quantize EQ Frequency Pre Quantize EQ Amount Distortion overdrive satu ration Sample Rate Reduction frequency quantization Post Quantize EQ Frequency Post Quantiz
176. ct plugin Please check your Re aktor or Reaktor Session user s guide for helpful information 2 13 Longflow ELECTRONIC INSTRUMENTS VOL 1 LONGFLOW 2 5 Longflow user interface Introduction Longflow is a delay effect with a finely tuned feedback loop to create very slowly decaying ech oes or rhythmic grooves Input lt Level gt Sets the input level in dB The meters show the post fader input level Longflow In Longflow all controls that are vertically mirrored are separate controls for left and right Left is the top channel and R is underneath The following controls are mirrored there is one control each for the L and R channels REAKTOR FACTORY LIBRARY Manual 56 lt Drive gt Sets the amount of amplification performed to the left incoming signal Use mid position for no level change lt LoCut gt Adjusts cutoff frequency of a 4 pole highpass filter Together with the lowpass filter that is controlled by the higher bounding frequency they perform a bandpass filter ing lt Reso gt Sets amount of resonance for the filters lt HiCut gt Adjusts cutoff frequency of a 4 pole lowpass filter Together with the highpass filter that is controlled by the lower bounding frequency they perform a bandpass filter ing lt Delay L R gt Sets the delay time The display shows the delay time in 16th notes accord ing to the MIDI tempo Internally the linear output of the knob is processed by a function mapping
177. ctly on the beat cre ate super tight loops and more The Miniseq instrument can shuffle and reorder each loop Just draw a pattern into Miniseq then activate the shuffle function by clicking the small but ton in the Loop Engine at the bottom of each loop player And now the kicker All of Scenario s settings can be stored into a scene You can store more than sixteen thousand scenes in the built in Scene Memory Scenes can be recalled sequen tially for one touch performance but you still have full control over all parameters within each scene That s what makes Scenario so revolutionary it gives you the power to lay out an entire live set in advance so you re assured that things go smoothly Not only you determine when to advance to the next scene this would be quite boring but you also have complete control over every scene You can adjust the pitch of the loops the loop length the filtering and the effects every single parameter on the screen When it s time switch to the next scene and Bam it comes in perfectly on the beat every knob perfectly recalled including the effects 3 11 2 Quick Start For an easy tour of what Scenario can do take a look at the demo live set that is included in it Start the system clock from the toolbar you should hear some music now and then after a few bars press the Next button on the Scene Memory instrument on the bottom You just ad vanced to the next scene Keep on pressing Next
178. cular display Several objects are located around the display s center each with a specific distance Each object has a specific speed that determines how fast it rotates around the center The rotating objects turn into music by triggering MIDI notes Each time an object passes a virtual pick up line at the top of the display it creates a note according to the object s specific pitch and velocity settings By attaching any sound generator that listens to MIDI events to Spiral you can create any type of sound with this experimental sequencer Nearly all other controls you see within the panel are used to control how pitch velocity and rotation speed are assigned to the various objects There is a pitch correction mechanism for use if you prefer a minor scales for example Also there is a more general section that determines the rotation s main speed as well as quantization to a MIDI clock so that the melody remains synchronized to other MIDI events within REAKTOR 6 1 2 Using Spiral There are four main areas within the panel Pitch Correction on the left side Spiral Pitch and Velocity on the right with the central display and Clock positioned in the center Clock The controls of the clock section determine in which way Spiral reacts to an incoming MIDI clock signal This signal is created by REAKTOR As the same clock signal is sent to all instru ments it automatically synchronizes their rhythmical activities e Speed Controls
179. current pattern Rand Randomizes the current loop region Clear Clears the current loop region Zoom Level Click and drag mouse up or down to zoom in and out of the currently displayed pattern 16 st 32 st 64 st Clock divider Choose between different clock divisions This speeds up or slows down the pattern but 1 6 1 8 retains a metric relationship to the original speed You get original speed with the 1 16 i setting 1 12 1 16 1 24 1 32 Run Starts and stops the sequencer 3 9 3 Sampler At the heart of the Randomstepshifter lies the sample player Just load your pre cut loops into the sample map and the patch will rearrange them You are free to use the modulation events from the three Sequencer tracks to control the parameters for Sample selectl Sample off set and Pitch or to let these three parameters be randomly varied Activate random mode the Rnd buttons and adjust the three RAND knobs to get different pseudo random results Try moving the QNTZ knob in the Sample offset module while the sequencer runs for inter esting dynamic sample cut up in real time Please make sure that all samples in the sample map have a transposition value of O REAKTOR FACTORY LIBRARY Manual 146 Grooveboxes Random Step Shifter Section Sample select Control Rand Function This knob selects one of the pseudo random sequences Each incom ing value from the modulation track is transformed in a ps
180. cy and Sm determines the smoothness of the envelope follower The mod sequence can be routed to cutoff via the Mod knob Magic features a notch filter and a granular pitch shifter defines the notch filter cutoff and the large slider at the bottom of the section controls the amount of pitch shifting centre for no shifting Gr sets the pitch shifter grain size Mod and Rmx de fine the amount to which the mod sequence and the pattern remix position modulate the pitch shifter respectively Mix cross fades between the dry and wet signals Appendix 1 XFX Parameter Reference X Y Additional Highpass Cutoff Resonance Bandpass Cutoff Resonance LFO depth Lowpass Cutoff Resonance Phaser LFO speed Centre LFO depth Vowel Cutoff 1 Cutoff 2 Flanger LFO speed LFO depth Stereo FM Frequency Depth Reson Envelopd mod Delay Stereo Feedback Pitch Envelope length Envelope shape Reflex Cutoff Resonance Speed Reverb Size Decay Mod UFO 21 21 H Rainman 21 H 21 Distort Cutoff Drive Ringmod Ringmod Pitch Pitch 2 Mix1 2 Lofi Hz Bits Pitchshift Grain Pitch REAKTOR FACTORY LIBRARY Manual 118 Grooveboxes Limelite Additional Gate Decay Threshold Envelope shape Chop Decay Envelope shape Slice Reverse rate Pattern 1 to 16 Pattern bank A or B Freeze Loop length Pitch mod Pitch mod depth dir Spin Stereo Depth Length
181. cy of an additional lowpass filter within the pipe to enhance formant frequencies The formants are modified by the pres sure in the pipe not by the pipe s pitch The pressure can be controlled by the MOD wheel At low modulation wheel values this knob is used to determine the formant frequency Lo Pass 1 Sets the cutoff frequency of an additional lowpass filter within the pipe to enhance formant frequencies The formants are modified by the pres sure in the pipe not by the pipe s pitch The pressure can be controlled by the mod wheel At low modulation wheel values this knob is used to determine the formant frequency Key Track Low Controls the amount of key tracking applied to the lowpass filter s cutoff frequency Turn to the right for higher cutoff frequencies at high MIDI pitches 8 17 4 Global Controls The last section of SteamPipe 2 consists of global controls over pitch polyphony glide and an output stage You also get an Arpeggiator and a test tone generator Section Control Function Voice Mode Pitch Bend Sets the range of the pitch bend wheel Detune Introduces a slight detune into the signal for a livelier sound Mode Menu for the different polyphony modes Choose between poly mono unison and three arpeggiator modes Glide on off Toggles glide on or off Glide Time This sets the time the pitch of SteamPipe takes to follow incoming MIDI pitches when Glide is on Mod Whl This
182. cycle time of a 16th tick FM determines the amount of cutoff modulation via the LFO whereas DM the amount of delay time modulation Width controls the amount of stereo separation Cut and Res define the cutoff frequency and resonance of a post delay LP filter Lo enables damping of pre delay low frequencies Mix FX Mix cross fades between the dry signal pre XFX and delay and the wet signal post XFX and delay When the Input button is enabled the mod sequence determines the input level to the XFX and delay Clicking on the meter below the input button toggles between pro portional or binary i e on off modulation When Mix is enabled mod is routed to the fx mix cross fade position as a proportion of the current fx mix knob position i e if mod 1 then fx mix will equal the actual fx mix knob position Clicking on the meter below the input button toggles between proportional or binary i e on off modulation EQ The EQ unit allows for boosting attenuation of Hi Mid and Lo frequencies Set each knob to centre for no change The gt lt knob shifts the frequency of the 3 bands Amp determines the amount of drive into a saturator distortion unit REAKTOR FACTORY LIBRARY Manual 117 Grooveboxes Limelite Section Function Filter Magic Cut defines the cutoff frequency of a 12db lowpass filter Trk determines the amount to which an envelope follower modulates the cutoff frequen
183. d Speed Adjusts the amount of portamento i e the time that passes until a newly received MIDI note s pitch is gradually reached Pitchbend_ Sets the range of the MIDI pitchbend wheel in semitones 8 19 3 Vibrato Crucial to this instrument s sound is the vibrato effect It is produced by mapping an LFO s signal onto the instrument s pitch The LFO waveform its frequency and the amount of pitch modulation can be controlled here providing settings that differ from the normal idea of musi cal vibrato but generate impressive sounds nonetheless Control Function Shape Selects the waveform of the LFO whose signal is used to modulate the instrument s pitch for vibrato effects Rate Sets the frequency at which the vibrato LFO oscillates Width Sets the pulse width of the vibrato LFO turn to mid position for a symmetric waveform REAKTOR FACTORY LIBRARY Manual 391 Synthesizer SubHarmonic Control Function the range adjusted by Rangel Sets the amount of vibrato Turn to the left for no vibrato to the right for a pitch modulation of Range Controls the absolute vibrato amount in semitones see also Amount 8 19 4 Amplitude and Modulation Envelope These two envelope generators placed to the left modulation envelope and the right ampli tude envelope of the Voice and Vibrato sections shape the instrument s amplitude and modulate the feedback amount
184. d 2 lt Sens gt Sets the sensibility of the module to incoming gate events At low values varying velocity of the gate signal doesn t effect the sound much while at higher values velocity modulates amplitude and pitch lt Pitch gt Sets the basic pitch It sets the basic pitch of the multi sine oscillator at the heart of the synth whose parameters are modulated by eight triangular oscillators These eight oscillators are controlled by the knobs lt FF gt lt AF gt lt Fdst gt lt Adst gt and lt Dpth gt lt FF gt Sets the main pitch of the four triangular oscillators used to modify the freqeuncies of the basic multi sine oscillator This pitch is modified by adding different multiples of lt Fdst gt to get the effective pitch lt AF gt Sets the pitch of the four triangular oscillators used to modify the amplitudes of the basic multi sine oscillator This pitch is modified by adding different multiples of lt Adst gt to get the effective pitch lt Fdst gt Sets the distance the step between the pitches of the four freqeuncy modulating triangular oscillators see also lt FF gt Rhythmaker REAKTOR FACTORY LIBRARY Manual 153 Grooveboxes lt Adst gt Sets the distance the step between the pitches of the four amplitude modulating triangular oscillators see also lt AF gt lt Dpth gt Sets the amplitude of the frequency modulating triangular oscillators lt Fenv gt This value is added to the fundamental pi
185. d an integrated pitch gate and modulation sequencer whose capabilities rival those of many standalone programs lts sound engine features two multiple waveform oscillators a multi mode filter multi mode distortion and finally a second multi mode filter A beat synced delay and a diffusion delay round out the effects The full featured sequencer offers independ ent control over gate and pitch for smooth pitch glide and also offers four channels of graphi REAKTOR FACTORY LIBRARY Manual 224 Sequenced Synthesizers cal modulation sequencing A complete modulation matrix lets you flexibly route the two enve lopes LFO four channels of sequenced modulation and the usual MIDI controllers to every important synth engine parameter 5 3 2 Quick Start Start the system clock and step through the presets Feel free to experiment with the synth controls try changing oscillator pitch or cutoff frequency for instance If you draw in the ta bles you will permanently change that preset if you save the ensemble so it s probably better to read the Sequencer section of this guide first 5 3 3 Structure and Signal Flow BlueMatrix s synth engine is based on traditional analog style synthesis It has two unique os cillators and a sound shaping section consisting of Filter 1 gt Distortion gt Filter 2 Both Blue Matrix and its polyphonic MIDI playable brother Green Matrix are created from Reaktor 4 s Classic Modular macro library which put
186. d for fine tuning Double clicking the left side of the value field restores the value to its default double clicking the right side will set the value to the closest integer value Pinch Modulation Matrix The upper part of the modulation matrix allows switching between the modes off env and Ifo which allow modulating the amount of pinch with the Envelope or LFO section at the bottom of the Lazerbass panel If switched on the left value field will adjust the minimum amount while the right value field will adjust the maximum amount of pinch The modes on the lower part of the matrix off cl c2 allow manually fading between two different individual pinch settings by using the modulation macro controls cl or c2 bottom left section of the Lazerbass Panel Control Apply Function Sets the overall amount of the periodic filter effect Stretch Switches between two different filter modes If switched off the periodic filter works in a linear way flanger like sounds if switched on the filter works in a logarithmic way phaser like sounds REAKTOR FACTORY LIBRARY Manual 330 Synthesizer Lazerbass Function Switches the filter type of the periodic filter to a square wave shape The result is a more artificial and digital sound Peak Sets the peak value for the individual cycles High values will result in a more artificial resonant and bell like sound 8 12 12 Using the Mo
187. d user interface Introduction Akkord is a hybrid additive FM synthesizer featuring an original tone generation engine com bining 3 oscillators a harmonics generator and flexible wave shaping options The rich and distinctive sound is enhanced by a range of internal effects and animated by 2 feedback enve lopes and beat syncable LFOs Further the ensemble features a unique chord sequencer with which to drive this powerful synthesiser REAKTOR FACTORY LIBRARY Manual 210 Sequenced Synthesizers Akkord Global controls Section Function Synth settings Akkord is a polyphonic synthesiser but it can optionally operate monophonically by enabling the Mono button In this mode when multiple MIDI notes are pressed si multaneously the lowest note is used VelAtt sets the extent to which the envelopes attack time is influenced by velocity softer velocity results in longer attack times Set to hard left for no influence Porta switches between one of two portamento modes When the button is off play ing notes legato style triggers pitch glide but when the button is on pitch glides ev ery time a note is played Time sets the portamento time from no glide at hard left to very slow at hard right Key and Fine transposes the note input in semitones and PBnd sets the pitchbend range in semitones Envelopes 1 and 2 Envelope 1 is hard wired to amplitude but like Envelope 2 it can also be freely as signed to o
188. dback echoes but most of all it transforms any incoming signal into stunning rhythmic sequences man gling pitches and re arranging the sound This is technically possible because all those effects are based on a delay unit and this instrument is an extremely versatile one Four internal sequencer tracks are the most prominent feature They allow for fast visual crea tion of musical patterns that you can use to modulate parameters such as delay times of the two independent delay units Those times can be set in sixteenth note multiples for tempo based effects or in milliseconds for comb filter like effects that map a new pitch onto the sig nal A filter a gating envelope generator and a final delay further enrich the sound 45 2 Global This top section of the instrument panel contains three parts the input control at the left the snapshot management in the middle and the shuffle control at the right The input control provides a simple sampler to load files and re trigger their playback synchronized to the sequencers The level of external signals can be controlled here The snap shot handling and the shuffle system are identical to those of Massive see that instrument s manual for further details Section Control Function Input Loop Switch Controls the events that re trigger the sampler If on the sampler starts play back at the file s beginning when the loop controlled by Length Control and Unit Select i
189. de speed i e the time that is used to reach the final pitch MW is the modulation wheel Man selects the lt Man gt knob for con trolling lt Man gt Sets the time used for gliding See also lt Source gt lt PBnd gt Sets the range of the pitch bend wheel in semitones Output The output section gives you control over the saturation a one band high shelf EQ and master level lt Sat gt Turns the saturation of the output signal on or off lt Drive gt Sets the amount of amplification before the siognal is saturated lt HiShlIf gt Sets the cutoff freqeuncy of the high shelf equalizer lt Boost gt Sets the amount of amplification of the high shelf lt Level gt Sets the final output amplification level REAKTOR FACTORY LIBRARY Manual 316 Synthesizer Junatik 8 10 Junatik REAKTOR LIBRARY 1 21 Junatik user interface 1982 about one year before the era of FM Synthesis began polyphonic analogous synthesizers finally became more affordable This was mainly due to a japanese company bringing an at tractively priced synthesizer to market which offered six voices and was named after a very im portant roman goddess Although the first version of that synth had no memory locations it convinced with its charismatic and full sound In fact the synthesizer was not complicated at all and sounds could be set up very easily and quickly therefore the absence of memory loca tions which were rather expensive
190. decay time of the envelope controlling the operator s am 0 100 plitude It starts after the envelope generator has passed its attack Decay 1 phase B Break point Sets the level of the breakpoint This level relative to the maximum 0 1 level after the attack phase is reached after the first decay time and is used as starting point for the second decay D1 Sets the first decay time of the envelope controlling the operator s am 0 100 Decay 2 plitude It starts after the envelope generator has decayed to the break y point At high settings the envelope becomes similar to a ADSR enve lope with B controlling the sustain level R Release Sets the release time of the envelope controlling the operator s ampli 0 100 tude This is used after the triggering MIDI signal has ceased REAKTOR FACTORY LIBRARY Manual 297 Synthesizer FM4 Control Function Range Vel Adjusts the amount of MIDI velocity applied to the envelope s ampli 0 1 Velocity tude At a value of 1 the envelope s maximum level is defined com y pletely by the triggering MIDI signal s velocity At a value of O the level is always at its maximum independent of the MIDI velocity KA Controls the influence of the MIDI note s pitch on the operator s ampli 1 1 Keyboard to tude At a value of 1 the amplitude rises by 6 dB per octave at a val y ue of 1 it falls by the same
191. delay times are static This can be used for early reflections type reverb Set 1 Quad chorus for all purposes especially chords and wide stereo imaging The input is passed through a 6db low pass filter Set 2 Double chorus featuring one LFO inverted for the second line This represents the classic stereo chorus configuration This configuration uses less CPU than the other settings Set 3 Quad chorus with a large delay offset Useful for pads The input is passed through a low pass filter followed by a high pass filter Set 4 Two delay lines with feedback for a Flange effect The input is passed through a low pass filter followed by a high pass filter Rotary Emulates a Leslie cabinet especially useful for organ type sounds The 4 sets offer different configurations of rotor speed and acceleration D W defines the dry wet mix balance and Drive sets the amount of distortion over drive Mode selects between 3 rotary speed control modes At hard left the rotary is perma nently in fast mode However when cantered the MIDI Modulation wheel is used to dynamically switch between slow and fast modes whereas at hard right the Pitch bend wheel is used for the same purpose REAKTOR FACTORY LIBRARY Manual 365 Synthesizer Photone Effect Description Distortion The distortion effect offers 3 different distortion algorithms D W defines the dry wet mix balance Drive determines the amount of
192. dented level of sound quality Photone boasts an ar REAKTOR FACTORY LIBRARY Manual 347 Synthesizer Photone ray of special features including custom oscillator types flexible control over filter routing vintage analog drift and detuning emulation and advanced modulation options In short Pho tone redefines the standard for REAKTOR synthesis Quick Start Photone is a complex and comprehensive synthesis workstation While it is strongly recom mended that you read this manual in its entirety those experienced enough to begin program ming Photone straight away should at least read this Quick Start section You are also advised to read all control hints available on the panel REAKTOR FACTORY LIBRARY Manual 348 Synthesizer Photone Section Function Filter Input Selection To summarise Photone s signal flow is oscillators gt filter gt effects gt output Howev er unlike many synths with a similar architecture the oscillators are not hardwired directly into the filter inputs Instead using the three Input Select sections the oscil lators can be individually routed into the filters or the filter bypass pathway Thus only oscillators that are selected in these 3 sections will be audible Note also that the Filter Bypass Select section is only relevant if an amp source for the bypass signal is selected in the Filter Routing box Further the Filter 2 Input Se lect configuration is only relevant in
193. des a satura tor Switch on or off with the power button Drive Controls overdrive intensity Bit Controls bit depth reduction EQ switch Switches the 1 band equalizer on or off Freq 1 band EQ frequency Amt Bipolar EQ cut boost 24 db Cutoff Filter frequency of the noise filter Shown in pitch values Cutoff mod Bipolar amount for the modulation track output of the sequencer altering the cutoff frequency Can be initialized with the init mod button Reso Resonance of the noise filter Reso mod Bipolar amount for the modulation track output of the sequencer altering the reso nance Can be initialized with the init mod button 3 12 4 Sine Synthesizers The three sine instruments are structured identically Each of them features a release parame ter for the decay time a pitch parameter and a simple pitch envelope with an intensity and a release parameter Here you can modulate the intensity of the pitch envelope and the decay time Pitch can also be slurred with variable glide As with the noise instrument you can use an overdrive bit reduction effect and a small equalizer You also get a multi mode filter with variable cutoff and resonance Both parameters can be targets of the modulation track of the sequencer Control Function Amp release Release time of the amplitude envelope Release mod Bipolar amount for the modulation track output of the sequencer altering release time
194. dio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information Effects Flatblaster REAKTOR FACTORY LIBRARY Manual 50 Effects Fusion Reflections 2 11 Fusion Reflections Diff DI iffuci Chor Echo Dry y Du Mod Speed Stereo Diffusion Bass Treble 4 AA H Chor Fusion Diff Du Diffusion Delay Feedback Master Dily Mod Speed Stereo ZC AAA ILS i ES EBUR A ft 0 S LP cnor O REAKTOR LIBRARY Echo Fusion 1 6 Fusion Reflections user interface 2 11 1 Introduction Fusion Reflections is a delay based effect that can create early reflections shimmering chorus es fluttering delays and even ambient reverbs Two distinct diffusion engines are chained to gether to create an extremely wide range of effects Each finely tuned diffusion engine consists of four stereo modulation delays and an innovative graphical display that shows the actual de lay time for each delay Just five controls control the core parameters of each diffusion engine REAKTOR FACTORY LIBRARY Manual 51 Effects Fusion Reflections 2 11 2 Quick Start Play some audio through the effect and select Preset 1 Long Decay Echo This preset only uses the Chor Fusion diffusion engine Play with the Diff Dly knob note how the graphic dis play constantly updates to show you the current delay times Stop the incoming audio to listen to the sound s decay Play with D
195. dio runs through Banaan Electrique linearly Input gt mono gate gt 3 band EQ gt Compressor 1 gt Amp Simulator gt Phaser gt Rotor gt Dual Delay gt Reverb gt Compressor 2 The incoming signal is converted to mono amplified gated equalized and compressed to con trol the input s amplitude level and to enhance those sounds wanted to be in the recording getting rid of any unwanted noise Then a guitar amplifier is simulated including distortion overdrive and filtering Its output signal is sent to a rotor module placing the mono sound in the stereo field dynamically This signal is then routed to a phaser effect and afterwards to a stereo echo unit whose delay times can be synced to master tempo or MIDI clock A high qual ity reverb enhances the spatial sound once more feeding its output into the final compressor Not all modules have to be active at the same time in fact it s a good idea to turn off any modules that you re not using to save CPU You can turn modules on and off with their respec tive Power buttons You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information REAKTOR FACTORY LIBRARY Manual 24 Effects Classic Vocoder 2 4 Classic Vocoder FILTERS PITCH gt Offset Dry Wet FILTERS RES gt PERK RELE
196. distortion and Colour controls the filtering tone of the wet sound dependant on the set Set 1 and Set 2 use two different overdrive saturation algorithms Set 3 uses a feedback satura tor for a more extreme effect Set 4 uses the same distortion algorithm but is velocity sensitive Resochord The Resochord Imprints harmonic structures onto the input signal by using 6 comb filters Chord selects from 16 preset chords Shift transposes the chord in semitones and Damp dampens the feedback signal Set 1 Dry signal mixed with wet signal Set 2 Wet signal only Set 3 Dry signal mixed with wet signal chord is transposed by MIDI note pitch monophonic Set 4 Wet signal only chord is transposed by MIDI note pitch monophonic Delay A tempo synced feedback delay unit D W defines the dry wet mix balance Set controls the delay time and Feedb Determines the amount of feedback Note that at short delay times the left and right channel times are spread for stereo imaging Set 1 No L R channel swapping Set 2 L R channel swapping at 50 Set 3 L R channel swapping at 100 and a post delay high pass filter Set 4 No channel swapping delay time is set in multiples of 12th notes as opposed to 16ths for Set 1 to 3 REAKTOR FACTORY LIBRARY Manual 366 Synthesizer Photone Effect Description Reverb For the reverb sets 1 to 4 offer 4 different room types D W controls the dry
197. dulation Matrix 4 52 Modulation Matrix area If the upper mode is switched to env or Ifo the sound parameter will be modulated by the Modulation Envelope or Modulation LFO section bottom of the Lazerbass panel You can set the minimum and maximum values for the modulation in the value fields MOD MACROS 7 O O 1 4 53 Fading between modulation settings REAKTOR FACTORY LIBRARY Manual 331 Synthesizer Lazerbass The modes on the lower part of the matrix c1 c2 allow manually fading between two individ ual modulation settings upper and lower value fields by turning the cl or c2 knob in the Modulation Macros section This makes it easy to do manual filter rides with a midi controller 8 12 13 Modulation Envelope This section controls the modulation envelope settings for the brightness and periodic filter pa rameters The results can be seen in each modulation matrix if set to env Control Function Att Sets the attack time for the modulation envelope Rel Sets the release time for the modulation envelope Vel PlLev Adjusts the velocity sensitivity for the level of the modulation envelope Time Adjusts the envelope time Invert Inverts the modulation envelope 8 12 14 Modulation LFO This section controls the modulation LFO settings for the brightness and periodic filter param eters The results can be seen in each modulation matrix if set to LFO Control Fu
198. e e The global pitch e The pitch of osc2 e The pitch of oscl e The frequency of the first filter e The frequency of the second filter e The pulse width of OSC1 OSC2 OSC3 e The resonance of the first and or the second filter A maximum threshold can be adjust ed to prevent self resonance REAKTOR FACTORY LIBRARY Manual 408 e The frequency modulation of OSC2 e The frequency modulation of OSC1 e The frequency of LFO1 LFO2 LFO e The main amplitude Each source can be switched on or off and when on the amount of modulation can be adjust ed by two controls one for coarse and one for fine adjustment The controls used to modify the signal of the different sources are explained at the end of this documentation Loudness Correction After filtering the signal is send to the Loudness correction This section amplifies certain fre qeuncy areas while attenuating others to enhance the sound due to its function as bass lead etc e lt On gt Switches the loudness correction on or off e lt Split gt Sets the breakpoint of the loudness correction Notes below this breakpoint are amplified notes above this breakpoint are attenuated e lt Amt gt Sets the amount of loudness Effects e Dimension Expander This effect generates a stereo impression out of the mono input sig nal Its controls are o lt On gt Switches the effect on or off o lt Sprd gt Sets the maximum stereo spread Try different setti
199. e cret for music played on a powerful PA system By only effecting the high frequencies the bass stays clear and doesn t get muddy MIDI control Any of the Scenario s parameters can be MIDI controlled Due to its complex in ternal structure using internal OSC communication between the three instruments you can t use MIDI learn on the parameters or they will not be remembered by the Scene Memory any more If your MIDI controller is programmable such as a Peavey PC1600 www peavey com or Bitsream www wave idea com then it s better to program your MIDI controller instead of us ing MIDI learn Saving live sets Each live set should be saved as its own ensemble so it can be recalled with all samples and scene memories intact Scenario REAKTOR FACTORY LIBRARY Manual 162 Grooveboxes Sinebeats 2 3 12 Sinebeats 2 DRIVE E j EQ m FILTER PREL F SS 25 3576 eas WWII TT wen puu 5 2 MIXER SNAPSHOTS FDEK RIN NOISE SINE ms cur Mop I STARTNOTE PULSE PULSE MODULATION RANDOM MODULATION RANDOM ent men w 1 SS LOOP START DIR LOOP START SS TEMPO 1 3 TEMPO 1 8 4 13 The Sinebeats 2 user interface 3 12 1 Introduction The REAKTOR library classic Sinebeats has undergone an overhaul for REAKTOR 5 Sinebeats is a beatbox based on three sine oscillators and a noise generator lts synthetic nature in com bination with the flexible effects section has made Sinebeats a classi
200. e EQ Amount Grain Pitch Grain Frequency Their technical meaning can not be explained here in detail their influence on the sound however can easily be heard when changing the values Grain Random Adjusts the amount of randomness applied to the grain synthesis The lower the value the more constant is the frequency at which new grains are generated Copy Copies the current effect parameter setting into a buffer that can be read out with the Paste button The data can easily be moved to another storage position by selecting another parameter slot with Morph A B Selection Display and A B Bank before pasting Paste Copies the buffer s data into the current parameter setting overwriting old values See also Copy Morph Interpolates between the parameter settings selected with A Selection Display and B Selection Display Move the marker completely to the left to activate and edit preset A move it completely to the right to activate and edit preset B Moving the marker in the space between gradually morphs from one preset to the other during morphing no edit ing of the preset settings is possible Preset A Bank A Selects the slot whose parameter settings are active and editable if Morph is moved completely to the left Each bank has sixteen slots See A Bank Selects the bank from which the A Selection Display loads its data Eight banks are available Preset B
201. e Polarity button Push Sets the amount of reverberating steam Saturation Soft Hard Controls the balance between soft saturation and hard clipping Symmetry This parameter introduces level asymmetry into the signal With increas ing asymmetry the positive part of the signal is reduced Polarity Polarity This control inverts the polarity of the pipe thereby changing the timbre of the sound It interacts tonally with the Push Pull section Mod wheel to Hi Pass O Sets the cutoff frequency of an additional highpass filter within the pipe filter to enhance formant frequencies The formants are modified by the pres sure in the pipe not by the pipe s pitch The pressure can be controlled by the mod wheel At low modulation wheel values this knob is used to determine the formant frequency Hi Pass 1 Sets the cutoff frequency of an additional highpass filter within the pipe to enhance formant frequencies The formants are modified by the pres sure in the pipe not by the pipe s pitch The pressure can be controlled by the mod wheel At high modulation wheel values this knob is used to determine the formant frequency Key track High Controls the amount of key tracking applied to the highpass filter s cutoff frequency Turn to the right for higher cutoff frequencies at high MIDI pitches REAKTOR FACTORY LIBRARY Manual 382 Synthesizer Steam Pipe 2 Section Control Function Lo Pass O Sets the cutoff frequen
202. e REAKTOR Beatloop module and thus automatically stretches loops to the current tempo You can drop samples on the sampler window or double click on it to open the REAK TOR map editor Transpose should be set to O for all samples Select the desired sample from the map using the Select knob Loop Lng and Offset and define the loop length and position offset in 16th steps respectively Pitch trans poses the sample in semitones The Loopplayer has 16 different automatic variation patterns these can be selected with the Pos Variator knob Center and Reso set the filter cutoff and resonance respectively and Width sets the fil ter width The filter can be bypassed by pressing the Bps switch Rnd Mrph determines the amount to which a slow randomiser is applied to the filter cutoff Fit links sample pitch with time stretching like a conventional sampler i e the slower the tempo the lower the pitch Smooth controls the sampler grain smoothness and Gain determines the output level Snapshot handling The Loopplayer state is not saved in the Fast FX snapshot table but pressing the Write creates a snapshot in the Loopplayer instrument Programs 1 to 16 are stored in bank 1 and programs 16 to 32 are stored in bank2 These are recalled when recalling snap shots on the Fast FX panel REAKTOR FACTORY LIBRARY Manual 44 Effects FlatBlaster 2 2 9 FlatBlaster 2 CH e FiatBiaster 2 Jint HIGH COMPR
203. e also External Output Selects to which of the four stereo outputs the sound unit is routed This shows no effect until Single Outs is activated REAKTOR FACTORY LIBRARY Manual 81 Grooveboxes Aerobic Section Controls Function Snapshot Power Switches the snapshot handling on or off Key Turns on or off snapshot recall by external MIDI note messages See Root Note and Root Snap for details Quantize Turns quantization of external MIDI notes on or off When on incoming MIDI messages will be synchronized to a pattern that is selected by Quantization Se lect Quantiza Selects the quantization pattern to which external MIDI messages can be tion Select synchronized Snapshot Recalls a snapshot of the master mixer Since all other components are slaved to this one storing or recalling a snapshot here affects all other instruments i e the sound units and sequencer Root Snap Sets the snapshot number recalled when the MIDI note adjusted by Root Note is received Snap Via Key has to be activated The note above Root Note re calls the snapshot that follows on the Root Snap etc Root Snap The first snapshot recalled after pressing this button will be used as new Root Learn Snap Root Note Sets the external MIDI note that if Snap Via Key is on recalls the snapshot ad justed by Root Snap Root Note The first MIDI note received after pressing th
204. e envelope s signal is inverted At maximum settings the value adjusted with P Range is reached FM 1 gt 2 Sets the amount of frequency modulation applied to Osc 2 by using 0 120 the signal of Osc 1 This is the maximum value applied when the en velope reaches its peak amplitude LFO 1 2 Clock Sync Switches synchronization of the LFO s rate to the current MIDI clock on off on or off Depending on this setting the rate can be controlled in Hz by the Speed control or as a time specified as multiples of a cer tain division of a 4 4 bar Speed If the LFO is not in Sync mode this knob controls its rate in Hz 0 05 30 N Beats per Controls the duration of one LFO cycle as number of beats The 1 32 Cycle length of a beat is specified by the Beats per Bar control Sets the number of beats into which one 4 4 bar is divided e g a value of 8 sets a beat s length to a eighth notes duration The bar Beats per i Bar length is derived from the current MIDI tempo Waveform Selects the waveform of the low frequency oscillator S amp H samples and holds a white noise signal at the given rate Brown is similar but uses brown noise i e with less high frequency components REAKTOR FACTORY LIBRARY Manual 273 Synthesizer 2 Osc Section Control Function Range PW Controls the pulse width if Pulse or Triangular are selected as O 1 Pulse Width
205. e from the drop down menu in the top left corner of this section In If Pulse then Width mode the shaper knob sets the pulse width of the main mod or sub os cillators if any of them are set to pulse Falling slope mirror mode inverts falling sig nals Slope to Sign converts rising signals to a static 1 signal and fallings signals to a static 1 signal similar to a pulse wave Parabolica runs the signal through a para bolic function and Sign converts positive signals to a static 1 signal and negative signals to a static 1 signal Note that selecting shaper bypass from the shaper mode menu bypasses the shaper only harmonics distortion cannot be bypassed Env and LFO control the amount of modulation of both the Harm and Shaper parame ters via the envelopes or LFOs The particular modulation source can be selected via the drop down menus at the left HR SR mixes between harmonic distortion only and harmonics plus shaped signal If shaper is set to bypass then this control mixes between harmonic distortion and the dry input signal Filter Six filter types are available selectable by the drop down menu in the top left All pass 1 is a 1 pole allpass phase shifter Allpass 2 is a 1 pole allpass with feedback and delay and a more pronounced phase shifting effect LP2 is a 2 pole lowpass fil ter LP4 is a 4 pole lowpass filter HP2 is a 2 pole highpass filter and HP4 is a 4 pole highpass filter REAKTOR FACTORY LIB
206. e is doubled per octave using the original Rate setting at C3 MIDI pitch 60 This shows no effect if Mono is activated Mono Deactivates the polyphonic mode If on all voices use the same LFO signal if on off off each voice is assigned to an independent LFO Key Sync Switches re triggering of the LFO by an incoming MIDI Note On on off One Shot If on the LFO stops oscillating after half a period This can be used to trans on off form the LFO into an AD envelope generator It doesn t work if Key Sync is off Pitch Amount Adjusts the amount of pitch modulation as the vibrato s range in semitones 0 100 The MIDI Modwheel s vibrato amount is added to this value see MW Pitch Amount in the Voice Mode section Amplitude Adjusts the amount of amplitude modulation as the tremolo s intensity E T Amount 8 6 5 Voice Mode Section The Voice Mode section specifies the way the instrument handles polyphony i e several notes that are triggered simultaneously Beside the polyphonic mode there are several monophonic modes that feature additional functions legato no re triggering of the envelope generators if a note is held when another one is pressed and portamento pitch glide The Output section spreads those voices within the stereo panorama and controls the main panning and volume REAKTOR FACTORY LIBRARY Manual 300 Synthesizer FM4 Control Function Range Pitchbend Adjusts the ran
207. e loop length changes when the effect is enabled A setting of 1 32 will result in a loop length that is 32 times shorter a setting of 32 1 will result in a loop length 32 times longer Spin Time determines the speed of loop length changing and Jtr sets the delay time jitter the amount of slow random variation 222227 This effect slices incoming sound into grains and then slides the pitch so that the pitch of each successive grain is either decreasing or falling compared to the previous Slice A and Slice B set the length of first and second slices respectively in 16th steps Length sets the grain length in milliseconds Below the knob labelled Mod sets the amount of grain length modulation Slide controls pitch slide and the Mod knob be low determines the amount of pitch modulation For both Length and Pitch modulation a collection of pseudorandom MIDI clock synchronised patterns are used as the modulation source The Rnd XY field is used to select the current pseudo random pattern each pixel represents one of the 1920 available patterns Asym sets the grain size asymmetry between the left and right channels Decay con trols the dry signal decay time the envelope is retriggered with each new slice i e at intervals according to the Slice A and Slice B controls REAKTOR FACTORY LIBRARY Manual 40 Effects Fast FX Section Function Slice Manipulator This effect also slices the incomin
208. e prematurely truncated caused by the original loop tempo being faster than the current tempo It is still possible to transpose the loop when the stretch button is active but obviously the loop will no longer be perfectly stretched to tempo In other words to be correctly stretched the pitch knob must be set to zero Shape Determines the compressor gain curve see also Smooth and Damp Smooth Reduces the amount of distortion by smoothing gain changes it controls the attack and release of the compressor See also Shape and Damp Damp Attenuates high frequencies reducing grainy sounding compression artifacts See also Shape and Damp Length Sets the hold period i e the length of the envelope shaping each slice s amplitude Decay Sets the decay time of the envelope shaping each slice s amplitude This is the master control that can be varied for each step independently Gain Sets the output level for the current pattern REAKTOR FACTORY LIBRARY Manual 107 Grooveboxes Limelite 3 6 Limelite LIMELITE GAINI FAN h ELECTRONIC INSTRUMENTS VOLUME 2 3 5 Limelite user interface REAKTOR FACTORY LIBRARY Manual 108 Grooveboxes Limelite Introduction Combining powerful sequencing options a huge bank of samples and an awesome array of ef fect processors Limelite takes the beat box concept to a whole new level Quick start Limelite s sound shaping possibilities a
209. e to all oscilla tors in the section simultaneously or click on the Individual buttons to assign oscilla tors one by one Mix section Section Control Function Mix controls The central fader crossfades between the two mix types left for A B summed and right for AxB ring modulated The A B knob offsets the B section level relative to the A section in the summed mixing The AxB knob controls the overall volume of the ring modulated mix ring modulation tends to be quieter than summed mixing Waveform display The phase offset of the X and Y axis can be adjusted by clicking on the screen and dragging the mouse in effect rotating the image Zoom amplifies or attenuates the input signal REAKTOR FACTORY LIBRARY Manual 259 Sound Generators Metaphysical Function FX section Section Control Function Filter The filter cutoff and resonance can both be controlled and automated by the Cut and Res faders LP HP crossfades between the lowpass filter at the left and the highpass filter at the right Mix crossfades between the unprocessed signal at the left and the filter output at the right Distortion Mix crossfades between the unprocessed signal at the bottom and the distorted sig nal at the top Drive determines the extent of the distortion EQ Hi determines high frequency shelving cut boost Set to the centre for no change Similarly Low determines low frequency shel
210. ea of the main dis play and the loop s length in the upper area In the middle on the steps the right mouse button adjusts the roll mode of each step through right clicking and pulling the cursor up or down on a step There are three roll modes that change their meaning depending on the triplet control Triplet Control Bar Step Roll Mode Resulting Length of a Step yellow No roll Sixteenth notes Roll 1 Thirty second notes the step is triggered twice Roll 2 Thirty second triplets the step is triggered three times Roll 3 Thirty second triplets with pauses at odd steps the first and third note of the triplet is played at even steps the second note Thus if two subsequent steps are set to this roll mode a sixteenth triplet is played red No roll Eighth triplets REAKTOR FACTORY LIBRARY Manual 127 Grooveboxes Massive 1 1 Triplet Control Bar Step Roll Mode Resulting Length of a Step Roll 1 Sixteenth triplets the step is triggered twice Roll 2 Thirty second triplets the step is triggered four times Roll 3 Similar to Roll 2 At the top end of each track there is a control for adjusting the loop length indicated by a small red number Right click and drag the mouse to select the loop area A small marker indi cates the current read out position within the loop A small white bar marks the current read out position of the sequencer track REAKTOR FACTORY LIBRARY
211. ease Rate Low High Level On Mono 0 EI O D U Byps A B EnFX Distortion 2 Bp accent MIDI ELECTRONIC INSTRUMENTS VOL 1 Input Distortion Push Envelope Follower On Hold Release Mono PkRel Smth am O 6 A BR Ent EN 13 Replacer MIDI ELECTRONIC INSTRUMENTS VOL 1 ENFX DELAY Feedb amp Mix ER Dry lWet Input Envelope Follower On Hold Release WE Output Mono PkRel Smth E 0 0833 0 6667 Es 2 3 EnFX user interface Introduction EnFX consists of three separate effects an envelope follower filter distortion and delay Even though the effects are together in one ensemble they can also be used independently The en semble is routed in series Filter gt Distortion gt Delay Each effect features a identical Input Envelope Follower and Output sections These sections will be explained first REAKTOR FACTORY LIBRARY Manual 31 Input lt Level gt Sets the input level in dB The meters show the post fader input level Envelope Follower An envelope follower isn t a dog that chases the postman Instead an envelope follower listens to the incoming audio and when the level of the audio exceeds a certain threshold then a simple HR hold release envelope is triggered This envelope can control different parameters depending on the effect The result is an effect that wraps itself around the incoming audio for an organic natural so
212. ecay Scale Modulation Amount Controls the amount of modulation applied to the Decay Scale pa rameter by the track selected in Decay Scale Modulation Source Cutoff Scale Scales all filters cut off frequencies for each sampler track with the Sampler Cutoff control REAKTOR FACTORY LIBRARY Manual 130 Grooveboxes Massive 1 1 Section Control Drive Scale Transpose Scale Function Scales all pre filter saturation drive amounts for each sampler track with the Sampler Drive control Scales all sample transpositions for each sampler track with the Sampler Transpose control See also Transpose Speed Scale Scales all speed controls for each of the three upper sampler tracks with the Sampler Speed control Reset Restores the values of all sampler tracks and the master section to default values Page Se lect Selects the page displayed on the panel controlling the Sound En gine Sample section The Main page contains the following param eters Select Transpose and Reset The Envelope page contains the following parameters Mute by Track Velocity Decay Dy namic Attack and Dynamic Decay The Start Page contains the Start parameter The Filter page contains the following parameters Drive Filter Power Cutoff Resonance Low pass High pass Crossfade and Reset The Grain page is only available for two of the six
213. ect Effect Mute Track Switches the tracks effect units individually on or off Effect Parameter Se lect Selects which parameter of the effect unit is displayed and edited within Effect Poly Control There are six parameters available pitch shift amount pitch shift grain size pitch shift delay time filter frequency decay time and amplitude Effect Parameter Modulation Displays the modulation value for each parameter by clicking on the display the mod ulation of the respective parameter can be switched on or off A sine LFO is used for modulation see Effect Modulation Rate Depth Phase Effect Modulation Rate Sets the speed of modulation in sequencer steps Effect Modulation Depth Sets the amount of modulation Effect Modulation Phase Sets the phase of the sine LFO Filter Sets an absolute offset to the effect s filter frequency shifting the individual values of each track that can be edited in the Effect Poly Display Feedback Sets the level of the signal that is routed from the effect s output back to its input Decay Sets an absolute offset to the effect s decay time shifting the individual values of each track that can be edited in the Effect Poly Display Mix Controls the ratio between the unprocessed dry sound at the left and the effect s wet signal at the right Level Sets the instrument s master level REAKTOR FACTORY LIBRARY
214. ect Selects one of the instrument s presets Those presets are normal instrument snapshots so the list of presets can be extended individually Group Defines the tracks whose signal is mixed to a group signal This group signal can then be routed to one of the outputs Each track can be selected or deselected with the mouse Outputs The six stereo output slots are connected to Reaktor s soundcard output Each slot can route an individual track the group submix or the complete mix to the soundcard for ex ternal mixing REAKTOR FACTORY LIBRARY Manual 138 3 8 Newscool ONO OPA Ge es OFFSET LENGTH PRESETS mew scool X WRAP Y OFFSET SENS 4 Simple Gliders D o RES ZER S e H O08 8 E ee FITCH SHIFT GRAIN DELAY FILTER DECAY AMPLITUDE RATE i RATE 4 gt D eee Ff tf gt O H DEPTH PHASE LEVEL MIX DEPTH PHASE FILTER FEEDBACK DECAY 9 ES A D A a e 4 12 The Newscool user interface Grooveboxes Newscool REAKTOR FACTORY LIBRARY Manual 139 Grooveboxes Newscool 3 8 1 Introduction Newscool is a REAKTOR classic now it s completely rebuilt with an innovative sequencer at the top and the characteristic sound engine at the bottom The engine consists of a tone generator on the left and a multi effect unit on the right The signal is produced by eight paral lel oscillator units whose parameters are modulated extensively The effect unit par
215. ected slice Track If activated the received MIDI notes not only trigger the playback of the slices but also select them for editing Solo If activated only the currently selected slice can be triggered by MIDI notes Sensitivity Adjusts the amount of slices If BPM Switch is on this determines whether the loop is sliced into eighth notes sixteenth notes or thirty second notes if the switch is off the knob controls the sensitivity of the transient detection algorithm BPM Switch Toggles between automated transient detection off and a slicing of the loop into parts of equal length on BPM Control Adjusts the tempo of the loop A tempo is extracted from the length of the sample file by using the and controls this value can be modified 4 1 4 Slice Parameters This section below the waveform display adjusts the parameters of the currently selected slice These parameters control the slice s start position and length its transposition an amplitude envelope a hybrid compression distortion unit entitled Shape and a filter By clicking their headlines the Envelope Shape and Filter part of the section can be switched on or off Note that the envelope section if switched off for each slice can still be used as a modulation source Section Control Function Position Start Adjusts the start position of the current slice Length Adjusts the length of the current slice Pitch Transpose Determines the
216. ed Sym can be adjusted using this control This control selects tge waveset in DIGI wavetable mode For the special oscillators in oscillator 4 the effects of this section vary see Appen dix 1 REAKTOR FACTORY LIBRARY Manual 352 Synthesizer Photone Control Function Osc 1 3 FM The frequency of oscillators 1 3 can be modulated by the output of the other oscilla tors or the output from filter 1 or 2 Select a source from the menu and set the amount of modulation using the slider Note that FM is not available for oscillator 4 Osc 1 4 Sync Here you can select a source to restart the oscillator phase Available sources are MIDI gate i e note on events or the other oscillators Every time the source passes above zero the oscillator phase will be restarted 5 Ringmod Noise Section 5 is not actually an oscillator instead it combines the output of a choice of oscillators 1 4 by ring modulation That is the outputs of the selected oscillators are multiplied by each other Section 5 also features a noise generator the output of which is added to the ring modulated signal As the Narrow Colored and Sizzle noise types are all sample based pitch transposition is available with the P knob Pitch transposition is not available for the pure White noise mode 6 Scanner Section 6 combines the output of the oscillators 1 to 4 by cross fading between them The cross fade position is de
217. ed in Core Cells This makes it possible to enrich Reaktor s default capacities with specialized high quality audio processing Frequency modulation for instance is implemented as phase modulation within this instrument s Core Cells In contrast to the algorithm used within the standard Reaktor modules phase modulation results in a slightly softer sound that additionally remains constant in its modulation amount all over the MIDI pitch range As another example the LFO is built as a Core Cell allowing for special fea tures like the One Shot capacity while maintaining the instrument s full polyphony The cho rus as a last example uses Core Technology to provide an effect of high quality without con suming loads of CPU power See below a detailed description of the instrument s controls and their functions 8 6 2 Operator Sections 1 4 The four Operator sections of the instrument s panel control the sine oscillators capable of fre quency modulation FM Each oscillator is defined by its frequency and its amplitude the lat ter one specified by an envelope generator When an oscillator modulates the frequency of an other oscillator controlled by the FM Sources section the amount of modulation is obviously scaled by the amplitude so the envelope generators also modulate the FM amount Control Function Range A Attack Sets the attack time of the envelope controlling the operator s ampli 20 80 tude D1 Sets the first
218. eedback contols Two LFOs modify the resonance and cutoff of the splitting filter e lt Res gt Sets the resonance of the filter that divides the sound into two bands e lt Res Depth gt Sets the depth of the LFO that modulates the resonance of the splitting fil ter e lt Res Spd gt Sets the speed of the LFO that modulates the resonance of the splitting filter e lt Split Freq gt Sets the middle frequency that divides the sound into two bands e lt Split Depth gt Sets the depth of the LFO that modulates the cutoff of the splitting filter lt Split Spd gt Sets the speed of the LFO that that modulates the cutoff of the splitting filter Each band of the delay operates identicaly e lt Feedback gt Sets amount of feedback for the frequency band e lt Time gt Sets delay time of the frequency band in 16th notes REAKTOR FACTORY LIBRARY Manual 223 Sequenced Synthesizers BlueMatrix 53 BlueMatrix SEQUENCER BEAT SYNC DELAY Reaktor blue tables pitch ntf O Delay Div Smth Wet Dry 222 ff D D gt 83038 Ee 0 00 OF Con apg d 0000 E HE A B EPER DIFFUSER CHORUS D 00000 0000 ER 30 4 E 0 Die H l o E E O 000000 Q Inc Rand co Quant co Ramp a smth Co Clear a 00000000 REAKTOR LIBRARY 1 16 BlueMatrix user inetrface 5 3 1 Introduction BlueMatrix is an incredible sounding sequenced synthesizer with a classic analog style sound engine an
219. elay sections on the panel are straightforward yet they aim for high quality sound Section Equalizer Control Function Range Low Controls the amount of boost cut applied to the frequencies 24 424 below Low Frequency in dB Low Specifies the frequency below which the signal is altered in 30 1000 Freq uency Hz Mid Controls the amount of boost cut applied to the frequencies 24 424 around the Mid Frequency in dB REAKTOR FACTORY LIBRARY Manual 301 Synthesizer FM4 Section Control Function Range Mid Specifies the center frequency for the middle band in Hz the 100 5000 Freq uency bandwidth can be controlled with Mid Width Mid Width Adjusts the width of the middle band 0 01 4 High Controls the amount of boost cut applied to the frequencies 24 24 above High Frequency in dB High Specifies the frequency above which the signal is altered in 400 15000 Freq uency Hz Chorus Left Right Controls the average delay times of the left and right channel 0 1 20 Flanger Delay effect units in milliseconds The delay times are modulated by an LFO around these values Depth Adjusts the amount of modulation applied to the delay times 0 1 as a part of the average delay time Rate Sets the modulation speed as rate of an internal LFO modulat 0 10 ing the delay time in Hertz Feedback Controls the amplitude of the de
220. elocity In this mode the table is a velocity shaper MIDI Pitch Router Routes the incoming midi pitch events to pre wired musically useful destinations lt 03 P gt If on the midi pitch of oscillator 3 is multiplied by the value of lt amt1 gt lt 02 P gt If on the midi pitch of oscillator 2 is multiplied by the value of lt amt2 gt lt 01 P gt If on the midi pitch of oscillator 1 is multiplied by the value of lt amt3 gt lt F Res gt Selects the mode of filter resonance modulation by the midi pitch o lt off gt resonance is not modulated by midi pitch o lt A gt Weak Decreases the resonance of both filters at pitches between 74 and 100 by up to 15 o lt B gt Moderate Decreases the resonance of both filters at picthes between 84 and 90 by up to 20 lt F cut gt Activates keytracking of both filters i e the frequency of the filters is connected to the midi pitch lt Amt gt Adjusts the amount of keytracking Turn left for no keytracking to mid position for exact keytracking e the filter freqeuncy is completely controlled by the midi pitch to the right for overdrive effects that produce very high filter freqeuncies for high notes lt Split gt Sets the center frequency of the keytracking algorithm If the knob to the left is turned to the right all notes above this center freqeuncy get much higher filter freqeun cies all notes below much lower filter frequencies lt EG3 D2 gt Selects the mode of modula
221. ement on playback Value When recording see Record every movement of this knob is stor ed to the memory During playback see Play the knob displays the recorded movements LFO 1 2 Waveform Selects the waveform of the Low Frequency Oscillator There are the Amplitude Modu lation Source standard waveforms Sine Triangular Pulse and Random Steps and several derivations Pulse is a pulse waveform with all negative values clipped to O Saw Up and Saw Down are trian gular forms with only rising resp falling ramp and only positive val ues Hsin is a multiplication of Pulse and Sine etc Selects the source used to modulate the LFO s amplitude Clicking the control s title bar restores the value to its default Amplitude Modu lation Amount Adjusts the amount and polarity of modulation applied to the LFO s amplitude Trigger Mode Reset Phase Selects the events that re trigger the LFO In Freerun mode no re set occurs in Gate mode the LFO is set to the phase adjusted by Reset Phase on a MIDI gate event Clock Gate is similar to Gate mode but also activates a grid for the LFO s frequency see Rate SP Clock Gate additionally synchronizes the reset to the global MIDI song position Adjust the phase to which the LFO is set on re triggering events Rate Modulation Source Selects the source used to modulate the LFO s frequency If Trigger Mode is set to Clock Ga
222. endent values for Bar and Offset Those two parameters control the starting point within the loaded sample thus they define the sample material being played which is then subject to re arrangement by Display the Sequencer section The length of the loop within the sample is controlled by Se quencer Meter and Sequencer Unit Selection Write Stores the current values of Bar and Offset into the current slot Slot Displays the number of the active slot in the Selection Display REAKTOR FACTORY LIBRARY Manual 179 Grooveboxes Vectory Control Function Bar Sets the starting point of the sample readout This control adjusts the number of bars to be skipped in the sample file See also Sample Loader Bar and Sequencer Position Offset Sets the starting point of the sample readout This control adjusts the number of six teenth steps that are added to the number of bars set by the Bar control See also Sample Loader Tempo and Sequencer Position 3 14 3 Sequencer The sequencer contains two sections The Seq Select part chooses one of several sequencer settings each setting is defined within the main Sequencer part that fills the left side of the instrument s panel The sequencer pattern is mapped onto the sample material selected in the Sample section Control Function Sequence Selects the active sequencer pattern There are sixteen slots in each bank See als
223. ent An advanced recall system allows for fast changes of sound pattern settings via a single MIDI note making the complex drums computer controllable from a keyboard in live stage use REAKTOR FACTORY LIBRARY Manual 88 Grooveboxes Aerobic Section Controls Function Mixer Level Sets the volume of the sound unit Solo Switches the sound unit to solo playing i e mutes all other units Mute Mutes the sound unit Pan Positions the sound unit s mono signal within the stereo field Wide Enhances the spatial appearance of the sound unit Ext Learn Activates the learn feature When pressed the next MIDI note will be assigned to this track and can be used as external trigger signal in addition to the internal gate signals of the sequencer See also External Output Selects to which of the four stereo outputs the sound unit is routed This shows no effect until Single Outs is activated Snapshot Power Switches the snapshot handling on or off Key Turns on or off snapshot recall by external MIDI note messages See Root Note and Root Snap for details Quantize Turns quantization of external MIDI notes on or off When on incoming MIDI messages will be synchronized to a pattern that is selected by Quantization Se lect Quantiza Selects the quantization pattern to which external MIDI messages can be tion Select synchronized Snapshot Recalls a snapshot of the master
224. ent from the current velocity o lt A D S R gt Sets the attack decay sustain and release portion of the envelope o lt Hold gt Switches hold mode on or off If on the envelope is triggered by a normal midi gate event but then it is independant of it i e the gate is open according to the control on the left then it closes and starts the release period o lt A D S R gt Sets the attack decay sustain and release portion of the envelope o lt H gt Sets the hold time i e the time in which the gate is open after a triggering midi gate signal It ranges from 1 up to 10000 milliseconds in logarithmic steps If the Hold switch at the right is off this control shows no effect e lt Smth gt Activates the additional smoothing of the envelope o lt Amt gt Sets the amount of smoothing Turn to the right for more effect Envelope EG2 The second envelope consists of an ADBDSR envelope with additional smoothing Turn the EG2 switch in the Gate Router section on to control the peak value of the envelope by the velocity of the current midi note if that control is off the peak is in dependent from the current velocity See EG1 above for information on the specific pa rameters Synthesizer Titan REAKTOR FACTORY LIBRARY Manual 403 Envelope EG3 The third envelope consists of an ADBDSR envelope with additional smoothing The breakpoint level and the second decay time marked by an asterisk can be modulated Turn the
225. entally move a MIDI controller The safest thing to do is take frequent snapshots of your drum kit configuration With the exception of the sampler map configuration all parameters are saved in the host plug in edit buffer This means that if you do not change the sample map you do not need to save a new copy of the ensemble But if you make any changes to the sample map you should use the REAKTOR autosave feature This will create a new copy of the Memory Drum 2 ensem ble and save it with your song When in doubt use the autosave feature to avoid data loss REAKTOR FACTORY LIBRARY Manual 192 Samplers Memory Drum 2 422 Global Parameters The master controls are located at the top of the instrument panel They adjust the instru ment s global settings which affect all loaded samples Note that both pitchbend and velocity can be assigned to samples individually using the modulation matrix in which case it is proba bly best to set the global knobs to zero Function Power Switch Mutes the entire instrument This does not switch the instrument off to save CPU power Mono When activated the instrument provides four independent mono channels as output ports otherwise it offers two stereo ports Bank Number Sets the number of sample banks See the Edit and Sample section for details Shift Transposes MIDI note input up or down as required Pitchbend Determines the amount that the pitchbend w
226. ents that re trigger the envelope generator Gate only tors 1 2 activates the MIDI gate signal Clock Gate re triggers the envelope at each unit selected by Quantization as long as the MIDI gate is open SP Clock Gate is similar but synchronizes the quantization to the global MIDI song position therefore the MIDI clock has to be running See also Globals EG Mode Quantization Selects the metrical unit used to re trigger the envelope if Trigger is set to Clock Gate or SP Clock Gate REAKTOR FACTORY LIBRARY Manual 282 Synthesizer Carbon 2 Section Control Key Function Controls the amount and polarity of modulation applied to the enve lope s transition times by the current pitch Turn to the left for nega tive modulation i e shorter attack decay and release times at low pitches Turn to the right for normal positive modulation i e longer times at low pitches Velocity Controls the current velocity s influence on the envelope amplitude At low values the envelope triggers with the same amplitude at high values the MIDI velocity determines its peak value Transition Time Modulation Select Selects the additional modulation applied to the envelope genera tor s transition times The attack phase can be modulated by the MIDI velocity while the decay time can be modulated by the velocity and the four MIDI controllers see MIDI Controllers The amount and polarity
227. equencer and global controls for pattern length and tempo swing The middle section has the main step sequencer where patterns can be edited up to eight patterns can be pro grammed and arranged per snapshot The lower section contains the sample playback engine controls including the sampler window where loops are loaded L3 is driven by the MIDI clock This means that when used in the stand alone version of RE AKTOR the play button on the REAKTOR toolbar must be pressed When used as a plug in L3 will only run when the host sequencer song is playing 3 5 2 Pattern Sequencer Each L3 snapshot consists of up to eight individual patterns labeled A through H As you will see on the panel there are 16 Pattern Selector Boxes along the top each displaying a letter A to H The pattern playback order depends on the arrangement of the letters displayed in these 16 boxes The leftmost box selects the pattern to be played for the first bar the second box selects the pattern for the second bar and so on Control Function Pattern Selector Box Controls the sequence of the patterns to be played one after another Click and drag es vertically on any of the 16 boxes to select a pattern Use the Loop Area Bar to deter mine the length and position of the loop Loop Area Bar Defines the area of the Pattern Selector Boxes played in a loop If only one box is selected only this pattern will be played this can be useful to edit and audi
228. equency of the low pass filter Reso Sets the level of resonance of the filter Only works when the filter is in 2 pole mode Poles Toggles between 1 pole and 2 pole low pass REAKTOR FACTORY LIBRARY Manual 379 Synthesizer Steam Pipe 2 Section Control Function Key track Controls the key tracking of the filter This will scale the cutoff frequency ac cording to keyboard position The lower the note pitch the lower the cutoff frequency will be Vel Track Controls the velocity scaling of the filter Turn to the right for higher cutoff frequencies at higher MIDI velocities Env Amt Sets the amount of envelope to the cutoff frequency 8 17 3 Pipe The Pipe module is made up of a number of sub modules for creating pitch and resonance The noise signal is fed from a single tuned delay providing pitch into the Allpass module for generating resonance Next a Saturator receives the signal and applies edge and break up The MW Filter completes the signal chain with an overall tone shaping stage The Feedback and Push Pull sections act on signals diverted from the main signal chain and passed back into it via feedback loops Unlike the Feedback section which simulates the pipe itself the Push Pull section controls the air and its oscillations within the pipe The Delay Tune module contains the tuned delay that provides pitch to the Steam The Tune and Fine tune knobs allow you t
229. er Titan Introduction Titan is a very powerful synthesizer that features three independently controlled oscillators three envelopes two flexible event table modulators three LFOs built in effects and a com prehensive modulation matrix Signal Flow Oscillators gt Filters gt Loudness Corrector gt Dimension Expander gt Chorus gt Delay gt Reverb gt 3 band EQ Oscillators The oscillator section contains three versatile oscillators OSC1 double OSC OSC2 and OSC3 A different waveform can be selected for each oscillator those marked by an asterisk can be pulse width modulated All oscillators can be tuned detuned and mixed The oscilla tors 1 and 2 contain additional features explained below For each oscillator the waveform can be selected Not all oscillators offer all possible wave forms e lt Off gt Turns the oscillator off e lt Sin gt Sine waveform e lt Par gt Parabol waveform e lt Par gt Parabol waveform with pulse width control e lt Tri gt Triangular waveform e lt Tri gt Triangular waveform with pulse width control e lt Saw gt Sawtooth waveform e lt Pls gt Pulse waveform with pulse width control e lt BiP gt Bipolar pulse waveform with pulse width control e lt Imp gt Impulse waveform e lt Nse gt White noise Beside the waveform selector there are the following knobs for each oscillator REAKTOR FACTORY LIBRARY Manual 400 Synthesizer Titan e lt P gt
230. er cycles The modes on the lower part of the matrix off c1 c2 allow manually fading between two different individual settings by using the modulation macro controls cl or c2 bottom left section of the Lazerbass Panel REAKTOR FACTORY LIBRARY Manual 329 Synthesizer Lazerbass Control Phase shift Phase Shift Modu lation Matrix Function Adjusts the amount of phase shifting for the periodic filter The left side of the value field adjusts integer values the right side is used for fine tuning Double clicking the left side of the value field restores the value to its default double clicking the right side will set the value to the closest integer value The upper part of the modulation matrix allows switching between the modes off env and Ifo which allow modulating the phase shifting with the Envelope or LFO section at the bottom of the Lazerbass panel If switched on the left value field will adjust the minimum value while the right value field will adjust the maximum value for the phase shifting The modes on the lower part of the matrix off c1 c2 allow manually fading between two different individual phase shift settings by using the modulation macro controls cl or c2 bottom left section of the Lazerbass Panel Control Pinch Function Adjusts the amount of pinch stretching of the periodic filter The left side of the value field adjusts coarse values the right side is use
231. er input is selected by default but to enable the Live input press the In 1 2 button in the Input section Fast FX will now process the audio input from REAKTOR audio in channels land 2 Global Controls Section Function Input Fast FX has two pairs of stereo inputs The first pair of inputs are connected to the Loopplayer instrument whereas the second pair are connected to REAKTOR s audio in ports Enable the 1 2 button to select the second pair i e for use with live audio input or when using Fast FX as a plug in inside a host application Level and Mute control the input level Junction This section allows configuration of the signal flow order between the 6 effects Eight possibilities are available in the drop down menu REAKTOR FACTORY LIBRARY Manual 38 Effects Fast FX Section Function Output Level and Mute control the output level All effects can be bypassed simultaneously with the Bypass button Mix The mix section controls the overall mix between the dry input signal and the wet post FX signal The mix is defined separately for low and high frequencies with the Low and High knobs Link synchronises the two knobs REAKTOR FACTORY LIBRARY Manual 39 Effects Fast FX The Effects Section Function Freeze The Freeze effect makes looping and scratching sounds Loop sets the loop length in musical time from 1 16th to 4 1 1 bar 16 16th s Spin determines how th
232. er knob LP1 HP1 and BP1 offer 6db low pass high pass and band pass filters The upper tracker and knob control cutoff Finally AE1 and AE2 are two audio enhancer algorithms The amount of enhancement is adjustable by the upper tracker knob Effect 1 and 2 Effect 1 and 2 Effect 1 offers four different effects Chorus uses a bank of modulat ed delay units to add width depth and richness to the input signal Rotary simulates a Leslie cabinet for electronic organ sounds Drive overdrives the signal resulting in a louder harsher sound and Resochord imprints harmonic structures onto the input signal by using 6 comb filters Each effect has 4 internal modes or configurations as selected by the preset menu Set 1 to Set 4 The user can then adjust 3 further parameters the function of which depends on the effect type The output of Effect 1 is then passed to the output of Effect 2 which offers a further 3 effect types Delay tempo sync feedback delay unit Reverb room simulator and Limiter a volume maximising peak clipper REAKTOR FACTORY LIBRARY Manual 357 Synthesizer Photone Section Control Function See Appendix 2 for a detailed effects reference EQ The EQ section provides the final stage in the Photone signal chain and offers 2 mul ti mode equalisers The Freq knobs determine the centre frequency in Hz whereas Boost sets the amount of amplification or attenuation in decibels
233. er tracks provides two main areas the main display with the individual steps and the smaller triplet control bar below The triplet control bar groups every four six teenth steps into a unit If the triplet control bar is yellow the steps above will be interpreted as sixteenth notes If it is red the steps are played as eighth triplets and the last of the four steps becomes inactive Track Control Area Function Main Display Displays the main gate sequence The height of each step represents its velocity and can also be used as modulation source With the left mouse button the values can be drawn copied or pasted depending on Edit Edit Mode With the right mouse button the loop start can be set by clicking in the low part of the display By clicking in the high part the loop length can be adjusted In the middle of the dis play the right mouse button adjusts the roll mode of each step Triplet Control Bar Controls whether a group of four steps 1 4 5 8 etc is interpreted as sixteenth notes or as eighth triplet In the latter case each fourth step is not played The display is handled with the mouse e With the left mouse button the steps and their velocity can be drawn copied or pasted depending on Edit Edit Mode a gate signal triggering the track s sampler unit is only sent at non zero steps see also Always in the sound engine e With the right mouse button the loop start can be set in the lower ar
234. eral modulation via the Modulation Matrix but envelope 1 can also be routed directly to output volume in the Fil ter Out section Otherwise the envelope generators are identical The CC1 section allows you to record modulation wheel movements To record a sequence click the Record button The button will flash indicating that it is armed and waiting Re cording will begin when a MIDI note is pressed and finish when the note is released or when all recording memory is used up You can record movements with the mouse or the CC1 knob on a MIDI controller As long as the Play button is depressed recordings will play back each REAKTOR FACTORY LIBRARY Manual 343 Synthesizer Oki Computer 2 time a note is triggered The recording is sent to MIDI CCl Therefore to use the recording as a modulation source select CC1 in the Modulation Matrix Note that even though sequences are recorded monophonically playback operates in full polyphony The sequencer is a highly flexible modulation source It can operate as an arpegiator a custom shape LFO or an additional envelope You can draw its steps with the mouse You ll find a standard LFO next to the sequencer Section Control Function Envelope 1 2 Attack Controls the attack time of the envelope generator Hold Controls the hold time of the envelope generator Decay Controls the decay time of the envelope generator Sustain Controls the
235. ere are a choice of four lowpass filters two bandpass filters and a combined bandpass lowpass filter BL4 In addition to the controls you re now familiar with from Filter 1 Filter 2 also offers the additional possibility to trigger self resonance with a built in click The Click knob controls how loud the click is and the Vel knob determines how the click responds to velocity After Filter 2 the sound passes serially through two delay based effects The Beat Sync delay and the Diffuser Chorus Note that extended versions of these excellent effects are available in the Fusion Reflections and Echomania ensembles The Beat Sync delay s large Delay knob sets the delay time in sixteenth notes The Div knob to its right divides the delay time to create dot ted and triplet times while the display above the Div knob shows the actual delay time For instance a Delay of seven sixteenths and a Div of two will produce a delay time of 3 5 sixteenths The small Q switch turns quantization on and off in respect to modulation com ing from the sequencer yes it is possible to sequence the delay time You can find more in formation on the sequencer below Smth sets an internal smoother on the delay time Natural ly feedback sets the feedback level while the HP P and LP P set the frequency of a highpass and lowpass filter in the feedback path The delay time can be modulated with an internal LFO with A amplitude controlling the amount of modulation P p
236. ers Choose which parameter of the tions sample player gets modulated by the LFO s oscillations Target parame ters are Offset Pitch Speed and Grain LFO Dpth This control determines how much the LFO affects the chosen parameter Seq Routes the modulation track of the sequencer to different parameters Choose which parameter of the sample player is modulated by the Modu lation track Target parameters are Offset Pitch Speed and Grain Seq Dpth This parameter determines how much the modulation track of the se quencer affects the target parameter Shape Sample start point You set the start point of the sample fragment by clicking into the wave waveform display form display It is indicated by a red line Speed Switch Binds the sample s playback speed to the song tempo The effect is simi lar to speeding up or slowing down a record player Pitch Switch Binds the sample s playback pitch to the song tempo The effect is simi lar to speeding up or slowing down a record player REAKTOR FACTORY LIBRARY Manual 176 Grooveboxes Splitter Section Control Function Rev When active the sample fragment is played in reverse starting from the set start point OfsQntz When active the Offset parameter works quantized to 16ths Select Selects a sample from the sample map offs This dial offsets the sample start of the currently edited s
237. ers in the instrument A great addition to your sequenc ing options is the roll slide track of the sequencer You can define 2 different rolls per sound unit that can be assigned to individual steps and you also can introduce pitch slides between steps The sequencer functionality also allows various direction modes individual tempo set tings and individual loop control Pitch recording via MIDI input has also been added If you want to hear Sinebeats without triggering the snapshots via MIDI notes see Snapshot sys tem you have to switch off Velocity in the Master section Control Function Sound units Switch the view between the Noise percussion and the four Sine synthesizers and their corresponding sequencers Rec Activates velocity modulation recording Hit Rec and let the sequencer run Then play notes on your keyboard to write triggers and velocity values for the instruments For the Sine units the note pitch information will be written into the Pitch dials Recording does not delete existing events They remain untouched as long as no new da ta is coming in via MIDI Run Starts or stops the sequencer Pitch dials Dial in the desired note pitch per step for the Sine units Ypu can also record the val ues via midi note input see Rec These are not available for the Noise unit Init Completely initializes the displayed unit s sequencer This includes deletion of the mod ulation and velocity tracks
238. es 343 9 145 Modulation Et 345 NEO AA E E 347 8 16 SoundSchool Analog oe cece cscsssssessssessesessescesescessesssesssssesseseseasessassssansasaressatsasansscansaeseaeensaseseas 369 8101 ue EE 369 8 16 2 Interface Areas and Control Elements 369 8 16 3 Page B Instrument Architecture ocoonocconocconennonennncnnere cerro 317 A ee 378 8171 A siaa A 378 Celie PPP O A 379 Dlls Pretendo picante 380 817A Global Controls cria 383 8 17 5 Space Master Deluxe 384 8 17 6 Input and Output Stage occ cescssessesessesessescssssssssersssssssssssscsssasnsaansaressareesanescaee 384 A EE 385 8 17 8 Frequency RESPONSE c ccssescssescssessssessssessssessescessassseasssssssseassssassasassavansanessauessaneaeans 385 A tee 387 8181 A A 387 A Quick A oe o sduisonennsstwearenudiveasabbnies 388 8 18 3 Structure and Signal FlOW c cceccsccccssssescsssscsssscesescscesssssceceusesscsssecssssseestessceesesseesess 388 e dbl 390 GE A e o A 390 REAKTOR FACTORY LIBRARY Manual 15 Table of Contents Be A ania titouianintoriiens weneasttaniis 391 819 3 O 391 8 19 4 Amplitude and Modulation Envelope c cccsessssesssessessssesssscsssscsrsstssssesssessseseaes 392 EE re EE E 393 8196 Formant Oscars 393 8197 MIX and Output 394 A A OE ON E A ascan cette 394 ei EU RE 396 A ue 396 8 202 QUICK RS E PP 5 eE nnitentninnaa eins 397 8 2003 Structure and Signal How iia dad 397 UCI 399 REAKTOR FACTORY LIBRARY Manual 16 Welcome
239. es the Start pa rameter Drive Sets the amount of pre filter saturation drive See also Sound En gine Master Drive Scale Cutoff Controls the cut off frequency of the track s filter See also Sound Engine Master Cutoff Scale Cutoff Modulation Selects the sequencer track whose signal modulates the Cutoff pa Source rameter Cutoff Modulation Sets the amount of modulation applied to the Cutoff parameter by Amount the source selected by Cutoff Modulation Source Resonance Sets the resonance of the track s filter Mode Crossfade Fades between the unfiltered signal at the left the signal of a high pass filter at mid position and a lowpass filter signal at the right Both filters use the parameters adjusted by Cutoff and Resonance Speed Sets the speed at which the sample is re triggered and the playback is looped back to the position defined by the Start parameter As the sampler s playback speed remains constant the played length of the sample is reduced at high re triggering frequencies finally only grains of the original sample are heard The starting sample grain can be se lected by the Start parameter Speed Modulation Source Selects the sequencer track whose signal modulates the Speed pa rameter Speed Modulation Amount Sets the amount of modulation applied to the Speed parameter by the source selected by Speed Modulation Source
240. esign by omitting conventional knobs or faders The basic structure of the instrument is simple to understand The tone generator s signal is shaped by an amplitude en velope and passed through reverb and equalizer REAKTOR FACTORY LIBRARY Manual 303 Synthesizer Gaugear 8 7 2 Overview GLIDE 4 45 Envelope controls The controls of the additional units are localized at the panel s left four letters for the enve lope s parameters A D S R ERES 01 8 06 8 asle 083 8 Kabel 088 5 MY2A 26 9 eum ls ie e 30102 13 0 nwoaa 011 6 Ein 057 2 4 46 Damping and reverberation To the right you ll find high and low damping as well as various reverberation settings In between there are the experimental controls of the tone generator Gaugear s signal is gener ated by eight parallel FM AM pulse oscillators with subsequent delays and lowpass filters REAKTOR FACTORY LIBRARY Manual 304 Synthesizer Gaugear tga PITCH NIT DELAY oi PIETER gga vee M0B DPTH C minor pentatonic MUTE d dy 4 47 Oscillator controls The circular controls at the panel s left adjust the main parameters of these oscillators like pitch delay and filter cut off vertical movements with the left mouse button pressed alter the position of each control ring horizontal movements change its spread and polarity Thus a range of values is adjusted for each parameter out of which one discrete value i
241. ets the gate length the higher this value the longer the gate remains open after a triggering event see also Quantization Length Modu lation Selects the modulation track that modulates the value adjusted by Length Release Sets the release time of the gate REAKTOR FACTORY LIBRARY Manual 124 Grooveboxes Massive 1 1 Section Control Function Output Modu Selects the modulation track that controls the level of the effect s output lation High steps in the modulation track represent full amplitude at minimum step values the output it muted Shuffle Scales the amount of shuffle applied to the effect unit This is independent of the main quantization pattern and is bound to a standard off beat shuffle EQ Low Frequency Sets the frequency below which all frequencies will be amplified dampened by a low shelf equalizer see also Low Boost Low Boost Controls the amount of amplification or dampening applied to the low fre quencies High Frequen Sets the frequency above which all frequencies will be amplified dampened cy by a high shelf equalizer see also High Boost High Boost Controls the amount of amplification or dampening applied to the high fre quencies Boost Reset Sets both boost controls to their default values Output Delay Level Adjusts the output level of the delay effect This is independent of the Main Level Gater Level Adjusts the output level
242. eudo ran dom way Seq Rnd Off These three buttons switch the modulation modes for the Select pa rameter Choose between direct modulation by the modulation track random variation based on the modulation track and no modulation Select Sets the base for sample selection via the modulation track This is the sample that gets played when MOD is inactive FIRST Defines the start point of the range for sample selection in the sam ple map LAST Sets the end point of the range for sample selection in the sample map Sample offset RAND This knob selects one of the pseudo random sequences Each incom ing value from the modulation track is transformed in pseudo random way Seq Rnd Off These three buttons switch the modulation modes for the Offset parameter Choose between direct modulation by the modulation track random variation based on the modulation track and no modu lation MOD Switches the modulation input from the sequencer on for the Sam ple offset module Offset Sets the base offset in the sample This is the offset that is applied when MOD is inactive QNTZ Controls sample offset quantization 1 1 16th 2 1 8 4 1 4 etc Smth Controls for re synthesis smoothness of sample playback This alters the sound when introducing extreme pitch settings Pitch RAND This knob selects one of the pseudo random sequences Each incom Env ing value from the modulation track is
243. everb a E Spacenrone x 25m v 0utw o Soros 4 39 Space Drone s reverb unit The reverb unit is contained within the panel s B view lt can further enhance the spatial char acter of the atmospheric pads When not in use it should be turned off by the Power control to save CPU power Although it is built completely within the new and efficient REAKTOR core layer it is designed to produce high quality reverberation sounds Control Function Size Sets the size of the virtual reverberation room Symmetry Places the signal in the virtual reverberation room Turn to the left or right to move the signal away from the center Diffusion Sets the amount of diffusion of the reverb signal Turn to the right for a less echoic sound Release Adjusts the time that passes before the reverberation sound has decayed Spin Sets the amount of modulation applied to the reverb Technically the modulation af fects the delay time of the delay modules on which the reverb is build Frequency Sets the rate of the LFO used as modulation source see Spin High Cutoff Sets the cutoff frequency of the lowpass filter that is damping the high frequencies REAKTOR FACTORY LIBRARY Manual 267 Sound Generators Space Drone Control Function High Damp Sets the amount of damping applied to the frequencies above the High Cutoff fre quency Low Cutoff Sets the cutoff frequency of the high
244. every few bars notice that every single pa rameter of Scenario is updated including all effect settings Feel free to play with any of the knobs to see how they influence the sound Notice that each effect must be first enabled in order to hear it simply click on each effect s Enable button You can only hear a cell when it s active to activate or mute a cell simply click on the button below that cell s level meters Scenario REAKTOR FACTORY LIBRARY Manual 158 Grooveboxes 3 11 3 Structure and Signal Flow The Scene Loop Engine makes all the noise It consists of four identical loop players and a handy bar beat counter so you can always keep track of where you are without having to count The three marching bars on top denote the number of 4 bars bars and beats Every sixteen bars it s reset to zero The summed output of all four loopers goes through the Scene Effects and then to the output Let s take a look at an individual looper in the Scene Loop Engine Each looper gives precise control over the loop length pitch and filter of the loop The tempo of the loopers are all synchronized to the master system clock whose tempo is settable in the toolbar The audio will stretch or compress in realtime to fit at the given tempo The time stretching algorithm is very high tuned for rhythmical material SampleSel selects which loop to play Each looper can hold a Map of 128 different loops and SampleSel simply selects the desired loops
245. expense of decreased sound shap ing Mod routes the mod sequence to one of several parameters in the section Wav wav selection P pitch D decay time or Cut filter cutoff The Snare mod menu also includes an entry for Flam time REAKTOR FACTORY LIBRARY Manual 114 Grooveboxes Limelite Section Function Hat The Hat unit contains 2 samplers one for open and one for closed hat samples Thus there are 2 decay times CD closed decay and OD open decay When Link is enabled the 2 samplers operate monophonically in that triggering one will terminate the other thus emulating a real hi hat on an acoustic drum kit The Mod menu is the same as with Kick and Snare Tie Port determines portamento speed and A defines envelope attack time FM sets fre quency modulation depth and MP defines the pitch of the FM modulator oscillator The sample can be mixed with white noise using the Noise knob The Vel velocity menu selects the modulation destination for velocity Velocity can be routed to amplitude by adjusting the V gt A knob hard left modulation hard right for full modulation Pod Zap controls FM depth but unlike the Tie the FM source is not an oscillator but a decay envelope REAKTOR FACTORY LIBRARY Manual 115 Grooveboxes Limelite Pulp and FX Section Function Pulp Pulp is a signal generator that transforms the input signal selectable by the central
246. f envelope Brightness Adjusts the Brightness filter for the Note Off phase The left side of the value field adjusts integer values the right side is used for fine tuning Double clicking the left side of the value field restores the value to its de fault double clicking the right side will set the value to the closest integer value Spec B Switches on a different timbre for the Note Off phase as selected in the Spectrum B field Select Spectrum B Selects a different overall timbre that can be individually applied to the Note On or Note Off phases The different settings globally affect the amplitude and ratio parameters of the synthesizer timbre but are invisible to the user 8 12 18 Global Pitch This section allows adjusting the global transposition and pitch bend range for the instrument REAKTOR FACTORY LIBRARY Manual 334 Synthesizer Lazerbass Control Function Transpose Pitch Bend Sets the global transposition value The left side of the value field adjusts integer val ues the right side is used for fine tuning Double clicking the left side of the value field restores the value to its default double clicking the right side will set the value to the closest integer value Sets the global pitch bend range The left side of the value field adjusts integer values the right side is used for fine tuning Double clicking the left side of the value field
247. features a bank of 50 waves For every patch you can load any 16 of these waves into the oscillator in any order This flexibility represents a major improvement over the original ensem ble where the oscillator was permanently hardwired to the same 16 waves What s more each wave loaded into the oscillator can be processed in a variety of ways What s New in 2 1 This update version features an improved oscillator section Internally the anti aliasing of the algorithm has been improved on the panel this becomes visible in the new Oscillator Tone control below the Distortion Mode selector It provides three settings bright represents the old mode while normal and soft remove the sound s harshness as far as it is caused by ali asing artefacts Due to this improvement the Copy and Paste buttons were moved and can now be found above the waveform display The exiting snapshots have been updated to use this new feature some have even been added Snapshots saved with Oki Computer 2 0 are compatible to this version however they will use random settings for the new control unless they are saved with Oki Computer 2 1 8 14 2 MIDI In The drop down list at the panel s top left switches between polyphonic and monophonic opera tion modes In polyphonic mode Oki Computer operates as a standard poly synth Monophonic mode does not restrict the number of voices to 1 it enables some very musical features lega to glide and
248. fect on or off The last effect Gate rhythmically gates the audio with the frequency set by Freq in sixteenth notes Offs sets the latency of the gate a higher offset value lets more audio through before the gate kicks in Hold controls how long the gate will be open for at small values hardly any audio will pass through The usual Enable button turns the effect on or off Finally we have a two band crossfader as a master dry wet control We have independent control over the high and low frequency ranges Low controls the mix of the low frequencies and High controls the highs When the crossfader is fully up the effect is active for that frequency range The third instrument is the Miniseq where you can draw in a retrigger sequencer for the Loop players All loop players share the same sequence but the retrigger sequencer can be turned on and off for each Loop player independently The small bottom most button underneath each Loop player activates the retrigger sequencer The bottom central Hold and Smooth knob ad just the hold time and smoothness envelope time of the retrigger sequencer for all loops The fourth instrument in Scenario is the Scene Memory the brain that doesn t make any sound This brain stores all scenes into a giant table Don t be frightened by the complex look ing table it s there just to show if a scene has information in it or not The current scene is shown in two ways by the read only PartN and SceneN numerical
249. fects the effect increases the more the signal is amplified before see Amp Clean doesn t perform any compression Amp simply controls the amount of amplification before the signal is routed to the master mixer 3 2 3 Sequencer The sequencer provides two tracks for each of the six drum synthesizer units a gate pattern and a modulation track The gate pattern determines the trigger signals and their velocity The modulation track signal can be routed to any parameter of the sound engine see Sound En gine Master Modulation A roll mode bar provides three different roll modes for fast re trig gering of a drum sound REAKTOR FACTORY LIBRARY Manual 87 Grooveboxes Aerobic Control Function Tempo Selects the tempo of the track Each step of the sequence can be interpreted as sixteenth note etc Thus the sequencer is always synchronized to the master MIDI clock use the host sequencer or REAKTOR s internal MIDI clock to start the sequencer See also Global Tem pol Global Tempo Sets the Tempo value of all six tracks Swing Sets the amount of swing i e the amount by which every second step of the sequence is delayed to shuffle the strict MIDI rhythm Roll Factors Sets the number of times the trigger signal is repeated if the Roll Mode is set to the re spective colors Init All Deletes all sequence patterns and modulation tracks and sets Swing to its default values T
250. fo gt In LFO mode the data table is read out from the left to the right again and again with the freqeuncy adjusted by the Freq knob and ist fine control below Note that the speed of the table readout can be modulated lt Key gt In Key mode one value is read out of the table according to the midi pitch i e low pitches select a value at the left high pitches at the right and held until a new pitch arrives lt Snc gt Switches synchronization to the midi gate on or off if the LFO is in LFO mode lt Freq gt Sets the oscillation frequency if the tabel is in LFO mode This is the coarse control with steps of 0 1 Hz lt Fine gt Sets the oscillation frequency if the table is in LFO mode This is the fine con trol with steps of 0 01 Hz lt Dec gt Sets the decay time of the envelope mode i e the time that is used to read out the data table from the left to the right Synthesizer Titan REAKTOR FACTORY LIBRARY Manual 405 Synthesizer Titan Event Table T2 See above for general information on Titan s event tables Table T2 is sim pler than T1 and offers two modes o lt Key gt In Key mode one value is read out of the table according to the midi pitch i e low pitches select avlue at the left high pitches at the right and held until a new pitch arrives In this mode the table is a pitch remapper or microtuning editor o lt Vel gt In Velocity mode one value is read out of the table according to the actual midi v
251. g sound and then shifts the position and playback direction of the slices Slice A and Slice B set the length of first and second slices respectively in 16th steps The two slicers work on a rotating basis so therefore the slice lengths alternate be tween the two settings The SncVar enables a mathematical formula to automatically rearrange and vary the slices in time Set to zero for no variation Rev A and Rev B enable reverse playback of the first and second slices Gate This section features a 16 step sequencer that modulates the amplitude of the incom ing signal The horizontal slider above the sequencer display selects one of the 20 available patterns for the sequencer and the lower horizontal slider sets the sequenc er clock speed The preset sequence can be varied by reducing the loop length with the Length knob or by varying the playback position with the PosVar knob This control applies one of 16 variation patterns to the sequence playback order Gate determines the length of the open gate as a proportion of a sequencer step Re lease sets the time the gate takes to close REAKTOR FACTORY LIBRARY Manual 41 Effects Fast FX Section Function Delay The section features a stereo delay line with a modulated filter in the feedback path Delay sets the delay time in 16th steps Fbck sets the feedback amount and Asym sets the delay time asymmetry between the left and right channels Filter
252. ge by which the instrument s pitch can be changed via the MIDI 0 24 Range Pitchbend Wheel in semitones MW Pitch Sets the range of pitch modulation via the LFO signal in semitones This vibrato 0 5 Amount can be scaled by the MIDI Modwheel Voice Mode Switches between different voice assignment modes There is one polyphonic mode i e several notes can be played simultaneously and four monophonic modes where only one note can be played at a time a new note automatically stops the previous one In Legato mode the envelope generators are not re trig gered upon a new MIDI Note On message if another note is already playing only pitch and velocity are changed While the 1 modes only use one voice the All modes combine the available voices to one unisono chorus that can be control led with the Detune knob Transpose Shifts the instruments main pitch in steps of a semitone 48 4 8 Tune Shifts the instruments main pitch in steps of a cent 0 5 0 5 Glide Sets the time used to reach a new note s pitch in seconds 0 4 Detune Sets the amount of detuning In all monophonic modes this specifies the max 0 12 interval in semitones between the different voices ment to play unisono If Voice Mode is set to polyphonic this specifies the spread of the tempered MIDI tuning in semitones per octave 8 6 6 Effects Sections The three effects finally provide additional sound shaping The Equalizer Chorus Flanger and D
253. ght i e velocity on the envelope s amplitude Turn to the left for full amplitude with every trig ger signal turn to the right to map the step s value onto the envelope s amplitude Controls the amount of modulation applied to the envelope s attack time by the triggering step s velocity At low velocities i e low step values the attack time is increased if the knob is turned to the right At left po sitions the velocity doesn t affect the attack time This is independent of the Velocity control Velocity Decay Controls the amount of modulation applied to the envelope s decay time by the triggering step s velocity At low velocities i e low step values the decay time is decreased if the knob is turned to the right At left po sitions the velocity doesn t affect the decay time This is independent of the Velocity control See also Decay Decay Additional Delay modulation tracks Sets the static decay time of the envelope that can be modulated by the triggering step s velocity see Velocity Decay REAKTOR FACTORY LIBRARY Manual 208 Samplers Lurker Control Function Quantized Delay Time Left Right Sets the static delay time of the left channel upper control and right channel lower control respectively in sixteenth note multiples of the global MIDI clock The actual delay time is calculated as the sum of this value and the delay time adjusted by Millisecond Del
254. global MIDI clock for creating stretchy rhythmic effects A drive and noise circuit combined with a feedback offset control recreate vintage sounds Get dub bing 2 6 2 Quick Start Play some audio through Echomania Flip through the snapshots and discover the gritty or crystalline depths of Tapedelay 2 6 3 Structure and Signal Flow The delay time is set in 16th note increments synced to the global MIDI clock The Unit and Divisor windows to the right of the Time control allow you to fine tune the beat division and create different rhythmic feels to be precise the enumerator divided by the denominator scales the delay time fraction REAKTOR FACTORY LIBRARY Manual 29 Effects Echomania There is also an LFO with blendable sine triangle square slow random waveshapes that is hardwired to modify delay time You can set the amount of time modulation with the Amount knob The Freq knob controls the rate of the LFO in 16th notes The Unit knob divides the speed of the global clock by the Unit amount For example if the Unit knob is set to 6 then the LFO Freq amount will be in 16th notes The Width control morphs between sine and pulse like or if the Tri button is engaged triangle and saw tooth waveshapes The starting phase of the LFO can be adjusted positively or negatively using the Phse knob If you engage the Snc button the right side LFO can be phase offset from the left side by the amount set with the Right knob
255. grain cloud delay module GrainStates lets you create granular soundscapes in realtime You can even freeze the live audio imagine playing a guitar into Grainstates freezing the audio then playing a counterpoint to the granular texture Eight scenes each scene storing information about grain size density pitch pitch spread and more are sequentially recalled in sync with the master tempo A dual frequency delay adds depth to the sound by letting you specify independent delay and feedback times for the high and low frequencies Grainstates consists of two ensembles GrainStatesFX and GrainStatesSP GrainStatesFX is an effect using the grain cloud delay that works on live input while GrainStatesSP is centered around the grain cloud sampler module The FX ensemble has the advantages that you can REAKTOR FACTORY LIBRARY Manual 53 Effects Grainstates FX easily process audio without loading anything into a sampler and you can freeze the incoming audio stream great for live performance Since the sound passes through the ensemble how ever there s no way to save the sound data with the preset GrainStatesSP stores the sample with the preset so it can easily be recalled at a later time but you must first load your sound into the grain cloud sampler 2 12 2 Quick Start GrainStates FX Start the system clock and run some audio through the ensemble You ll notice a graphical representation of the sound marching through the g
256. gt Switches the sensitivity to the midi velocity on or off lt Vol gt Sets the amount of amplification applied to the envelope signal As it is used for the main amplification of the sound this effects directly the main volume Grobian s single LFO can control the oscillators or the filter Like the envelopes LFO assign ments are made in the OSCILLATORS or CASCADE FILTER sections with the LFOcontrols When the MW switch is on then the LFO is activated by the mod wheel The LFO only has one shape it s always a square wave but its pulse width and phase can be varied lt MW gt Switches the controlling of the LFO output by the modulation wheel on or off lt F gt Sets LFO frequency speed lt Del gt Sets LFO delay the time it takes before the LFO is active lt Width gt Sets LFO pulse width lt Phs gt Sets LFO starting phase Synthesizer Grobian REAKTOR FACTORY LIBRARY Manual 315 Synthesizer Grobian Pitch Options This section lets you switch glide portamento on and controls the pitch bend range When Auto glide mode is activated the pitch will only glide when notes are played legato In Manual glide mode the glide time is controlled by the Man knob lt Glide gt Switches the pitch glide mode portamento on or off lt Auto gt Switches the auto pitch glide mode on or off When on the pitch only glides when the notes are played legato lt Source gt Sets the controller that adjusts the gli
257. h values result in a very wide spread melody while low values concentrate all objects pitch values around the central pitch Pitch Step Controls the difference in pitch between two adjacent objects Higher values result in more complex melodies All objects are aligned along a line and The Step param eter defines by how many semitones the next object s pitch is above its predecessor s At a maximum level which is defined by the Spread parameter the Step value is inverted so that the next object has a lower pitch than its predecessor At the minimum pitch level also defined by the Spread parameter the Step value is inverted again so that objects become higher This process continues until all objects have a specific pitch High Step levels increase the frequency of those inversion points and therefore the melody s varia tion also Pitch Shift Controls the initial object s pitch from which all other pitch values are derived dependent on the Step control in relation to the central pitch It can be used to create a variation of an existing melody Sequencers Spiral REAKTOR FACTORY LIBRARY Manual 240 Sequencers SQ16 e Velocity Velocity Controls the central velocity of the melody The velocity values of all ob jects are grouped around this center Increase or decrease this value to change the whole melody s volume e Velocity Spread Controls the velocity range of the melody High values result in a very wide
258. he Ifo amplitude is shaped by an AR envelope that is triggered by the midi gate In Sample and Hold mode this envelope has no effect Synthesizer Titan REAKTOR FACTORY LIBRARY Manual 404 lt A gt Sets the attack time of the internal envelope generator ranging from 1 up to 10000 milliseconds in logarithmic steps lt R gt Sets the release time of the internal envelope generator ranging from 1 up to 10000 milliseconds in logarithmic steps lt Psv gt If on only positve values of the Ifo are passed through All others are clipped to O LFO2 has less features than LFO1 See LFO1 for explanation of specific controls LFO3 is the simplest of all three LFOs It can generate a random Sample and Hold signal or a normal triangular waveform See LFO1 for explanation of specific controls Event Table T1 This event table table contains a data module whose information can be used in three modes see below 128 different patterns can be stored in the module however if an existing one is changed the sound of all snapshots using this pattern will change as the data module is independant of the snapshot control o lt Env gt In Envelope mode the data table is read out from the left to the right once with the speed adjusted by the Dec knob triggered by a midi gate on signal If T1 L1 in the Gate Router section is on the starting point of the envelope is shifted the more to the right the higher the velocity of the gate signal lt L
259. he XY modules on the panel e g the Pitch control You can also assign MIDI controllers to certain other controls that use Multi Picture modules such as the Shapel on off control To do this right click on the module and select show in structure Then assign a MIDI controller to the hidden button module beneath the Multi Picture module Be aware that whenever BeatSlicer 2 receives an event from an assigned MIDI controller it will write to the memory of whatever slice is currently selected This can be a problem with certain hosts which send extra MIDI controller data to plug ins on initialization or when stopping starting playback Or it can be a problem if you accidentally move a MIDI controller yourself The safest thing to do is take regular snapshots of your loop settings With the exception of the audio loop itself all global and per slice parameters are saved in the host plug in edit buffer This means that if you do not change the loaded loop you do not need to save a new copy of the ensemble However as you ll most likely work with different loops in different songs you should always use the REAKTOR autosave feature This will create a new copy of the BeatSlicer 2 ensemble and save it with your song 4 1 2 Global Section The master controls are located at the top of the instrument panel They control global settings that are applied to the complete sample loop and not to individual slices Note that both pitch bend and veloc
260. he attack time of the envelope generator controlling the sawtooth oscil 0 80 lator s amplitude Release Adjusts the release time of the envelope generator controlling the sawtooth oscil 0 80 lator s amplitude 8 5 3 Ensemble KleinStein and Delay Sections The Ensemble KleinStein and Delay sections crucially enrich the basic sawtooth sound and make Equinoxe Deluxe to an analogue sounding string instrument While the Ensemble section applies a high quality chorus effect to the sound the KleinStein section is based on a modulat ed phaser The Delay finally provides two stereo lines with independent controls REAKTOR FACTORY LIBRARY Manual 294 Synthesizer Equinoxe Deluxe Section Controller Function Range Ensem Rate 1 2 Controls the rate of the LFO that modulates the delay time controlled 40 10 ble by Timel Amount 1 Sets the amount of modulation applied to the main delay time O 1 2 Time Adjusts the main delay time in milliseconds 1 20 Mix Controls the balance between dry unprocessed signal at the left O 1 and wet effect signal at the right Klein Rate Sets the rate of the LFO modulating the phaser s center frequency 0 01 3 16 SE Mix Controls the balance between dry unprocessed signal at the left Ol and wet effect signal at the right Colour Switches between two phaser modes If on the effect is stronger on off Delay L R Time
261. he cutoff frequency a peaking or resp a self oscillation appears depending on the adjusted resonance Bandpass1 3 4 pole bandpass filter with a frequency response rising by 6dB octave until the cutoff frequency and falling by 18db octave after At the cutoff frequency a peaking or resp a self oscillation appears depending on the resonance adjusted Lowpass 4 4 pole lowpass filter with a frequency response running even until the cutoff frequency and falling by 24db octave after At the cutoff frequency a peaking or resp a self oscillation appears depending on the resonance adjusted Cutoff The most important parameter of every filter is the cutoff frequency This parame ter shifts passing range cutting range and the resonance spot The sound can be affect ed substantially The values shown are half tones REAKTOR FACTORY LIBRARY Manual 372 Synthesizer SoundSchool Analog Reson Another important parameter of most filter types adjusting the intensity of reso nance At higher values a peaking of the frequency response appears From a value of 0 97 on a self oscillation will be created The filter can now be used as an additional os cillator Env This controller determines by how far the cutoff frequency is modulated by the filter envelope It has a bi polar negative and positive range In the positive range the cutoff frequency of the envelope moves upwards in the negative range the envelope works in re ver
262. he equalizer REAKTOR FACTORY LIBRARY Manual 79 Grooveboxes Aerobic Section Control Function dB Sets the amount of volume boost or cut applied to the adjusted frequency Master Modulation Selects the target of the sequencer s modulation track The modulation shows no effect until the Track button is pushed Track Activates the modulation of the target selected by the sequencer s modulations track Amp Sets the amplitude of the signal before it is routed to the final shaper unit see Shape Shape Selects the operation mode of the shaper unit Polysat Sinesat and Hypersat saturate the signal with tube like effects the effect increases the more the signal is amplified before see Amp Clean doesn t perform any compression Amp simply controls the amount of amplification before the signal is routed to the master mixer 3 1 2 Sequencer The sequencer provides two tracks for each of the six drum synthesizer units a gate pattern and a modulation track The gate pattern determines the trigger signals and their velocity The modulation track signal can be routed to any parameter of the sound engine see Sound En gine Master Modulation A roll mode bar provides three different roll modes for fast re trig gering of a drum sound Control Function Tempo Selects the tempo of the track Each step of the sequence can be interpreted as sixteenth note
263. he global MIDI clock Sequencer Defines and displays the track s rhythmic pattern 4 5 4 Delay Units Two identical delay units form Lurker s core They can be used either in parallel or serially Each offers independent delay times for the left and the right audio channels both defined as multiples of sixteenth notes or in milliseconds At the left of the controls that adjust the delay times their modulation can be controlled even the depth of modulation is subject to modula tion resulting in complex interactions of several modulation patterns The knobs at the delay time controls right define the channel swap the amount of feedback and the feedback s filter ing Control Function Depth Sets the amount of modulation applied to the delay time This is independ ent of the static delay time and ranges from no modulation at the left to a modulation of about 260 milliseconds at the right The modulation signal is selected by the Modulations Source control below See also Depth Modu lation Amount Modulation Source Selects the sequencer track that modulates the delay time The amount of modulation at maximum modulation signals is controlled by Depth Depth Modulation Amount Adjusts the amount of modulation of the Depth control Turn to the left for inverted modulation i e there is much modulation at low modulation signals and vice versa to a mid position for no modulation and to the
264. he relative offset of each voice The 8 Rnge knobs define the modulation range for the 8 dynamic parameters So the actual value for a given parameter is determined by the base value and depending on the modulation range also the trigger velocity see the sequencer section and the LFO output The Phase phase knobs determines the relationship between velocity and the base value effectively rotating the effect of high and low velocities when the knobs are set to hard right Clicking on Val instantly randomises all 6 voices for all 4 parameters Mod randomises the range and phase controls To enable either LFO select a parameter to modulate from the Dest menu Len sets the length of 1 LFO cycle in bars and Phs sets the phase offset of the LFO cycle Mute and Solo are available for all 6 voices To mute a voice click on the bar under the left value display To solo a voice click on the bar under the right value display REAKTOR FACTORY LIBRARY Manual 99 Grooveboxes Krypt Section Function Sequencer Press play on the REAKTOR toolbar to run the sequencer it will now drive the sam pler Channels 1 to 6 of the sampler correspond to voices 1 to 6 of the sampler Dif ferent velocity values affect the sampler instrument as described in the above section The maximum loop length of the sequence is determined by the menu in the top left corner 16 32 or 64 steps and the loop range can be restricted further by clicking
265. he time taken to reach full amplitude Decay Specifies the time taken for amplitude to fall back to zero LFO Waveform Selects the waveform of the low frequency oscillator REAKTOR FACTORY LIBRARY Manual 196 Samplers Memory Drum 2 Section Control Operation Mode Speed Function In Hz and Sync modes the LFO phase is reset every time the note is triggered the only difference being that the frequency is quantized to tempo in Sync mode In Lock mode the LFO frequency snaps to the MIDI tempo and the LFO phase gets locked to the MIDI song position Sets the rate at which the LFO oscillates Phase Sets the phase to which the LFO is reset when triggered by note events In each modulation section A B and C the top box displays the current source and the bot tom box displays the current destination Click and drag vertically to change the source or des tination The slider bar specifies the amount and direction to which the source modulates the destination For example to assign velocity to amplitude select Velocity as the source Amp as the destination and set the slider bar to the full right hand position Section Control Function Polarity Range Sources Velocity MIDI note on velocity Unipolar Pitchbend MIDI pitchbend wheel Bipolar Pitchbend MIDI pitchbend wheel sampled at Bipolar hold note on CCl MIDI controller 1
266. heard in the output Dry Wet This controls the balance between dry and wet signal 2 15 3 Reflections Use the two Sizel and Diffusion parameters to dial in the early and late stages of variable density diffused reflections The early stage commonly represents the direct response of the virtual space whereas the late reflections define the sound when the early reflections have died away For dynamic reverb effects you can use the Modulation section It offers an LFO routed to the delay times with Ratel and Depth control The LFO can enhance your reverb signal by adding liveliness Section Control Functions Early Late Size Determines the range of space generated by the early or late reflections mod Reflections ules by adjusting delay time of the underlying diffusion delays Higher values give the impression of larger spaces Symmetry Introduces a stereo shift into the generated reflections Diffusion Adjusts the perceived density of the generated reflections Dial for a sparser or fuller reverb sound REAKTOR FACTORY LIBRARY Manual 66 Effects Space Master 2 Section Modulation Control Reverberation Functions This control alters the decay time of the reverb response Time Rate Control of LFO frequency modulating the delay times Depth This adjusts the LFO s modulation depth Higher values give you higher ampli tude of the modulation 2 15 4 Freq
267. heel affects the pitch of the entire kit Velocity Specifies the extent to which note on velocity affects amplitude for all samples Tune Transpose the pitch of the entire drum kit in semitones Gain Controls the overall output level in decibels Clear Resets all parameters of the current note to their default values Copy Copies all parameters of the current note to an internal buffer Paste Copies all parameters of the internal buffer to the current note 4 2 3 Sample amp Edit The Edit section displays the sample map Each slot represents a MIDI note if this MIDI note is received the sample selected within the Sample section is triggered As there is a maximum of 128 different MIDI notes normally only 128 samples can be loaded into a REAK TOR sample map However the two selection controls above the waveform display of the Sample section enti tled Bank Select and Sample Select override this limitation The best way to explain this is by example Imagine you have a total of 512 drum sounds on your hard disk this is just a hypothetical example and you wanted to load them all into Memory Drum so that they are all readily available for selection Start by setting the number of banks to four using the bank REAKTOR FACTORY LIBRARY Manual 193 Samplers Memory Drum 2 knob in the global section Next load the first 128 samples using the sample map editor assigning them to MIDI notes O to 12
268. hen through FX Matrix B For the B effect you have a choice of a tempo delay an innovative sequenced unit delay and a reverb The reverb core is taken from the SpaceMaster reverb available in the Library The Sequenced Unit Delay effect is unique to Kaleidon It consists of four delays whose delay time can be sequenced graphically An additional filter rounds out the effect to create dynami cally shifting atmospheres The Lurker patch is an excellent demonstration of what the Unit Delay can do Three envelopes can control many of Kaleidon s parameters and their shape can also be modulated by velocity or the mod wheel The modulation is controlled in the same manner as the filters Synthesizer Kaleidon REAKTOR FACTORY LIBRARY Manual 321 Synthesizer Kaleidon 8 11 4 Global Parameters Kaleidon s global parameters are nearly identical to Carbon s Parameters effecting the entire synth are set in the Global section such as Mono Poly set with the Mono button tuning uni son spread and glide Hold lets you specify how long each note will last for no matter how long the actual MIDI note was held down for value set in mSec underneath the Hold button Old controls how much pitch randomness is introduced to emulate vintage hardware REAKTOR FACTORY LIBRARY Manual 322 Synthesizer Lazerbass 8 12 Lazerbass LASERBASS alpha 1 00 O RATIO MULTI ratio scope PANNING z 6 LAYERBAXX O O o o 1 p
269. hows the current pitch of each oscillator The number of oscilla tors can easily be varied simply by changing the polyphony of the instrument in the instrument title bar REAKTOR FACTORY LIBRARY Manual 396 8 20 2 Quick Start Get your MIDI keyboard warmed up and check out the presets Pay special attention to the Tones Step Detune and Harmonics controls since they have a big effect on Sum Synth s sound See how the four controls interact to change the width and quality of the sound 8 20 3 Structure and Signal Flow Sum Synth uses additive synthesis techniques to generate its deep tones It has sine or square oscillator waveshapes with the capabiltity to produce up to 128 additive waves and a sound shaping section consisting of a stereo 4 pole lowpass filter an overdrive effect and the Diffus er Chorus Two envelopes further shape the sound one for volume and one for filter frequen cy which can also modulate oscillator pitch The oscillator can be switched between sine and square with adjustable pulse width wave forms The Pitch Control module contains controls to divide the oscillator pitch into detunable tones select the initial octave and add glide between notes The Step knob lets you separate the tones from each other by musical intervals Detune will as you can guess detune the in tervals from each other to give chorusing or atonal sounds The Harmonics knob generates ring mod like effects between the tones
270. hreshold limits You can manipulate the apparent sustain time of some sounds with the Threshold adjustment Long release times tend to sound more natural Finally you can make up for gain reduction after compression by adjusting the Out level You can also bypass the compressor by turning off the On switch You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information REAKTOR FACTORY LIBRARY Manual 76 Grooveboxes Aerobic 3 Grooveboxes 3 1 Aerobic fei B synthesizer Out v 6 Rubbery s 6 unison 41 UNIT 1 UNIT F MOD RATE SCH ES 0 yl 5 ses SEN 83 0 0 B sequencer H Ter u unison 1 ecg Cee AEROBIC REAKTOR LIBRARY PATTERN INIT ALL X In v Qutv 6 Rubbery 1 UNIT MUTE LEARN LEARN WIDE NOTE our 2 1 Aerobic s user interface REAKTOR FACTORY LIBRARY Manual 77 Grooveboxes Aerobic Aerobic is a step sequencer that controls a virtual analogue drum synthesizer The instrument produces tight innovative sounds far beyond the range of traditional drum computers This combined with the sequencer s capacities and the mixer s flexible routing options makes Aerobic a versatile beat production environment that can be used in live performances The drum synthesizer contains six
271. icro delay of up to 35 milliseconds for each track Delay Input Modula Selects the modulation track that controls the level of the effect s input tion High steps in the modulation track represent full amplitude at minimum step values the input is muted Highpass Fre Adjusts the cut off frequency of the high pass filter that is applied to the in quency put signal before it is sent to the delay unit itself Delay Time Sets the delay time There are three vertical control boxes the topmost ad justs the delay time for the left channel and the middle one adjusts the right channel The bottom control switches between sixteenth notes and eighth triplets as fundamental unit of the delay times Feedback Controls the amount of feedback Amount Lowpass Fre Sets the frequency above which the signal will be dampened quency Modulation Sets the amount of modulation applied to the Lowpass Frequency see also Amount Modulation Rate Modulation Controls the speed of modulation applied to the Lowpass Frequency The Rate modulations source is a triangular LFO Lowpass Reso Adjusts the resonance of the lowpass filter nance Pan Places the delay s signal within the stereo field Gater Gate Display Shows the current values of the gate length horizontal axis and the output level vertical axis Quantization Length Selects the trigger event quantization switching between sixteenth notes and eighth triplets S
272. igh envlope follower signals Use mid position to switch the modulation off The yellow meter displays the actual value of the parameter modulated by E e lt Dist gt Sets the amount of distortion On high distortion levels the signal might tend to fade Increase the drive value to fade it back in e lt Boost gt Sets the amount of amplification performed to the freqeuncies set by the Push and Pop knobs Effects EnFX REAKTOR FACTORY LIBRARY Manual 34 Effects EnFX e lt Drive gt Sets the amount of overdrive amplification e lt Pop gt Sets the freqeuncy of the post distortion peak equalizer e lt E gt Sets the amount of modulation and its polarity applied to the frequency of the post distortion peak equalizer Turn to the right for a higher frequency at high envelope follower signals turn to the left for lower freqeuncies at high envlope follower signals Use mid position to switch the modulation off The yellow meter displays the actual value of the parameter modulated by E e lt Res gt Sets the resonance of the post distortion peak equalizer e lt Dry Wet gt Crossfades between the dry unprocessed signal at the left and the wet proc essed distorted audio at the right e lt E gt Sets the amount of modulation and its polarity applied to the dry wet balance Turn to the right for a more wet signal at high envelope follower signals turn to the left for a more dry signal at high envlope follower signals U
273. imbral shaping of the DC Noise source occurs in the Steam section The low pass filter works in 1 pole or 2 pole mode though the resonance control only applies to the 2 pole filter After the noise is filtered the signal is fed into the Pipe module Section Control Function Envelope Attack Sets the attack time of an ADSR envelope triggered by MIDI gate events and used to generate a short initial steam signal logarithmic control Decay Sets the decay time of an ADSR envelope triggered by MIDI gate events and used to generate a short initial steam signal logarithmic control Sustain Sets the maximum level the envelope will reach This gets modulated by ve locity if VelSns is on Release Sets the time that passes until the envelope is completely faded out after the note off signal Velocity Controls the velocity sensitivity of the envelope The higher this value is the higher the peak value of the envelope will be Scaling This scales the envelope times depending on the pitch of the incoming MIDI notes Turn to the left for no keyboard scaling to the right for shorter enve lope times on higher notes Legato Toggles legato mode on or off If on the envelope restarts only when the gate changes from zero to positive Generator DC Noise Crossfades between the DC component at the left and filtered noise at the right The mixed signal is used as steam input of the resonating pipe Cutoff The cutoff fr
274. in a more lively sound which is more suitable for tonal material Note that under certain circumstances this can add pops to the signal In this case this section should be switched off Control Function Random Adjusts the intensity of the random phasing Shape Changes the random phasing patterns 8 12 5 Ratio Multiply This section changes the frequencies of individual partials by multiplication with a set value The affected partials are defined by a pattern mask The multiplication results in a transposi tion of the affected partials which allows significant changes of the basic timbre Please refer to the ratio section of the visualization area Control Function Multiply Sets the multiplication factor for the frequencies of the affected partials Pattern Defines the size of the recurring pattern of affected partials REAKTOR FACTORY LIBRARY Manual 326 Synthesizer Lazerbass 8 12 6 Ratio Add This section changes the frequencies of the individual partials by adding a set value The af fected partials are defined by a pattern mask The addition results in a frequency shifting of the affected partials which allows changing the basic timbre Please refer to the ratio sec tion of the visualization area Control Function Add Sets the addition value for the frequencies of the affected partials Pattern Defines the size of the recurring pattern of affected partials
275. inv inv e e 0 e mst RMI RM2 RM3 RM4 snd2 1 lt 2 Resz i E t th gi if A Mi oo Res Mast Reso smth dE oi BPZ BP3 Lowpass Lev3 Lewy e snd3 102 Res3 sndu 1492 Eesen BANDWIDTH MODULATION BWI Bw2 DU Bwy meee e Ms gt mstr panl pan pan3x pants Boost Thresh Drive Freq Ratio RCE input Level OscMix Smp Select 0 g x416 x 16r A An me o co wn es msecl msec i FEED BA D gt Dmod sec feed SES S1 i ol Ss x161 x 16r a e msecl msec e D F gt swap Enan T Master Bypass Lew MIERRING Il Instrument and Sounds by Mike Daliot Panel by Timothy Lamb 1 17 Vierring user interface 5 4 1 Introduction ly Mad Vierring is a creative rhythm generator where you can run any audio through and get percolat ing percussive patterns Vierring divides the incoming audio into four frequency bands and each band can be graphically sequenced for amplitude and ring modulation Two delay effects enhance the output REAKTOR FA CTORY LIBRARY Manual 231 Sequenced Synthesizers 5 4 2 Structure and Signal Flow Before sound enters the Vierring ring modulation engine the filters in the Freq Shift section split up the sound into four bands Hicut and locut will remove high and low frequencies re spectively while the three band pass BP knobs set the crossover points to create
276. is button will be used as new Root Learn Note Store Stores the current settings of the complete ensemble to the current snapshot number see Snap If Store To Next Snap is activated the subsequent snap shot number will be used to store the data Any data previously stored there will be overwritten Therefore one should start a completely new bank of snapshots when working on a project Store 1 If activated upon pressing Store the settings of the complete ensemble will not be saved to the current snapshot as displayed by Snap but to the next one Level Master Sets the master volume Velocity Slaves the Master control to the velocity of incoming MIDI notes used to recall snapshots REAKTOR FACTORY LIBRARY Manual 82 Grooveboxes Aerobic Section Controls Function Single Outs Switches on or off the sound units routing to different outputs When off all sound units are mixed to one stereo signal when on there are four stereo outputs to which the six sound units can be individually routed see Output External Switches on or off the triggering of the sound units by external MIDI notes When off the sound units are only triggered by the internal sequencer See also Ext Learn REAKTOR FACTORY LIBRARY Manual 83 Grooveboxes Aerobic 3 2 Aerobic v Outw UNIT 1 UNIT WHITE 9 a FILTER A j o FREQ F MOD sequencer KC 6 Rubbery
277. it onto a grid to allow very short decays as well as very long decays The grid also performs triplet division of the time 0 3333 0 1667 0 0833 etc The following controls effect both channels lt Rate gt Sets the rate of a low freqeuncy oscillator whose output is modulating the higher boundary freqeuncy of the filter Turn right for higher rates i e faster modulation lt Dpth gt Sets the amplitude of a low freqeuncy oscillator whose output is modulating the higher boundary freqeuncy of the filter Turn right for higher amplitudes i e more modu lation of the fregeuncy lt Lift gt Sets the maximum level lifting Turn right to enhance very quiet signals esp in a long feedback tail with decaying audio Be careful with this knob as also quiet noise and clicks etc are amplified and become very audible Its effect increases if the drive knobs are turn to the left lt Swap gt Sets the amount and mode of channel swapping of the incoming signal Turn to the left for no swapping i e the left channel remains the left one the right channel the right one Turn to mid position for mono processing i e both signals occur in both chan nels Turn to the right for crossfading i e the left channel signal becomes the right channel signal and vice versa lt Rate gt Sets the rate of a low fregeuncy oscillator whose output is modulating the delay time Turn right for higher rates i e faster modulation Effects Longflow REAKT
278. it with the filter saturator unit The SinQ can also produce nice sounds when used in unison modes with a small amount of detuning Mod 1 Sym Quantisation step size Mod 2 FM Quantisation step size Sync Available Saw gt Square The oscillator features a Sawtooth and a Square a pulse at 50 width rout ed into a crossfader The crossfade po sition is controlled via the Sym and FM sections Note that only the crossfade position is modulated the width of the square is always static Nice for some growling basses when used with the filters Crossfade posi tion Crossfade posi tion Available Bass Two pulse oscillators that when used with LP Filters this can sound like a plecktryfied bass Sync phase shifts one of the oscilla tors only resulting in offset between the two oscillators for different tim bres Try adding a sine wave for warmer sounds Pulse width of one of the two oscillators Pulse width of one of the two oscillators Always synced via Gate REAKTOR FACTORY LIBRARY Manual 361 Synthesizer Photone Wave Description Mod 1 Sym Mod 2 FM Sync Additive Additive Consists of 6 sine waves off Shifts the rela Shifts the rela Available set to each other in terms of both tive offset of tive offset of pitch and amplitude pitch and am pitch and am This is mainly designed for organ plitude between plitude
279. itates the oc tave over rolling of a Wurlitzer Epiano in the lower ranges Good results can be obtained by setting the amount of over rolling with trackers and velocity Over rolling amount Over rolling amount N A REAKTOR FACTORY LIBRARY Manual 363 Synthesizer Photone Wave Geiger Description The Geiger oscillator produces impuls es at a frequency somewhere between totally random and the note pitch Try using this as a synchronisation of FM source for other oscillators or to add some vintage crackle Mod 1 Sym Randomness Mod 2 FM Randomness Sync N A Click Click Not actually an oscillator in stead it Sample mix N A N A produces a single impulse click on each MIDI note on event This is useful for trig gering the comb filter for physical modelling or to colour the attack of a sound The Click is sample based You can mix between two samples by using Sym Sample mix N A N A REAKTOR FACTORY LIBRARY Manual 364 Synthesizer Photone Appendix 2 Effect Section Reference Effect Description Chorus Uses a bank of modulated delay units to add width depth and richness to the input signal D W defines the dry wet mix balance Depth determines the amount of delay modu lation and Rate sets the delay modulation speed Note that when depth is set to zero hard left no delay modulation occurs i e the
280. itch controlling the fre quency and L R controlling the stereo spread BlueMatrix REAKTOR FACTORY LIBRARY Manual 226 Sequenced Synthesizers The Diffuser Chorus consists of four stereo modulation delay The main delay time is controlled by the Diff Dly knob Diff sets the inaccuracy of the delay times to spread the sound Like the Beat Sync delay an LFO with similar controls modulates the delay time 5 3 4 The Sequencer Blue Matrix s sequencer consists of three areas where sequencer data can be drawn in the uppermost handles the pitch of the notes in the sequence the field below displays the trigger and velocity information of those notes and the last one contains four independent tracks where additional modulation data can be stored and edited There are a number of horizontal and vertical control bars for zooming selecting the length of the sequence and selecting the edit range for commands such as randomize quantize and copy paste insert Important Note As the complete sequencer is based on Reaktor s event tables please note that the table data and snapshot data are independent of each other The snapshots correctly store the position of all knobs relating to the sequencer but they don t store any of the table data Naturally it is possible for each snapshot to have its own sequence but you must take tare that the global Seq knob is set to the same number as the current snapshot Otherwise if different presets sha
281. itch modulation by the low frequency oscillator See also lt lfo7 gt and lt lfo2 gt Cascade Filter To get the warm and rich sound associated with analog filters Grobian s filter uses a neat trick where the saturated output is sent through the filter again after a very short delay In addition to the usual Cutoff and Resonance controls you II notice another large knob to control the de lay in the feedback path of the filter Not only can Grobian s filter self resonate a very unusual feature in a digital filter but the sound remains rich and warm even with very high resonance values an even more unusual feature in a digital filter You can switch between two filter modes New and Old The technical differences between the two are slight but New sounds warmer and Old sounds more resonant lt Cutoff gt Sets the basic cutoff freqeuncy of the filter lt KTr gt Sets the amount of key tracking Positve values result in a cutoff freqeuncy that follows the pitch of the oscillators at mid poisition there is now key tracking i e the cut off freqeuncy is not affected by the midi pitch and negative values produce an inverted key tracking i e the higher the pitch of the oscillator the lower the cutoff frequency lt Vel gt lt EG2 gt lt LFO gt Switch the modulation of the cutoff frequency resp the feed de lay see lt Feed Del gt by the correspondent source midi velocity envelope EG2 LFO on or off lt E gt lt
282. iting all the slot s parameters Samples Waveform Right click on the title bar of the waveform display to access the sample Disbla map menu ctrl click for Mac users When in Edit mode you can set the pay red sample start line by clicking on the waveform REAKTOR FACTORY LIBRARY Manual 175 Grooveboxes Splitter Section Control Function Control Speed Mode These settings affect the Speed parameter of all sample slots In free mode the speed can be dialed in freely in grid mode it is quantized to 16th note values Grain Mode These settings affect the Grain parameter of all sample slots In free mode the grain length can be dialed in freely in grid mode it is quan tized to 16th note values in note mode the grain length is quantized to steps corresponding to the 127 MIDI notes Length Shows the length in 16ths of the sample currently selected from the sample map Pitch Shows the sample s pitch deviation from original pitch when played at the current tempo Speed Shows the sample s pitch deviation when played at the current tempo 1 represents original speed LFO Speed Adjusts the frequency of the Low Frequency Oscillator snc Activates synchronization of the LFO to the song tempo Waveform With this menu you can choose between six different LFO waveforms sine sawtooth reverse sawtooth pulse and two random modes Modula LFO Routes the LFO to different paramet
283. ity can be assigned to slices individually using the modulation matrix in which case it is probably best to set the global knobs to zero BeatSlicer 2 has four output channels By default these are used as two stereo output chan nels but can be used as 4 discrete mono channels by enabling the Mono button Samplers BeatSlicer 2 REAKTOR FACTORY LIBRARY Manual 186 Samplers BeatSlicer 2 Control Function Power Switches the complete instrument on or off Technically this mutes the output the in strument is still on and consumes CPU power stereo outputs See also Out Pan and Out Out Port Root Selects the root key for the loop i e the first slice will be assigned to this key 60 Middle C 48 C 1 etc Pitchbend Determines the amount by which the pitchbend wheel affects the pitch of the entire loop Velocity Specifies the amount by which note on velocity affects amplitude for all slices Gain Controls the overall output level in decibels Tune Transpose the pitch of the entire loop in semitones Clear Resets all settings of the current slice to their default values Copy Copies all settings of the current slice to an edit buffer see also Paste Paste Copies all settings from the edit buffer into the current slice see also Copy 4 1 3 Loop Section The large window displays the waveform of the current loop it is also the place to load loop files BeatSlicer 2 ca
284. justed using the Tune control The Style knob selects a timing value on a preset sample trig ger grid i e 1 8th notes 1 16th notes 1 32nd notes etc You can turn each sample on and off using the mute buttons below the level meters 3 3 4 The Sequencer Event tables are used to sequence the pitch and trigger values for the sample loop module The Pitch table sets the pitch for each step of a 16th note grid The Trigger table selects which of the four possible samples plays on each step of the grid You can place a rest into a se quence by selecting no sample for that point on the grid As the clock runs the sample selec tions play on the steps they are set for A Transpose fader to the right of the Pitch and Trigger tables shifts the pitch sequence up or down You can select a sample for each of the four samplers using the Choose table Load new sam ple maps into the sampler module by double clicking on the waveform display You can label your sample categories by double clicking on the text field to the left of the Choose table and typing in the corresponding areas The clock controls for running and modulating the sequence all appear in the upper left hand corner You can use the Scene knob to store sequencer and sample settings independently of the snapshot menu You can store up to eight scenes The Reset selector allows you to deter mine when the sequencer will reset its start point to the step chosen with the Start selector From top
285. l mode firstly configure the desired 6 pitches using the knobs in the Chord Structure section and then press Store In MIDI mode firstly select the desired slot and then simply press the desired notes on your MIDI keyboard As mentioned above the 6 values at the top of this section display the current pitch es of the resonators The 6 knobs at the bottom are used for defining the 6 pitches in manual pitch modes The main window allows configuration of various parameters for the 6 resonators Ad justable parameters are Lev volume level FB resonator feedback amount Cut fil ter cutoff Fine fine pitch adjustment LFO amplitude modulation depth by the LFO and Pan position in the left right stereo field REAKTOR FACTORY LIBRARY Manual 61 Effects Resochord Section Function To select which parameters to edit click on the button next to the parameter label Then click and draw in the main window to edit the parameter for the 6 resonators InitSel or InitAll reset the values for the 6 resonators for either the selected parame ter or all parameters respectively Input Input defines the amplitude of the input signal O 100 The Clip lamp will light if the input signal is too loud Highpass This section applies a 12db highpass filter to each of the 6 resonators The cutoff frequency is linked to the pitch of each resonator Cutoff sets the offset between each filter cutoff and the act
286. lation amount inverted and have control over LFO waveform symmetry with the Symm knobs The top sequencer row controls the length of each note The middle row lets you program a pitch sequence while the bottom row sets gate value which is wired to effect velocity or vol ume for each step The pitch can be offset to transpose the sequence using the Pitch knob Engaging the MIDI switch next to Pitch allows you to transpose the base pitch of the sequence and play chords with a MIDI keyboard You can use these controls to create complex modulat ing arpeggiations The Scale Correction section gives you the option of mapping pitch data on to a specific scale for example a c major or pentatonic scale or a Dorian mode This can cre ate subtle and moving effects when you transpose the sequence pitch using a keyboard WaveWeaver REAKTOR FACTORY LIBRARY Manual 236 Sequencers Spiral 6 Sequencers 6 1 Spiral PITCH CORRECTION O 4 28 Spiral user interface REAKTOR FACTORY LIBRARY Manual 237 6 1 1 Introduction Spiral was initialy developed for REAKTOR ANIMATED CIRCUITS Purely a MIDI instrument it does not create any sound by itself it is used as drone like sequencer for other instruments and its generative algorithms create fractal melodies that merge mathematics with music To understand the way Spiral works have a look at the picture above It shows the Ensemble s panel within REAKTOR focused on a central cir
287. lator s signal when mixed with the Oscillator section s signals Cutoff Sets the filter s center frequency as MIDI pitch Depending of the fil ter s operation mode see Lp Bp Hp and Pole Select resp the frequencies below above or around this frequency are passed all others are damped Res onance Controls the resonance of the filter Within the first Filter section the resonance is also influenced by the 2p 4p control i e the amount of damping The second Filter section s Ladder filter features con stant resonance independent of the amount of damping even when only using one pole Values above 1 produce self oscillation of the filter This is controlled with the Sat Lvl knob Lp Bp Hp Crossfades between three operation modes of the first Filter section At the left a lowpass is activated rejecting all frequencies above the Cutoff frequency At the right a highpass is used rejecting all fre quencies below the Cutoff frequency At a mid position only the fre quencies around the Cutoff value are passed Oil REAKTOR FACTORY LIBRARY Manual 271 Synthesizer 2 Osc Section Osc Env Filter Env Amp Env Control Function Range 2p 4p Crossfades between the 2 pole and 4 pole outputs of the first filter 0 1 At the left the filter offers a damping of 12 dB per octave at the right the damping is 24 dB per octave Lp 1 Lp 4 Select
288. layed signal mixed with the 1 1 unprocessed incoming signal Negative values shift the wet signal s phase by 180 degrees Mix Adjusts the balance between dry unprocessed sound at 0 E and wet delayed sound at 1 Stereo De Left Right Controls the delay time for both channels If Sync is activat 0 1 1000 lay Delay ed this time can be adjusted according to the current MIDI tempo else it can be set in milliseconds Clock Sync Switches between free delay time control off or synchronized on off to the MIDI tempo on Feedback Controls the amplitude of the delayed signal mixed with the 0 1 unprocessed incoming signal X Amount Controls the amount of cross feedback as percentage of the 0 1 main feedback amount see Feedback High Cutoff Controls the cutoff frequency of a lowpass filter in Hz applied 100 20000 to the feedback signal Mix Adjusts the balance between dry unprocessed sound at 0 0 1 and wet delayed sound at 1 REAKTOR FACTORY LIBRARY Manual 302 Synthesizer Gaugear 8 7 Gaugear Lia DELAY D KEIER A Sp Poe A Uy ws WW TON GLIDE C pelog MUTE Ze Re Uy 4 44 Gaugear user interface 8 7 1 Introduction oss R EAR CC Jee Gaugear is an experimental monophonic synthesizer its sound explores sonic worlds that can not be classified by MIDI pitches or a quantized clock and its unique user interface invites new ways of sound d
289. ld be turned off by the Power control to save CPU power Control Function Size Sets the size of the virtual reverberation room Symmetry Places the signal in the virtual reverberation room Turn to the left or right to move the sig nal away from the center Diffusion Sets the amount of reverb signal diffusion Turn to the right for a less echoic sound REAKTOR FACTORY LIBRARY Manual 394 Synthesizer SubHarmonic Control Function Release Adjusts the time that passes before the reverberation sound has decayed Spin Sets the amount of modulation applied to the reverb Technically the modulation affects the delay time of the delay modules on which the reverb is built Frequency Sets the rate of the LFO used as modulation source see Spin High Cutoff Sets the cutoff frequency of the lowpass filter that is damping the high frequencies High Damp Sets the amount of damping applied to the frequencies above the High Cutoff frequency Low Cutoff Sets the cutoff frequency of the highpass filter that is damping the low frequencies Low Damp Sets the amount of damping applied to the frequencies below the Low Cutoff frequency Mix Crossfades between the unprocessed dry signal at the left and the reverberated wet sound at the right Power Switches the reverb unit on or off Turn off to save CPU power when the reverb is not in use REAKTOR FACTORY LIBRARY Man
290. lease period if a new attack is triggered Re trigger starts the attack phase beginning with the current envelope amplitude Re set starts the attack with a value of zero Thus Reset might lead to unwanted clicks if used without care REAKTOR FACTORY LIBRARY Manual 285 Synthesizer Carbon 2 Control Function Unisono Sets the amount of detuning applied to each voice when Uni Mono or Uni Legato is selected as Gate Model Slight detuning results in thick chorus like sounds Unisemi Sets the amount of pitch shifting applied to each voice when Uni Mono or Uni Legato is selected as Gate Model This acts like the Unisono control but detunes the voices in semitones e g a value of 12 will set all voices one octave apart Drift Enables a drift mode that slightly detunes higher pitches This results in a more ana logue like sound Key Activates key scaling for the unisono control If pressed the Unisono value is lowered automatically at high pitches for a more constant sound over the complete pitch range of the instrument Velocity Selects the mapping applied to the MIDI velocity While Linear doesn t change the ve locity Log results in a compressor like effect while Expo produces the opposite ef fect Coarse Sets the global tuning of the instrument in semitones ranging from 63 to 64 Fine Sets the global tuning of the instrument in semitones ranging from 0 5 to 0 5 Glide S
291. length is 8 it would run at half the speed of the main sequence REAKTOR FACTORY LIBRARY Manual 111 Grooveboxes Limelite Section Control Function Pattern remixing Typically drummers repeat a basic sequence with a variation on the th or 8th bar for example The remix sections allow this style of play to be emulated without the need for manually programming the variation pattern The Remix knob selects a pattern from the 127 pre programmed variations The rate of the variation pattern i e every other bar every 4th bar every 8th bar etc can then be set with the remix frequency knob top right When the Now button is enabled the remix frequency knob is overridden and the remixed pattern will play continuously This is especially useful for when browsing through the 127 patterns with the Remix knob lt Shift gt varies the remix pattern in one of two ways Positive values shift the output position of the remix patterns whereas negative values shift the start position of the remix patterns Thus bearing in mind that all remix patterns are 16 steps in length consider the example of pattern one 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 A shift val ue of 1 will increment all steps resulting in 2 3 4 5 6 7 8 9 10 11 2 3 4 5 6 7 A shift value of 1 will rotate all steps so that step 16 is rotated back to the first step resulting in 6 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 Remix Swing Y tempo and accent controls
292. ll be added at the right Del L R Set the difference of the running time of both delays here This produces more natural sounding reflections LFO Rate The speed of the LFO modulating the delay time Amount The amount of LFO modulation Use moderately as it affects pitch modulation Feedback With longer delays this control sets the number of audible echoes With shorter delays the comb filter effect will be amplified by the feedback which produces intense tone colorings Lowpass The delay signals are filtered by lowpass filters The cutoff frequencies of those filters are controlled here The lower you set this control the more dull the output signal will sound Dry Wet Control the mix between un affected original signal and effect signal here With the control all the way left dry only the original signal is audible Turning it to the right wet you ll hear more and more of the effect signal Inv L Inverts the left delay s signal before it gets mixed with the other signals With short delay times this changes the sound of the comb filter effect Inv R Inverts the right delay s signal before it gets mixed with the other signals With shorter delay times this changes the sound of the comb filter effect 180 Activate this controller for a reversed LFO modulation of both the left and the right channel Cross FB With this switch turned on the signals will be fed back cross wise that is the left delay s output is
293. lower window To select which of the 3 sequences to edit click on the label to the left of the window To reset a sequence click on the label while simultaneously pressing any MIDI note Note that unlike the Tie and Mod sequences the Pod sequence is bi polar Both neg ative and positive values can be entered for pitch transposition for example When editing the pod sequence double clicking the mouse results in a centre zero value This will trigger the sample but yield no velocity modulation Note that the Tie Pod and Mod sequences are independent of the main sequence While the main sequence has 4 patterns which can be freely arranged the Tie Pod Mod sequences loop continuously and independently of the A B C D pattern sequenc er Remix section length controls This remix section contains a variety of patterns for defining and rearranging the main and Tie Pod Mod sequencers The length of the main pattern and the Tie Pod Mod patterns can be set using the controls at the bottom of the section labelled Len Tie Pod and Mod The start posi tion can be edited with the value beneath the Len knob The 3 buttons beneath the Tie Pod and Mod length knobs stretch the Tie Pod Mod sequences to fit the length of the main sequence So for example if the main se quence is 16 steps long and the Pod sequence is 32 steps with stretch is enabled the Pod sequence will run twice as fast as the main sequence Similarly if Pod
294. ly Mod and Speed to see what effect they have on the sound and the graphic Be sure to check out all the other presets to see how versatile this effect can be 2 11 3 Structure and Signal Flow The sound passes through two diffusion engines serially It s important to note that the two en gines are similar but not identical they each offer unique sound shaping capabilities The first diffuser Chor Fusion is the simpler of the two and is designed for early reflections cho ruses and atmosphere If offers a high and low shelf EQ with a graphical display of the EQ curve The second diffusion engine Echo Fusion adds a feedback delay before the diffusion delays The diffusion delays in the Chor and Echo engines are identical Echo Fusion is per fectly tailored to late reflections long delays and long reverbs A highpass filter HP cuts the low frequencies after the delay and before the diffusors while a lowpass filter LP can reduce the brightness at the last step The input to the Echo Fusion engine can be switched between the dry signal and the signal coming out of Chor Fusion In the Mixer section the signals of Chor Fusion gt and Echo Fusion are combined and mixed with the dry signal Each section can also be switched on or off to save CPU 2 11 4 Diffusion Delays Both the Chor and Echo Fusion engines contain identical diffusion delays As mentioned above Echo fusion adds a single feeback delay before the diffusion delays but the
295. ment Random yet rhythmic patterns can be generated with the Filler by virtue of three ran dom cycles While Lng adjusts the length of each cycle in steps the Prb controls the probability of steps being generated within the cycle length The cycles are combined and repeatedly across the entire length of the sequencer when the Rnd button is depressed By pressing R additional events will be added to the current sequence whereas R subtracts some events Pressing All or shortcut key R also results in writing the random sequence to the sequencer but also simultaneously triggers both sets of Mod and Val buttons in the Sampler instrument as described earlier Smp or shortcut key S triggers the sam ple left side Mod and Val buttons only whereas Eff or shortcut key E triggers the effect right side Mod and Val buttons Snapshot and Play list While individual snapshots of the sampler and sequencer can be stored and recalled via REAKTOR s internal snapshot handling they can additionally be managed with the Snapshot instrument Snapshots can be stored by pressing the Store buttons on the left for the sequencer on the right for the sampler or in the middle for both simultaneously The knobs labelled Seq and Smp select the destination snapshot number for the sequencer and sampler respectively Seqg Smp sets both to the same value simultaneously In addition to using the knobs the Prev or
296. meter can then be edited within the Edit Area where each bar represents one of the eight parallel oscillator units that form the tone generators REAKTOR FACTORY LIBRARY Manual 263 Sound Generators Skrewell Control Function Function Switches between the various parameters that control the channels Depending on the Operation Mode there are different sets of available parameters The values of the selected parameter are displayed for each oscillator section in the Edit Areal Edit Mode Selects in which way the instrument interprets mouse movements within the Edit Area Draw allows direct adjustment of each bar Wrap lowers raises all bars si multaneously keeping their ratio constant If a value exceeds the value range it is mir rored Rand performs random changes on all eight bars Edit Area Displays the selected parameter with one bar representing the parameter s value for each of the eight channels Mouse movements within this area alter those values con trolled by the Edit Model Display Control Scales the Lissajous display 7 2 4 Master Controls These master controls either scale the settings of the Sound Engine section e g Delay Timel or adjust additional tone generator parameters e g Flow Amount As they affect all eight channels of the tone generators simultaneously they can be used to alter the overall sound Control Function Oscillator Pitch Modifies the
297. mode press the button directly beneath the slider The sliders will now begin playback of the last recorded automation sequence In automation mode the playback position is displayed underneath au tomation button When it reaches the end of the sequence it will loop back to the beginning The playback position display also functions as a recording arm button Click it once to enter recording mode the display will flash Now place the mouse cursor over the fader and while depressing the mouse button move the mouse cursor Notice that the position indicator will stop flashing and will instead display the recording position as a proportion of the available re cording time When you have finished recording release the mouse button The position indi cator will return to recording arm state and resume flashing Click it once to return to playback mode the newly recorded sequence will now commence playback Two of the automated faders labelled P1 and P2 are dedicated to pitch modulation They can be assigned to any or all of the oscillators using the pitch modulation matrix which is posi tioned above section A and B either side of the P1 and P2 faders Click the All button to route the fader to all oscillators or assign them individually by clicking on the buttons above the os cillator icons Automation data is saved and recalled with snapshots as with other knob and fader settings REAKTOR FACTORY LIBRARY Manual 257 Sound Gener
298. mple Bank Select Selects the bank from which the Sample Select controller picks a sample Sample Se Selects the sample that is played when the currently active MIDI note is re lect ceived see also MIDI Note and Sample Map Display Sampler Displays the wave file selected by Sample Select You can also load new files Start Position into REAKTOR s internal sample map editor here Adjusts the start position within the sample file Reverse Switches between forward and reverse playback of the sample Pitch Transposes the sample up or down in semitones REAKTOR FACTORY LIBRARY Manual 194 Samplers Memory Drum 2 4 2 4 Sample Parameters In this section you can adjust the parameters and effect settings of the currently selected sam ple see Edit Sample map Display There is an envelope controlling the sample s amplitude a lo fi distortion effect a compression saturation unit labeled Shape a multi mode filter and a final output part Lofi Shape and Filter can be toggled on and off for the selected sample by clicking the respective section s title Section Control Function Envelope A Sustain If activated the envelope remains at full amplitude after the attack time until the MIDI gate signal is closed then the decay time is interpreted as Release Mode release time Attack Specifies the time taken to reach full amplitude
299. mplitude The three envelopes in Nanowave can be modulated by the keyboard velocity and have a spe cial parameter which enhances the exponential characteristic of this process very good for extremely percussive sounds Synthesizer Nanowave REAKTOR FACTORY LIBRARY Manual 338 Synthesizer Oki Computer 2 8 14 Oki Computer 2 A 60 Seq Jn IN oct semi fine uni spr glide 9060006 BUER REAKTOR LIBRARY OSCILLATOR FILTER OUT ei damp vol cut res trk 900 Ip bp hp wave ratio phs shp digi amp 09 1 00 000 015 000 100 CIT EELER CC rec r len vel 000009 00000006 CA ETA Cee Ce freq sm freq phs fade iit A E a len war shp fm am table table y E delay depth rate bits 4 54 Oki Computer 2 user interface REAKTOR FACTORY LIBRARY Manual 339 Synthesizer Oki Computer 2 8 14 1 Introduction If you get excited by words such as analog and vintage look away now Oki Computer 2 is a compact wavetable synthesizer a specialist in digital lo fi sounds that hails back to the era of 8 bit beeps and bleeps It is also rather capable at creating buzzing leads rhythmic sequen ces and odd tasty bass tones Oki Computer 2 s panel is compact but packed with features Thankfully most sections should be fairly straightforward to the average synth user However the Oscillator section is some what unique and users are strongly encouraged to read this part of the manual Oki Computer 2
300. multiple voices This means that if you play a chord each note would have slightly different LFO speeds for a shimmering organic sound Also the modulation of the LFO can be delayed for instance to program a vibrate which takes a few moments before coming in Synthesizer Carbon REAKTOR FACTORY LIBRARY Manual 289 Synthesizer Carbon 8 3 5 Global Parameters Parameters effecting the entire synth are set in the Global section such as Mono Poly set with the Mono button tuning unison spread and glide Hold lets you specify how long each note will last for no matter how long the actual MIDI note was held down for value set in mSec underneath the Hold button Old controls how much pitch randomness is introduced to emu late vintage hardware 8 4 Carbon DELAY Cutoff Resonance Feed Delay O dryfwet te E OFF Fo we f een e PitchShift Width 0 2nd U Pitch Mod nd Un 1e Env 21 REAKTOR LIBRARY 1 19 Carbon user interface REAKTOR FACTORY LIBRARY Manual 290 8 4 1 Introduction The Carbon synthesizer is a fantastic sounding machine with over a hundred sounds from a dif ferent planet At its heart Carbon is a powerful subtractive synthesizer with four oscillators co pious modulation and a filter We even wouldn t hesitate to say that Carbon has one of the best sounding digital filters you ve heard In fact Carbon has a choice of eleven different filter types and designs each pai
301. n OSCILLATOR 1 OSCILLATOR 2 SYNC B Bandwidth Feed Delay Bandwidth 662 e 62 7 E02 E Dwe Am hme amp mw Hot o 2 otf e ve e Saturation fte tE te off F FILTER IN ROUTING On Mode off RERKTOR LIBRARY 1 22 Kaleidon user interface REAKTOR FACTORY LIBRARY Manual 319 8 11 1 Introduction Kaleidon is the biggest synth in the entire Reaktor Library lts sounds cover an exceptionally wide range from realistic mallets organs reeds and saxophones to house chords techno basses and otherwordly atmospheres lts specs are formidable six oscillators plus noise and sub osc with sync FM and ring modulation two multimode filters three feature rich enve lopes three LFOs one which lets you draw you own waveforms graphical key tracking and a full effects section featuring many unique effects from rich reverb and chorus to a graphically sequenced delay line and quad ring modulator 8 11 2 Quick Start Kaleidon is Carbon s big brother so you may want to take a few moments to get familiar with the Carbon synth as well Instead of Carbon s four oscillators plus noise Kaleidon offers six plus sub and noise Instead of Carbon s single filter design Kaleidon features two filters with flexible routing Instead of Carbon s integrated effects Kaleidon offers full featured effects in rack format Due to its complexity Kaleidon takes advantage of both view A and view B
302. n Control Transpose Modulation Source Transpose Modulation Amount Function Selects the source that modulates the Transposel parameter See al so Transpose Modulation Amount Adjust the amount of modulation applied to the Transpose parame ter by the source selected in Transpose Modulation Source Always If switched on the pitch modulation see Transpose Modulation Amount is always active if switched off new modulation events are only recognized when the triggering gate is open Velocity Adjusts the amount of influence of the sequencer s gate velocity on the sample s amplitude Turn to the left for no influence i e constant maximum amplitude at every gate value turn to the right for a com plete mapping of the gate value onto the sample s amplitude Decay Sets the decay time of the amplitude envelope triggered by a gate event See also Dynamic Decay and Sound Engine Master Decay Scale Dynamic Attack Sets the amount of modulation by the source selected by Dynamic Source applied to the attack time of the amplitude envelope Turn to the left for no modulation turn to the right for long attack times at low modulation signals Dynamic Decay Dynamic Source Sets the amount of modulation by the source selected by Dynamic Source applied to the decay time of the amplitude envelope Turn to the left for no modulation turn to the right for long decay times at high m
303. n modules to achieve stunningly convincing room sounds And to fully exploit SpaceMaster s lushness there are three versions SpaceMaster stereo SpaceMaster Quad and SpaceMaster 5 1 Surround Quick Start To really get a feel for the kinds of lush atmospherics SpaceMaster can provide it s a good idea to either hook a beat looper or external sound source up to it or to utilize it in plugin mode in your favorite audio sequencer Stepping through the presets should give you a good impression of the kinds of real and imaginary spaces SpaceMaster can emulate Adjusting the controls of the Early and Late Diffusion modules will have the most effect on the sound and will give you an idea of how the two main components interact in creating ambiences espe cially since they can be arranged in serial or parallel signal paths REAKTOR FACTORY LIBRARY Manual 68 Effects SpaceMaster Structure and Signal Flow This guide will use the Stereo SpaceMaster ensemble to outline the various controls for shap ing the reverb signal since most of them are the same among the three types of SpaceMasters Read on below to learn about the specifics of the Quad and Surround flavors of SpaceMaster reverb REAKTOR FACTORY LIBRARY Manual 69 Effects SpaceMaster 2 16 2 SpaceMaster 5 1 Surround SURROUND REVERB 0 24 0 4 O REAKTOR LIBRARY 1 9 Space Master 5 1 Surround The Surround version of SpaceMaster is effectively the same as
304. n on or off e lt Amount gt Sets the amount of saturation i e the amount of over amplification before the signal is saturated lt SAT gt The following controls effect both filters e lt Mode gt When on the filters are routed in parallel When off the filters are routed in ser ies Filter 1 gt Filter 2 REAKTOR FACTORY LIBRARY Manual 402 lt Mod gt When on the master LFO LFO1 fades between the two filters Only active in par allel mode When active lt F1 F2 gt has no effect lt F1 F2 gt Fades between filterl and 2 Only active in parallel mode lt Inv gt Inverts the phase of filterl only Only active in parallel mode Modulators The modulator section contains three envelope generators three Ifos and two event tables All of them are used to modify certain parameters of the audio generating sections e g the pitch to apply a vibrato the amplitude for tremolo effects and smooth fade in and out of the sound Which modulation source is used at which destination is be controlled in the matrix section which can be edited in the instrument view See the Modulation Matrix section below for more information Envelope EG1 The first envelope consists of a standard ADSR envelope with an additional minimal hold time control and smoothing Turn the EG1 switch in the Gate Router section on to control the peak value of the envelope by the velocity of the current midi note if that control is off the peak is independ
305. n parallel saw oscillators each slightly detuned or a single sawtooth waveform Oscillator 3 is based on interrupting the waveform with a quantized sine wave being interrupted in amplitude to create low fi effects while a sawtooth oscillator is interrupted in time for the familiar sync effect Oscillator 4 is mainly but not always used as a sub oscillator offering standard pulse and sine waveforms with pulse width modulation Below each oscillator mode selector the tuning of each oscillator Synthesizer Carbon REAKTOR FACTORY LIBRARY Manual 291 can be set in semitones and cents in the PitchShift section The pitch of each oscillator can be modulated by either the second envelope Env 2 or LFO 1 Oscillators 1 and 4 can have the width of their waveforms also modulated by Env 2 or LFO 1 The additional parameters in the oscillator section such as odet oscillator detune LCo loudness correction etc are used only for very fine shaping of the amplitude and range of modulation of the oscillators across the frequency spectrum We warned you that Carbon was from another planet All four oscillators plus noise are summed and sent to Carbon s outstanding filter The filter provides eight different filter modes where nearly every mode uses straight forward technology mainly to emulate the warm and powerful sound of analogue filters The modes Va CLa and J S offer an additional alternative mode which can be switched on by the
306. n slice loops by employing a transient detection algorithm or by dividing the loop into equal length sections With either method adjusting the Sens sensitivity knob will result in more or less slices To slice the loop into equal length sections ensure that the BPM button is active and that the detected tempo displayed at the bottom of the loop sec tion is correct If the tempo isn t correct even when adjusted by clicking on the and but tons then the loop will not be an integer number of bars In this case you should use the tran sient detection method deactivate the BPM button Click anywhere on the loop window to select and audition selected slices You can either edit slices individually or you can choose to edit all slices simultaneously by right clicking on the window The indicator in the top left of the Loop section displays the MIDI note assigned to the current slice REAKTOR FACTORY LIBRARY Manual 187 Samplers BeatSlicer 2 Control Function Waveform Shows the waveform of the current loop To load a different loop right click PC ctrl Disp click Mac on the upper part of the window where the filename is displayed and select Gerd File Load data into table Zoom Bar Scrolls the viewable area across the entire loop Click the right mouse button on this scrollbar to zoom in or out MIDI Note Displays the MIDI note number that is triggering the currently sel
307. n the oscillators and the effects it sculpts the oscillators basic sounds Before the signal is routed to the filter it passes two effects that provide satura tion and quantization as well as additional low and high shelf equalizers The filter itself con tains several modes optimized for a warm yet crisp sound You ll find standard low pass and high pass band pass and band reject filters a special feedback filter called Zwnl and a peak EQ and comb filter After the main filter comes another effect section similar to the pre vious one Section Control fects lect Pre Filter Ef Effect A B Mode Se Selects the effect units applied to the signal before it passes to the fil Function ter There are low and high shelf EQs in the left A menu and satura tion and quantization in the subsequent right B menu Effect A B Amount Sets the parameter of the effect unit selected by Effect A B Mode Se lect For the equalizers this is the amount of damp or boost applied to the signal For the saturator it s the amount of drive and for the quantizer it s the amount of distortion Main PreAmp Controls the level correction of the signal after it has passed the Pre Filter Effects section and before it enters the main filter Mode Selects the filter mode There are high pass bandpass and band reject filters several low pass modes a feedback lowpass a peak equalizer and a comb filter Cutoff
308. nction BPM Changes the LFO frequency mode If switched on it allows for adjusting the LFO fre quency relative to the global tempo Snap Locks the LFO frequency to defined beat values LFO Frequency Adjusts the LFO frequency with absolute Hertz or relative values beats Times Selects between three different settings for the LFO frequency values if BPM is switch ed on dot trip Selects between dotted left normal middle or triplet right values Restart Resets the LFO to its initial position every time a note is played Shape Adjusts the shape of the LFO waveform REAKTOR FACTORY LIBRARY Manual 332 Synthesizer Lazerbass 8 12 15 Modulation Macro Controls The macro controls can be used for manually controlling the modulation settings for the bright ness and periodic filter sections by blending between the two different settings in each modu lation matrix These controls should ideally be mapped to a midi controller knob for fast ac cess Control Function Cl Blends between the different filter settings the upper and lower part of the modulation matrix if c1 is chosen C2 Blends between the different filter settings the upper and lower part of each modula tion matrix if c2 is chosen 8 12 16 Panning Master These sections allows adjusting important master parameters for the instrument such as stereo spread sub bass and master volume Control Function
309. nes the amount of interpolation between adjacent steps at hard right the sequencer produces smooth envelope type output Variation Imparts a kind of swing onto the sequencer movement so steps play alternately faster and slower Center this control for equal length steps LFO Clock Sync Synchronize the LFO to the MIDI clock Note that when both Clock Sync and Phase Lock are activated the LFO becomes locked to the MIDI song position Phase Lock Locks the phase of the LFO When this is active MIDI note events will not re trigger the LFO Note that when both Clock Sync and Phase Lock are activated the LFO becomes locked to the MIDI song posi tion Frequency Sets the LFO speed Phase Determines the point in the LFO wave where oscillation begins when a note is triggered This only function when Phase Lock is off Fade Sets the fade in time of the LFO i e the time taken to reach full am plitude Shape Skews the LFO shape to either the left or right FM AM Determine the amount which the modulation wheel including record ed movements modulatea frequency and amplitude respectively 8 14 6 Modulation Matrix The modulation matrix enables any four modulation sources to be routed to any four destina tions You can select modulation sources using the upper drop down menus Destinations are selected with the lower menus The sliders in between these menu set the modulation amount The full list of modulation sources and de
310. ng MIDI notes used to recall snapshots Single Outs Switches on or off the sound units routing to different outputs When off all sound units are mixed to one stereo signal when on there are four stereo outputs to which the six sound units can be individually routed see Output External Switches on or off the triggering of the sound units by external MIDI notes When off the sound units are only triggered by the internal sequencer See also Ext Learn REAKTOR FACTORY LIBRARY Manual 90 Grooveboxes GoBox 3 3 GoBox SEQUENCER SETTINGS FILTER DELAY SYNC RO NIZER n SCENE Range Start POSITION MOD Pitch amp Trigger De i Cut Res Eny Top ansp E bk AN a aa Select Level ii i Ge i e 1 2 EMOS DeLay Time FB Amt Rat im P es ARIS Tune Shuffle ag gt kel O Level al junio SAMPLER SAMPLER SETTINGS SAMPLE STA OCTAVE Select Level Style Tune El EAN HEET HERE i EnvScale Level d 2 1 8 1 16 1 32 HOLD Porta Rev Legat 1 2 3 y mon N TN am ak ED Ca lia laa ees mm GOBOX Il Instrument and Presets Uwe G Hoenig Il Panel Design Timothy Lamb REAKTOR LIBRARY 1 13 GoBox user interface 3 3 1 Introduction GoBox is a monophonic sampler specially designed for live use It features some hands con trols for altering patterns sounds and modulations during a performance A series of event ta bles form an e
311. ng a key the amplification reaches a peak value which depends on how hard a key is hit velocity and falls back to zero on release of the key This envelope affects the volume of the signal at the output REAKTOR FACTORY LIBRARY Manual 373 Synthesizer SoundSchool Analog A Attack This control determines how long it takes the envelope to reach its initial peak D Decay This control determines how long it takes the envelope to run down from its peak to the sustain level S Sustain Here you determine the envelope s level during the main sequence of a note s duration R Release This control determines how long it takes the envelope to decay from sustain level to zero after releasing the key Filter Envelope to Oscillator This function allows for connecting the filter envelope s output to the three control inputs of both oscillators LFO Amount Here you determine the envelope s effect on pitch and symmetry The controller allows for positive and negative modulations and affects all targets at the same time The amplitude modulation will not be affected Pitch Osc 1 2 The Pitch switches activate the filter envelope as a control source for the oscillators pitch The modulation depth depends on the Amount controller setting Sym Osc 1 2 The Sym switches activate the filter envelope as a control source for the oscillators symmetry The modulation depth depends on the Amount controller setting Ampl Osc
312. ng note Move events by clicking and dragging them around When Select is on you can move selected events as a group REAKTOR FACTORY LIBRARY Manual 247 Sequencers SQP 6 5 2 Details Section Control Function Control Song Seq Toggles song mode on and off If on the pattern sequence defined under Song Sequence is played If off the currently selected pattern is played and looped Quantization Controls the quantization of note events Choose between quantization in 16th 24th and 32th You can also switch off quantization Zoom Level Choose whether 16 32 or 64 steps are displayed This has no influence on the notes played Velocity Displays the sequencer s velocity track Each note in the notes grid has a velocity bar in the velocity track Drag with the mouse to change the levels Select Toggles select mode on and off If on you can select note events by click ing them or by dragging a square around them Copy Copies the currently selected events Pste Pastes the pattern clipboard into the current pattern Rec Switches on note recording via MIDI in Init Deletes all note events of the pattern Needs to be double clicked Pattern A B C D When not in song mode see Song Seq the selected pattern is played and looped Song Se Song Edit The edit button enables you to assign patterns to the Pattern Slots nee Pattern Slots When Song Edit is active click into a pattern slot and d
313. ng of each oscillator is done with their respective Pitch and Fine controls The two oscillators feed into Filter 1 which offers a choice of 12 or 24 dB octave lowpass highpass bandpass peak EQ and notch modes Cutoff and Reson adjust the cutoff frequency and resonance respectively and the FM knobs controls how much Osc 1 or Osc 2 will fre quency modulate the cutoff frequency settable with the small switch to the right of the FM knob Pkey determines how the filter tracks the pitch of the notes from the sequencer When Pkey is set to 1 then the filter cutoff will exactly follow the pitch of the sequencer notes meaning that higher notes will be brighter and lower notes will be duller If set to zero then the cutoff frequency won t change The other knobs GainC Limit F foll and Rel all control the fine tuned shaping of the filter across the frequency and resonance spectrum GainC con Synthesizer Green Matrix REAKTOR FACTORY LIBRARY Manual 310 trols how much loudness reduction will be applied at high resonance values Limt F foll and Rel control a built in resonance limiter to avoid unwanted harmonic thumps with high reso nance values Filter 2 is similar in layout to Filter 1 There are a choice of four lowpass filters two bandpass filters and a combined bandpass lowpass filter BL4 In addition to the controls you re now familiar with from Filter 1 Filter 2 also offers the additional possibility to trigger self reso
314. ng the modulation macro con trols cl or c2 bottom left section of the Lazerbass Panel REAKTOR FACTORY LIBRARY Manual 328 Synthesizer Lazerbass Control Function Key Track Adjusts the intensity of key tracking for the filter Higher values will result in increased damping of higher notes Floor Sets the floor value for the filter frequency 8 12 11 Periodic Filter The periodic filter section applies a periodic filter effect to the synthesizer signal which allows creating a variety of more advanced effects such as phaser flanger and resonance effects All parameters can be modulated with the help of a modulation matrix Please refer to the Pe riodic Filter section of the visualization area Control Function Cycles Adjusts the number of cycles for the periodic filter The left side of the value field ad justs integer values the right side is used for fine tuning Double clicking the left side of the value field restores the value to its default double clicking the right side will set the value to the closest integer value Cycles Modulation The upper part of the modulation matrix allows switching between the modes off env Matrix and Ifo which allow modulating the number of cycles with the Envelope or LFO section at the bottom of the Lazerbass panel If switched on the left value field will adjust the minimum number while the right value field will adjust the maximum number of filt
315. nge the mode Right click ctrl click if you re on a Mac to delete the roll You can define three roll modes under Roll settings For the Sine unit sthe red mode always stands for a pitch slide with the Nois instru ment you can freely define it as a third roll mode 3 12 3 Noise Synthesizer The noise unit features a simple envelope for controlling the volume You can stack the differ ent outputs of the multi mode filter and you can also adjust the parameters cutoff resonance and envelope modulation intensity Release cutoff and resonance can be modulated by the second sequencer track An overdrive bit reduction effect and a small equalizer are also at your disposal Control Function Amp release Release time of the amplitude envelope Release mod Bipolar amount for the modulation track output of the sequencer altering release time This can be initialized with the init mod button Init mod Initializes all MOD controls of the Noise unit REAKTOR FACTORY LIBRARY Manual 165 Grooveboxes Sinebeats 2 Control Function Filter stack Switches for the output of six different filters The outputs can be stacked Since the addi tion of six signals can produce clipping the overall level of the instrument will be divided by the number of activated filter signals Drive switch The Drive section reduces bit depth and sample rate of the signal and inclu
316. ngs as the effect depends a lot on the type of input signal o lt Delay gt Sets the max delay time Technically speaking the effect is based on a four delays with different delay times whose output is mixed with slowly changing ratio just try different settings e Chorus Flanger Delay Reverb EQ Note that the settings of these standard effects are stor ed with each snapshop For more information about the specific settings of each knob please check the online hints The delay time of the delay is set in sixteenth notes synced to the system clock Synthesizer Titan REAKTOR FACTORY LIBRARY Manual 409
317. noise generator s filter Attack Similar to Oscillator Attack applied to the noise generator section Decay Similar to Oscillator Decayl applied to the noise generator section REAKTOR FACTORY LIBRARY Manual 86 Grooveboxes Aerobic Section Control Function Noise Selects the operation mode of the noise section White uses unfiltered noise White Mod modulates the noise generator s algorithm by the noise section s en velope signal Filter Selects the type of 2 pole filter applied to the noise Highpass bandpass and lowpass filters are available providing 24 dB damping per octave Freq Sets the center frequency of the filter Peak Sets the amount of modulation applied to the filter s center frequency by the en velope Res Sets the amount of filter resonance EQ Hz Sets the frequency of the equalizer dB Sets the amount of volume boost or cut applied to the adjusted frequency Master Modulation Selects the target of the sequencer s modulation track The modulation shows no effect until the Track button is pushed Track Activates the modulation of the target selected by the sequencer s modulations track Amp Sets the amplitude of the signal before it is routed to the final shaper unit see Shape Shape Selects the operation mode of the shaper unit Polysat Sinesat and Hypersat saturate the signal with tube like ef
318. nstakingly shaped for silky smoothness across the entire frequency range Carbon s LFOs include innovative features such as the possibility to vary their frequency slightly in each voice for an organic living sound Each one of Carbon s breathtaking pads cut ting leads ripping basses and quivering atmospheres will convince you that all life is based on Carbon 8 4 2 Quick Start Even though Carbon s panel may show many controls its clear layout and function grouping make operation easy Simply step through some presets at random to get a feel for the type of sounds that Carbon can make In the filter section try modifying Cutoff and Resonance You can even try choosing different filter types in the menu panel to the left of Cutoff to see how the different filters change the sound 8 43 Signal Flow and Structure Carbon s sound is routed as follows Oscillators gt Filter gt Saturator gt Four band EQ gt Chorus gt Delay Carbon features four oscillators plus a noise generator The level of each oscillator is set with the large knob on top of each oscillator channel while LFO modulation of the amplitude can be switched on or off directly underneath this knob Each of Carbon s four oscillators offer two different modes with each mode making a unique sound Oscillator 1 is focused on pulse width modulation switchable between square or sinusoidal waveforms Oscillator 2 concen trates on saw waves switchable between a massive 7 saw seve
319. nt Spd determines automation speed and Len automation length When Spd is centred and Len is set to hard right the automation length will last for exactly 4 times the kick snare hat sequence length Dly defines the input signal into the XFX section At hard left the input signal comes direct from the Samplers Pulp unit At hard right the input signal is the Delay unit output When Dly is centred the XFX input is a 50 50 mix of the two Corresponding ly the Dly knob also determines the amount to which the delay section output is sent to the Mix fx mixer section At hard left both xfx and delay output are sent to the fx REAKTOR FACTORY LIBRARY Manual 116 Grooveboxes Limelite Section Function mixer but at hard right only the xfx output is sent to the mix Thus in other words the Dly knob also cross fades between xfx delay parallel mixing and dly gt xfx serial mixing Lo and hi can be used to attenuate low and hi frequency elements of the xfx output Set both to hard right for no attenuation Gain determines the overall output level Delay The delay section is a stereo tempo synced delay unit with independent delay times for the left and right channels One and Two set the time in 16th ticks for the two channels FB determines the amount of feedback and Gain the overall output level LFO controls the speed of a beat synced LFO set to hard left for a cycle time of 4 bars and hard right for a
320. nt of amplitude mod ulation Mix crossfades between the input and the wet signals REAKTOR FACTORY LIBRARY Manual 215 Sequenced Synthesizers Akkord Section Function Delay A stereo tempo synced delay unit with feedback filter Del L and Del R set the delay time for the left and right channels in 16th steps Fb sets the amount of feedback The feedback path features both a high pass and a low pass filter The HP and LP knobs define the respective cutoff frequencies Mix crossfades between the input signal and the wet delayed signal EQ O Drive The Low and High knobs set the frequency of a pair of low and high shelf EQ units for which the Boost knobs determine the amount of frequency attenuation amplifica tion The Drive knob determines the amount of signal amplification before a saturator unit The Sequencer The Akkord ensemble also features a powerful 8 pattern 32 step polyphonic chord sequencer As the sequencer is driven by the MIDI clock please ensure that the play button is pressed on the REAKTOR toolbar The 8 patterns labelled A to H can be selected by clicking on the pattern selector at the top of the main Sequencer section Click once on the pattern selector to select a single pattern to play edit or click and drag to select a range of patterns to loop Beneath the pattern selector lies the 32 step sequencer the central display Each of the 32 steps can store up to 32 notes
321. ntrols try changing LFO speed or cutoff frequency for example 8 8 3 Structure and Signal Flow Green Matrix s synth engine is based on traditional analog synthesis It has three oscillators two filters distortion and effects Both Green Matrix and its sequencer driven brother Blue Matrix are created from Reaktor 4 s Classic Modular macro library which puts the sound quality and capabilities of the classic modular synths into your computer For more information on building your own instruments with the Classic Modular macro library please check your Reak tor 4 user s guide The Classic Modular library is included on the Reaktor 4 CD Oscillators 1 2 and 3 each offer a different waveform selection Osc 1 offers the traditional sawtooth pulse triangle sine and impulse waveforms while Osc 2 lets you choose between bipolar ramp bipolar pulse pulse parabolic and noise The bipolar waveforms shape can be modified in realtime with the small Shape knob Osc 3 Osc 1 can be frequency modulated by Osc 2 or 3 for FM sounds with the small FM knob and switch below while Osc 2 and 3 can be ring modulated by Osc 1 for metallic and gong sounds with the small Ring switch Osc 1 can also be synced to Osc 2 with the choice be tween hard soft and MIDI gate activated modes Since Osc 1 2 and 3 each offer unique fea tures they can be switched on or off to save CPU with the small on switch on their left sides The base pitch and fine tuni
322. numerically at the right of the row The Zoom Loop button sets the Display Marker to the position and length of the current loop see Loop Marker Copy Copies the snapshot sequence of the current loop area into the internal clipboard Paste Pastes the snapshot sequence stored in the internal clipboard into the current loop area Clear Deletes all snapshot recall markers within the current loop area Recall Position Displays the position of the currently selected snapshot recall event A snapshot recall event can be selected within the Sequence Edit display with the left mouse button Recall Snapshot Displays the snapshot number that is recalled by the currently selected snapshot event REAKTOR FACTORY LIBRARY Manual 136 Grooveboxes Massive 1 1 3 7 7 Output ob Output 1 Master Out Stereo Master Out stereo 4 11 Massive s output utility This utility controls the routing of Massive s output ports to the soundcard There are six stereo pairs of output channels Each one can output an individual track the mixed master stereo signal or a group submix The group submix can be any combination of the six tracks e g the hihat tracks REAKTOR FACTORY LIBRARY Manual 137 Grooveboxes Massive 1 1 Control Function Master Level Adjusts the master level of the complete ensemble The ensemble is automatically muted when the MIDI clock is stopped Preset Sel
323. o Selection Bank Display Bank Selects the bank from which the Selection Display loads the sequencer pattern There are eight banks available Position Defines the rearrangement pattern The sequence is read in sixteenth steps from left to right the vertical axis sets the offset from the sample readout starting point for each step in sixteenths e g a scale from the bottom left to the top right represents the normal sample readout while a scale from the bottom right to the top left results in inverse read out first the last sixteenth of the sample then the one before the last etc The starting point of the sample readout is controlled within the Sample section Reverse Defines whether the sixteenth note selected by the Position pattern is played from the end to its beginning or in its normal playback direction Amplitude Adjusts the amplitude for each sequencer step Hold Adjusts the hold time for each sequencer step See also Release REAKTOR FACTORY LIBRARY Manual 180 Grooveboxes Vectory Control Function Stretch Lengthens the sample at this sequencer step The higher the value the more it is stretch ed the first square represents a ratio of 2 1 the next one is 3 1 etc The sample is stretched by a grain re synthesis algorithm therefore the grain pitch and grain frequency parameters of the Grain Effect Parameter Display will greatly affect the sound of stretched ste
324. o a variety of parameters using the modulation menus in the other sections However note that Envelope 1 is also permanently hard wired for global amplitude modulation i e it de termines the contour of the final output signal see the Filter Routing section above Att Dec and Rel define the attack decay and release times respectively Sus sets the sustain level of the envelope Gate determines the hold time the period of time that the envelope remains at the peak level between the attack and decay stages Above the main knobs lies a matrix with which the envelopes relationship with note velocity and key position can be defined In the Gate column setting the Vel slider to hard right will result in velocity determining the peak value of the envelope Setting the Key slider to the right will result in higher keys producing higher peak values whereas setting it to the left will result in lower keys producing higher peak values Similarly the attack and decay times can be influenced by velocity and key position either positively to the right or negatively to the left The Modes menus offer further configuration of the envelopes This includes adjust ing the envelope shape Parabolic and Sinoid shapes in the Gate menu and modula tion of attack decay times and sustain level via MIDI sources e g Modulation wheel and Pitchbend wheel Another interesting feature is the ability to loop the attack de cay part of the envelope if the
325. o set the signal s fundamental pitch The A440 oscil lator at the bottom of the ensemble provides a reference pitch for tuning purposes The Delay pitch can be swept negatively or positively by the mod wheel with the amount of modulation set by the MW knob The Allpass filter receives the tuned signal from the resonant delay It can be turned on and off with the Power button in the Allpass section This allpass can be tuned to create resonance effects You can produce glassy metallic and bell like sounds by detuning the allpass filter against the delay By adjusting the Diffusion knob you can also create a variety of reverb sounds the simulation of air echoing along a pipe s hard surface The Saturation module morphs between saturation and clipping overdriving or breaking up the signal before it hits the MW Filter The MW Filter controlled by the mod wheel features a 1 pole high pass followed by a 1 pole low pass filter Each filter allows you to set a wheel down and a wheel up setting making it possible to set up complex timbre changes and damping effects Each filter can have its own key track setting REAKTOR FACTORY LIBRARY Manual 380 Synthesizer Steam Pipe 2 The Polarity switch inverts the pipe polarity changing the timbre of the sound This often transforms high frequency tones to deep ones and vice versa The Feedback module processes the feedback in the signal chain The Rev Timel knob ex tend
326. ode Selects the modulation source You can choose between EG envelope and LFO The modulation settings can be adjusted in the modulation area at the bottom of the Laser bass instrument panel Range Sets the pitch modulation range The left side of the value field adjusts integer values the right side is used for fine tuning Double clicking the left side of the value field re stores the value to its default double clicking the right side will set the value to the closest integer value PM amnt Adjusts the amount of pitch modulation REAKTOR FACTORY LIBRARY Manual 336 Synthesizer Nanowave 8 13 Nanowave EE W JW Ti HE LP Ri P Oo aes ranspose es an O 9 b Sens Fade au e j Le Level Level LP pp H Cutoff GO Octave Transpose Octave Transpose E E Oa E fs ed a V Ss 9 Heu e es Static Y OscA US Y 0 Ss Si 5 Gi Date ec Oa a Gi OscB O ae a Gi w CGegl Ceee 2256 ue O eg o 0 e mi m o o Sele amit Rel Att Dec Sus Rel Rate ane di sar Width Phs Att Dec 6656801 diri o222c55em Amount Sens Att Dec Shape Amount Delay Rate Amount SS oe Regen Cutoff AGADO UA o oQ NANOWAYE Il Instrument by Uwe G Hoenig II Sounds by Sound Burst 1 Panel by Cornelius Lejeune O REAKTOR LIBRARY 1 23 Nanowave user interface Nanowave is an homage to the legendary WaveTable synthesizers made by PPG and Waldorf The sound generation called WaveSet synthesis here is structured similarly
327. odulation signals See also Decay Selects the source track that modulates the amplitude envelope s at tack time and the Decay parameter Mute By Track Selects the mute track If the specified track receives a gate signal this track s gate is closed The feature is particularly useful for pro gramming hi hats e g the first track plays a closed hi hat and the second one plays an open hi hat since both tracks mute each other an open hi hat sound will be muted when the closed hi hat sample is triggered There is also a bypass option to exclude the track from mut ing Start Controls the sample playback start position upon a trigger signal REAKTOR FACTORY LIBRARY Manual 132 Grooveboxes Massive 1 1 Section Control Start Modulation Amount Function Adjusts the amount and polarity of modulation applied to the read out starting point The value adjusted by Start is used as minimum off set at normal modulation values at the right the modulation source s value is simply added to the Start value scaled by the modulation amount of this control At inverse modulation values at the left however the modulation source s value is not subtracted from the offset but the amount is inverted and added to the offset At high modulation signals there is less modulation than at low modula tion signals Start Modulation Source Selects the sequencer track whose signal modulat
328. of any sound source imaginable 2 1 2 Structure and Signal Flow The signal is routed from input to Filter 1 to the Distortion to Filter 2 and then out REAKTOR FACTORY LIBRARY Manual 18 Effects Analogic Filter Box Both filters offer multiple operation modes For the first filter you can choose between Low pass Highpass Bandpass Peak EQ and Notch filters with a choice of a 12 or 24 dB octave slope per filter type The second filter is designed for shaping the sound after the distortion so it offers four different lowpass filters three bandpass filters and a bandpass lowpass combo Both filters were very carefully designed to produce warm analog sounds even at extreme reso nance and cutoff settings Beside the normal cutoff frequency control available in both filters Filter 1 also provides fast modulation of its frequency by an additional oscillator which can itself be modulated by the LFO envelope or envelope follower The Distortion section between the two multimode filters also features multiple modes of oper ation While the clipper mode provides a relatively harsh distortion sound and the saturator mode results in warm overdrive the several wrapping modes marked by the name of the wave form used for wrapping produce unique sounds from subtle to extreme An additional quantize mode converts the incoming signal into a step waveform for familiar bit reduction effects to mimic the character of vintage sample
329. of the Sub Oscillator as well as the formant frequency of the Formant Oscillator They operate as normal ADSR envelopes but offer additional re triggering options key scaling and adjustable MIDI velocity sensitivity Control Function Mode Selects the way the envelope generator reacts to a new gate signal when the previous gate is not yet closed In Leg mode the envelope generator doesn t react to the new gate signal in Ret mode it is re triggered using the current envelope level as a starting point in Rst mode the generator is also re triggered but reset to its initial level This control shows no effect if Voice Voice Mode is set to Poly Attack Sets the attack time of the envelope generator Decay Sets the decay time of the envelope generator Sustain Sets the sustain level of the envelope generator Release Sets the release time of the envelope generator Key Sets the amount and polarity of key scaling applied to the envelope generator s transition times Turn to the left for faster transitions at low pitches to the right for slower transitions at low pitches Velocity Sets the amount of MIDI velocity influence on the envelope s amplitude Turn to the left for constant amplitudes that are independent of velocity and to the right for full velocity sensitivi ty REAKTOR FACTORY LIBRARY Manual 392 Synthesizer SubHarmonic 8 19 5 Sub Oscillator This oscillator creates
330. of the instrument Pan Controls the position of the sound within the stereo field Out Port Selects the output of the instrument to which the slice s sound will be routed Depending on the global Mono switch either two stereo ports or four mono ports are available 4 1 5 Modulation BeatSlicer 2 s advanced modulation routing allows various parameters to be modulated by a variety of sources both MIDI and internal In both modulation sections A and B the left hand box displays the current source and the right hand box displays the current destination Click and drag vertically to change the source or destination The slider bar in between speci REAKTOR FACTORY LIBRARY Manual 189 Samplers BeatSlicer 2 fies the amount and direction by which the source modulates the destination For example to assign velocity to amplitude select Vel as the source Amp as the destination and set the slider bar to the full right hand position Some modulation sources have a variation denoted by H This option samples the value of the source when triggered Try assigning the Pitchbend wheel to Pan and repeatedly trigger the sample while modulating the Pitchbend wheel Change the source to PB H and listen for the difference Section Control Function Polarity Range Mix Sources Vel MIDI note on velocity Unipolar PB MIDI pitchbend wheel Bipolar PB H MIDI pitchbend wheel sam
331. of the panel Either click on the selector itself use the Prev and Next buttons or press computer keys L oy or Within each program the 8 sub slots are selectable by the QWERTUI Selector To se lect a slot click on the selector or press the associated computer keyboard key i e Q W E R T Y U or MIDI note 60 62 64 65 67 69 71 72 The total 256 slot data is stored in a large event table inside the structure If you wish to export snapshot files simply save the table data by right clicking on the table dis play either beneath the QWERTYUI selector or the Program Selector The bookmark feature enables you to store your favourite presets numbers and quickly access them by using the dropdown menu To set a bookmark to the current state take a look at the POSITION display then open the Bookmark list properties and create an entry there with a name of your choice and the value displayed in the position meter When Flow is enabled selecting a snapshot position via either the QWERTUI or Pro gram selector automatically recalls the data Disable this if you want to copy the cur rent state to another slot i e disable Flow select the desired Slot and then press Write Write writes the ensemble state to the current bank and QWERTUI slot REAKTOR FACTORY LIBRARY Manual 43 Effects Fast FX Loopplayer Section Function Panel controls This is an additional instrument for playing loops it uses th
332. og LP Notch 4 The combination of a 4 pole notch filter and a 4 pole lowpass LP lowpass The effect is quite similar to a lowpass but by resonance peak and notch both affecting the wavefiorm at the same time the resonance effect becomes more complex and soft ened Highpass 1 1 pole highpass filter with a frequency response rising by 6dB octave below the cutoff frequency and running even after No resonance peaking Lowpass 1 1 pole lowpass filter with an even frequency response until the cutoff frequen cy and falling by 6db octave after No resonance peaking Highpass 2 2 pole highpass filter with a frequency response rising by 12dB octave until the cutoff frequency and running even after At the cutoff frequency a peaking or resp a self oscillation appears depending on the resonance adjusted Bandpass 2 2 pole bandpass filter with a frequency response rising by 6dB octave before the cutoff frequency and falling by 6dB octave after At the cutoff frequency a peaking or resp a self oscillation appears depending on the resonance adjusted Lowpass 2 1 pole lowpass filter whith a frequency response running even until its cutoff frequency and falling by 12db octave after At the cutoff frequency a peaking or resp a self oscillation appears depending on the resonance adjusted Bandpass 4 4 pole bandpass filter with a frequency response rising by 12dB octave until the cutoff frequency and falling by 12db octave after At t
333. on the snapshot menu and recall preset number 1 Default In this preset the oscillator is loaded with 16 sine waves needless to say this doesn t sound particularly interesting Click the left most box on the Wavetable Position Bar this will select the first slot for editing Note that in the box labeled Wave beneath the Wavetable Position Bar a picture of a sine wave is dis played with a number zero next to it This indicates that the sine wave wave number zero from the master bank is loaded into the current slot To load a different wave click and drag vertically on the Wave Selector Now click on the second wave slot i e the adjacent dark gray box The Wave Selector will display a sine wave remember this patch had 16 identical sine waves loaded Now try loading a different wave to slot 2 again by clicking and dragging on the Wave Selector REAKTOR FACTORY LIBRARY Manual 341 Synthesizer Oki Computer 2 In the Default snapshot the Wavetable Position Knob is set to 1 00 This means that when you play a note you will hear and see the wave loaded into slot 1 Press a note on your key board and slowly move the knob from 1 00 to 2 00 You will hear and see the wave loaded into slot 1 morph into the wave loaded into slot 2 Notice how the wave position indicator moves correspondingly This is the key to how Oki Computer 2 produces dynamic sounds by morphing between adjacent waves in the wavetable
334. onger for the envelope to get to the fundamental pitch set by lt Pitch gt REAKTOR FACTORY LIBRARY Manual 151 Grooveboxes Rhythmaker lt Shpe gt Crossfades between the a modified frequency envelope and the unmodified one see lt Crve gt and lt Cres gt Turn left for the unmodified envelope lt Cres gt and lt Crve gt modify the envelope used to interpolate between the initial und fun damental pitch see lt fENv gt and lt fDEc gt by a 2 pole filter that acts as a smoother lt Gain gt Sets the amount of overdrive distortion lt Dist gt Sets the amount of quantizing distortion lt Cut gt Sets the cutoff frequency of a 2 pole filter used after the distortion modules lt Res gt Sets the resonance of the filter lt Hold gt Sets the hold value of a HR envelope to control the amplitue of the kick drum lt Rel gt Sets the release value of the HR envelope lt Level gt Sets the output level lt On gt Turn the whole instrument on off When off CPU is saved but there is a slight delay in turning the instrument on again For quick muting and unmuting it s better to use lt Mute gt lt Mute gt Instantly mutes the whole instrument but the CPU is still used Snare The Snare module uses spectral synthesis to allow hand drawable frequency response curves By using Reaktor s polyphony the Snare module has 64 partials You can change the sound of the snare by changing the number of voices Naturally fewer
335. only damp ens the envelope signal instead of mixing it with a noise sound Velocity Controls the amount of influence of the trigger signal s velocity on the Color con trol Invert Inverts the polarity of modulation applied to the Color control by the trigger signal s velocity Resonator Resonance Sets the amount of self oscillation i e resonance of the filter Frequency Sets the frequency of the filter at high Resonance settings this frequency is audi ble as a distorted sine sound Filter Mode Cross fades between a lowpass at the left a bandpass at mid position and a highpass filter s output Envelope Sets the amount of modulation applied to the Frequency control by the trigger en velope Invert Inverts the polarity of modulation applied to the Frequency control by the trigger envelope Output Saturate Thickens the channel s signal i e quiet sounds are amplified and loud ones are slightly distorted REAKTOR FACTORY LIBRARY Manual 254 Sequencers SQX Section Control Function Gain Sets the amplification of the channel within the output signal s mix Pan Controls the channel s position within the stereo panorama FX Controls the routing of the signal At the left the signal is sent to the normal out put ports of the instrument at the right the signal is sent to the additional effect output Mute Mutes the channel s signal in the output mix FX Level Set
336. ool e e mmm geg Q DY Y ADOITIONAL MIX INPUT EQUALIZER 3 2 Cyan user interface REAKTOR FACTORY LIBRARY Manual 26 Effects Cyan Introduction Like a traditional Chorus effect Cyan uses a bank of modulated delay units to add width depth and richness to the input signal And due to painstaking attention to detail in the design process Cyan can reproduce classic chorus type sounds with the finest sound quality Howev er Cyan is far more than just a high quality chorus unit Indeed due to its advanced features such as tempo synchronisation and extended delay modulation control Cyan offers many new and exciting sound shaping possibilities Details The effect s architecture consists of up to six independent stereo delay lines see sections Dis tance Intensity and LFO that are fed with the incoming audio signal see Input Optionally the delay lines output can be routed again to their input to establish an additional feedback circuit Feedback After summing the delay lines signal the sound is routed to a saturation unit and an equalizer to dynamically and harmonically re shape the chorused signal Satura tion and Equalizer Finally the signal is mixed with the unprocessed one and sent to the out put Mix Automation Additional Mix and Output Section Function Power and Input These two sections control whether the chorus is switched on or off and which signal is used as input The complete stereo
337. operation of the diffusion delay section is identical per effect Each diffusion delay consists of four ster eo modulation delays and an innovative graphical display that shows the actual delay time of each delay The main delay time is controlled by the Diff Dly knob The Dly Mod knob controls the amount of delay time modulation by the internal LFOs Speed controls the speed of the LFO Stereo sets the stereo spread of the delays and Diffusion sets the inaccuracy of the delay times The sum effect of these five knobs is graphically shown in the display underneath where each pendulum represents the delay time of a single delay REAKTOR FACTORY LIBRARY Manual 52 Effects Grainstates FX You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information 2 12 Grainstates FX f lll corn el mini erst RA ESRC EI a oc l p av smr ES Sel Att Dec En Clock Hi PatLen Pos IS e 2900 Q lt a mata mir mse E Dea BO E GLOBALS SEQUENCER CONTRO mor GLOBAI SEQUENCER CONTROL GRAINSTATES SP Il Instrument and Sounds by Martin Brinkmann Il Panel by lan Warner 1 7 Grainstates FX user interface 2 12 1 Introduction Grainstates is a granular texture maker that works wonders for creating dense breathing at mospheres Taking advantage of Reaktor 4 s
338. or the dou bled sawtooth is selected Section Function Control Main Routing Sets the destination of the respective oscillator s signal On F the sound is sent to the Filter section switching to D bypasses the filter and routes the signal directly to the effect units Switches the white noise generator on or off Ring Selects which oscillator signals are fed into the ring modulator Switch off to save CPU power if the ring modulator is not used Osc1 2 3 Selects the waveform of each oscillator slot Along with the standard wave forms sawtooth pulse triangular sine and noise you will find a doubled sawtooth a quantized sine a buzz oscillator based on a noise generator and a digital wavetable See the Wavel page for additional information on the doubled sawtooth and the digital wavetable Level Sets the slot s volume level Level Modulation Source Selects the slot s volume level modulation source Level Modulation Sets the amount and polarity of modulation applied to the slot s volume level Amount Clicking on the control s title bar restores the value to its default Pitch A B Modulation Selects sources to modulate the oscillators pitch The two individual slots Source A and B can mix up to two sources REAKTOR FACTORY LIBRARY Manual 277 Synthesizer Carbon 2 Section Control Function A B Modulation Adju
339. or unit before it is passed on to the mixer Section Control Function Oscilla Envelope Selects the operation mode of the envelope shaping the unit s amplitude Lin tion activates a standard AD envelope whose transition times are controlled by the At tack and Decay knobs When in Roll mode this envelope is re triggered fast until the next beat the Attack knob in this case also controls the re triggering frequency Roll Lin adds both signals of the modes described above Noise Env uses the envelope of the Noise section see below Attack Sets the time that passes until the amplitude envelope reaches its peak In Roll mode see Envelope the knob also controls the rate at which the envelope is re triggered REAKTOR FACTORY LIBRARY Manual 78 Grooveboxes Aerobic Section Control Function Decay Sets the time that passes after the amplitude envelope has reached ts peak be fore it decays to silence Oscillator Selects the operation mode of the oscillator While Sin represents a standard sine wave Sin2 activates a squared sine wave with a different frequency spec trum Similarly FM2 selects the squared signal of FM which is generated by a sine oscillator modulating the frequency of another one This frequency modula tion does not interfere with the modulation controlled by F Mod F and Fmod Phase uses the output of a phase oscillator
340. oscillators The A and B oscillators of each oscillator section can be ring modulated with the RM button The oscillators can be flexibly routed to the two filters with the Filter In Routing and Filter Out Routing controls Here you can set which oscillators go to which filters and you can set serial or parallel filter routing The Prefilter loudness correction fine tunes the amplitude of the oscil lators before they hit the filters to avoid unwanted resonant peaks The two filters are nearly identical with each offering multiple modes including various flavors of lowpass bandpass and highpass Each filter has a slightly different selection of filter types Four large knobs control the important parameters of each filter Cutoff resonance bandwidth and feedback delay Feedback delay is only applicable to the Grobian and V4 filter types Un derneath each of the large knobs are the modulation possibilities for that knob The small knob adjusts the amount of modulation and the switch turns the modulation on or off for its labeled parameter After the filters the sound passes through Kaleidon s innovative Pan modulator Here the sound is spread in stereo across the frequency range For FX Matrix A you can choose between chorus the Vierring sequenced ring modulator also available separately in the library and diffusion delays also available as the Fusion Reflections effect After FX Matrix A the sound passes through a saturator and t
341. ositive values of the simulated room s center Diffusion Sets the amount of diffusion applied to the room simulation Color Controls the internal damping Brown Controls the internal room size modulation Mix Crossfades between the unprocessed signal and the reverb signal REAKTOR FACTORY LIBRARY Manual 308 Synthesizer Green Matrix 8 8 Green Matrix OSCILLATOR 1 GLOBAL FILTERS Glide roy Leg O mon on st Oo DELAY CHORUS Be Be Bez je lo wn 0000 ZP El Ba g A z jo fe JO i gt 3 O WUN 0000 jo B P Bes e Bo jo be fe REAKTOR LIBRARY 1 20 Green Matrix user interface 8 8 1 Introduction Green Matrix is the MIDl playable brother of Blue Matrix Both use the same analog style syn thesis engine and modulation matrix to generate some amazing and challenging sounds Its sound engine features two multiple waveforms oscillators a multi mode filter multi mode dis tortion and finally a second multi mode filter A beat synced delay and a diffusion delay round out the effects A complete modulation matrix lets you flexibly route the two envelopes LFO four channels of sequenced modulation and the usual MIDI controllers to every important syn thesis parameter REAKTOR FACTORY LIBRARY Manual 309 8 8 2 Quick Start Plug in a MIDI keyboard and flip through the presets Go ahead and experiment with the syn thesizer co
342. ount Frequency Modula tion Amount Ring Modulation Amount Decay Time and Amplitude TG Parameter Displays the modulation value for each parameter by clicking into the display the Modulation modulation of the respective parameter can be switched on or off For modulation a sine LFO is used see TG Modulation Rate Depth Phase TG Modulation Sets the speed of modulation in sequencer steps Rate TG Modulation Sets the amount of modulation Depth TG Modulation Sets the phase of the sine LFO Phase REAKTOR FACTORY LIBRARY Manual 142 Grooveboxes Newscool Control Function Pitch Sets the absolute range of the pitch modulation This is a bipolar control turn the knob to the left for inverse modulation and to the right for normal modulation There are individual relative values for each track adjustable in the TG Poly Control FM Sets the absolute amount of frequency modulation There are individual relative val ues for each track adjustable in the TG Poly Control Decay Sets the absolute decay time There are individual relative values for each track ad justable in the TG Poly Control Drive Sets the amount of saturation drive applied to the tone generator s signal Effect Poly Sets the parameters for the tone generator There are eight bars one for each track Control the value can directly be drawn into the display The parameter displayed is selectable by Effect Parameter Sel
343. out at a value of 2 each part represents a eighth note Set Steps Pushing the Set button resets all parts of the track to the subdivision adjusted by the Steps control Track Select Selects one of the four tracks named A to D Each track is hard wired to the respective channel of the ToneGen instrument Loop Control Controls the length right mouse button and position of the loop left mouse button This area is played back when the sequencer is working additionally it defines the area that is modified by the Copy Paste and Randomize buttons Sequence Edit Subdivison Edits the main sequence Each step triggers a sound of the ToneGen instrument if its velocity is higher than zero The steps velocity can be used to shape the respective channel s sound A yellow bar represents the current read out position during playback Sets the number of steps available per part As the length of each part is fixed depend ing on the Clock control a higher number of steps also accelerates the read out e g at a Clock value of one a Subdivison value of three interprets each step as eighth triplet a value of eight results in 32th notes Trigger Display Shows the trigger signals that are sent to the four channels of the ToneGen instrument Copy Copies the content of the current loop area to an internal buffer This buffer is not bound to a specific track and can also be used to copy between them P
344. output level lt D W gt Dry Wet control It crossfades between the incoming signal fully left and the processed signal fully right lt Byps gt Bypass switch which turns the effect off When off the CPU is no longer used Effects Anima REAKTOR FACTORY LIBRARY Manual 22 Effects Banaan Electrique 2 3 Banaan Electrique BANANE ELECTRIQUE INPUT GA TUBE COMPRESSO PRE EQ Z 65 SPEAKER a 3 gt e 3 O O 40 25 1 102 0 386 21 L DELAY DELAY R AR oe a 104 0 18 0 48 AN 106 0 24 FILTER REAKTOR LIBRARY 1 2 Banaan Electrique user interface 2 3 1 Introduction Banaan Electrique is a sophisticated guitar and bass amp simulator with built in effects It s like having a pedal board full of vintage pedals and a vintage amp with the added advantages of not needing to cable anything together or risk electrocuting yourself by running too much REAKTOR FACTORY LIBRARY Manual 23 Effects Banaan Electrique current through the amp You can still get shocked by its lush sound however Naturally Ba naan is happy to eat whatever types of sounds you feed it whether they re vocals drum loops synths or scallops 2 32 Getting Started Banaan Electrique was designed to be so easy that even guitar players can use it Just play some audio through it and let a rip Check out the presets to see the variety of tones that Ba naan can achieve 2 3 3 Structure and Signal Flow The au
345. ower the pitch Turn to the right for the opposite effect Resonance Sets the bandpass filter s resonance Fundamental Adjusts the fundamental frequency i e the pitch of the lowest voice Offset Sets the offset of the filter harmonics All voices are harmonics of the fundamental fre quency see Fundamental all harmonics below the one adjusted here are skipped Speed Controls the rate at which a LFO modulates each voice s frequency randomly Amount Sets the amount by which the voice s frequency is changed by the random LFO Density Sets the speed at which each voice s amplitude envelope is re triggered Random Sets the randomness of the re triggering events Turn to the left for completely regular re triggering turn to the right to give each voice a slightly varied re triggering speed Dynamic Sets the dynamic range of the amplitude envelope Turn to the left to bind every voice to a constant maximum level turn to the right to allow some randomly picked voices to be quieter Pan Sets the rate at which each voice is rotated within the stereo field Random Sets the randomness of the panning speed At high values each voice has a slightly dif ferent pan rate Damp Sets the amount of damping applied to high frequencies Gain Sets the amount of amplification applied to each voice independently REAKTOR FACTORY LIBRARY Manual 266 Sound Generators Space Drone 7 3 3 R
346. owers e Knee instead of saturation in the limiter e Overall CPU consumption reduced 2 9 3 Multi band Compressor After the input stage the signal gets split into four independent frequency bands as defined by the X Over section Each frequency band gets processed by independent identical compres sors and can be independently muted soloed and bypassed Separate saturators for each band make it possible for example to add punch and bite to the mids without affecting clarity in the lower registers Section Control Function Trims the input gain to prevent overload Bypass Bypasses the complete effect This is the master bypass switching off all compressors and the Limiter X Over High Mid High Mid Low and Low Compres sors High Sets the crossover frequency between the High and Mid High compressor bands Mid Sets the crossover frequency between the Mid High and Mid Low com pressor bands Low Sets the crossover frequency between the Mid Low and Low compressor bands Sets stereo width of the frequency band O is mono 1 is original stereo 2 is extra stereo Tresh Sets the point at which the compressor will begin to work in db Levels below this threshold remain unprocessed Ratio Adjusts the ratio of the input level to the output level after compression REAKTOR FACTORY LIBRARY Manual 46 Effects FlatBlaster 2 Section
347. pabilities on offer the ensemble offers a completely unique automatic rhythm generation tool Overview The ensemble consists of five instruments Sequencer a sequencer with 6 channels which drives Sampler the main sound engine based on a 6 voice granular sampler Snapshot which handles the sound sets Playlist used to automatically recall and sequence snapshots and fi nally Randomise which generates random sequencer patterns and sampler configurations REAKTOR FACTORY LIBRARY Manual 96 Grooveboxes Krypt Section Function Sampler overview Sampler is the sound engine of the Krypt ensemble and in essence is a 6 voice gran ular sampler with a wide range of parameters Certain parameters are static and glob al in that they are applied to all 6 voices simultaneously and cannot be modulated The remaining parameters are dynamic they are defined individually for each voice and can be modulated by velocity and or the LFO s Sampler static pa rameters Although the Krypt ensemble is preloaded with a large sample map you may wish to load your own samples In this case click on the main central window which displays the currently played sample to open the REAKTOR map editor As with the default map samples should be configured so that each MIDI key is assigned to a unique sample with a transposition of O Once the map is configured adjust the First and Last knobs so that they correspond to the highest and
348. pass filter that is damping the low frequencies Low Damp Sets the amount of damping applied to the frequencies below the Low Cutoff fre quency Mix Crossfades between the unprocessed dry signal at the left and the reverberated wet sound at the right Power Switches the reverb unit on or off Turn off to save CPU power if the reverb is not used REAKTOR FACTORY LIBRARY Manual 268 Synthesizer 2 Osc Synthesizer 8 2 Dsc 8 1 unison VOICES i g E mr In v Outv ZE 1 Saw Mac ENT EN Waveform Waveform Speed 0 63 0 16 GM mem a a Phas v Speed Waveform Q x a Amt Feedback R Delay L Delay Sync Glide O Arp Mode Up Down e Unison Arp Speed 4 40 2 OSC user interface REAKTOR FACTORY LIBRARY Manual 269 Synthesizer 2 Osc 8 1 1 Introduction 2 Osc finally is a synthesizer based on the classical subtractive model oscillator filter ef fect and vast parameter modulation capacities This particular implementation of the concept features two parallel oscillators two serial filters and a final stereo delay effect unit as well as three envelope generators two low frequency oscillators and additionally an arpeggiator Like in the FM4 instrument the technical implementation is more interesting than the underly ing synthesis concept All Oscillator section modes are built completely within Co
349. peed Adjusts the speed at which new pitches are reached if they are slurred i e if the previ ous note was still held when the new one was pressed This portamento effect only works in monophonic modes see gate Mode Pitchbend Range Sets the range in semitones by which the MIDI pitchbend wheel transposes the global pitch Vibrato Mode Selects whether vibrato is off on or faded in by the MIDI modulation wheel Vibrato Amount Sets the amount of vibrato Clicking the control s title bar restores the value to its de fault Vibrato Style Selects between three different vibrato modes Key Adjusts the amount of key scaling applied to the vibrato Turn to the left for no scaling to the right for less vibrato at low pitches producing a more musical effect Tremolo Mode Selects whether tremolo is off on or faded in by the MIDI modulation wheel Tremolo Amount Sets the amount of tremolo Clicking the control s title bar restores the value to its de fault Vibrato amp Tremolo Frequency Sets the speed of both vibrato and tremolo REAKTOR FACTORY LIBRARY Manual 286 Synthesizer Carbon Control Function Voice Panning Selects whether the instrument s voices are placed at different positions within the ster eo field Especially in combination with the Unisono control this can produce impress Switch ing spatial effects Voice Panning Se
350. pitch of all channels Technically it controls a mapping function that modulates the values adjusted within the Edit Area for each channel Only very high individual settings will result in high pitches if turned to the left while less high val ues will be mapped onto low pitches move to the right for the opposite effect Filter Cutoff Modifies the filter cutoff frequency of all channels see Oscillator Pitch for technical details Delay Time Modifies the delay time of all channels see Oscillator Pitch for technical details By turning the knob to the left the delay times can be dramatically shortened resulting in comb filter like effects REAKTOR FACTORY LIBRARY Manual 264 Sound Generators Space Drone Control Function Flow Amount Adjusts various amounts of modulation depending on the selected Operation Model e g frequency modulation amount amplitude modulation amount etc Like the Oscil lator Pitch this knob maps the individual channel s value Turn to the left for less modulation and more inertia turn to the right for the opposite effect Output Volume Sets the master output volume As slight variations of Skrewell s parameters might re sult in extreme volume changes this control should be handled carefully There is an additional Mute button at the knob s left 1 3 Space Drone O B SpaceDrone la s In v Outw W p v uoces 96 unison E Soros
351. play manually at the beginning of the Life evolution or at the beginning of each loop Control Function Loop Display Shows the process of the loop steps See also Run and Length Offset Sets an offset in steps to the sequencer read out Length Adjusts the length of the loop in steps Since the pattern of the Board Display can be copied automatically to the Performer Display at the beginning of each loop cycle the loop length controls how often the performer resets to the initial pattern REAKTOR FACTORY LIBRARY Manual 140 Grooveboxes Newscool Control Function Step Selects the step length of the life sequencer in MIDI units e g selecting a sixteenth calculates a new pattern life phase each sixteenth of the MIDI clock Run Switches the life process on or off When on each MIDI clock step see Step gener ates a new phase of the pattern according to the life rules see the instrument descrip tion the result is displayed in the Performer Display The MIDI clock has to be run ning or else this button shows no effect Next Calculates the next life sequencer phase independently of the MIDI clock Copy Selects at which point the pattern of the Board Display is copied to the Performer Display manually by pressing the To Performer button at the start of the sequenc er when the Run button is pressed or at the beginning of each loop cycle see Length To Performer
352. pled at note on Bipolar CCl MIDI controller 1 the modulation wheel Unipolar CC1 H MIDI controller 1 sampled at note on Unipolar CC7 MIDI controller 7 the volume slider Unipolar CC7 H MIDI controller 7 sampled at note on Unipolar Env Envelope generator Unipolar Rnd Random value generator Bipolar Destinations Amp Slice amplitude 100 to 100 Pan Stereo pan 100 to 100 P Slice pitch 12 to 12 semitones Len Slice length 100 to 100 Drv Overdrive amount 60 to 60 decibels Cut Filter cutoff 120 to 120 semitones Aux Aux send level 100 to 100 REAKTOR FACTORY LIBRARY Manual 190 Samplers Memory Drum 2 4 2 Memory Drum 2 Wel RIAL a MEMORY DRUM 2 REAKTOR LIBRARY tune gain clear copy paste hz bit mix noi 4 15 Memory Drum 2 user interface REAKTOR FACTORY LIBRARY Manual 191 Samplers Memory Drum 2 4 2 1 Introduction Memory Drum 2 is an advanced sampler that enables the independent configuration of up to 128 samples in a compact easy to use interface Specifically designed for drum sampling it features an attack hold decay envelope a range of effects multiple output channels and com plex modulation options The intuitive interface allows drum kits to be constructed quickly and easily yet the extensive range of sound design options offer vast creative possibilities for gen erating new sounds from your existing samples For a quick s
353. powerful and distorted sounds It s excel lent for drum and bass industrial and techno Within the framework of a standard two oscilla tor one filter design it features an unconvential seven sawtooth oscillator and an analog style filter REAKTOR FACTORY LIBRARY Manual 312 Oscillators Grobian features two unique oscillators plus a sub oscillator and a noise generator The first oscillator can be switched between a stack of seven sawtooth oscillators or a single sine oscil lator with bit quantization The second oscillator is a Pulse square wave generator that can be ring modulated The sub oscillator is always a sine wave lt Saw gt Sets the amplitude of the saw oscillators i e their level when mixed with the other sound sources As those are used the seven saw oscillators seven are used parallely to achieve a more fat sound a pulse oscillator a noise generator and a sine sub oscilla tor lt Pulse gt Sets the amplitude of the pulse oscillator lt Mode Saw gt Sets the mode of the saw oscillator It can be turned off used normally with seven parallel saw oscillators or be replaced by a sine oscillator with a quantizer Mode Pls gt Sets th mode of the pulse oscillator It can be turned off used normally with a pulse oscillator or fed through a Ring Modulator whose other input is connected to a sine oscillator See lt POrm gt lt PitchShift gt Sets the shift of the pitch in semitones of the saw oscillato
354. ps As the sequence moves on without being influenced by the stretch parts of the stretched sample that do not fit in the step are cut at a ratio of 2 1 the second half will be cut etc See also Slur Slur Ties stretches over consecutive sequencer steps If slur is off the stretch will be re trig gered at each sequencer step if it is switched on the stretch will be continued This also affects the Reverse function Pitch Adjusts the pitch shift for each sequencer step The values set here are relative ones the absolute range of shifting is controlled by Range Meter Controls the loop length in steps the step length is adjusted by Unit Unit Sets the rhythmic unit fourth eighth or sixteenth according to the current MIDI tempo used as step for the Meter control Release Adjusts the release time after each sequencer step s hold period See also Hold Range Sets the absolute pitch range available for the sequencer steps To actually adjust the pitch in each step use the Pitch pattern which exerts relative control over pitch With higher Range values identical Pitch patterns produce more drastic pitch shifts Rotate Sets an offset to the sequencer readout Copy Copies the current sequencer pattern into a buffer that can be read out by pushing the Paste button A complete pattern can easily be duplicated or moved by selecting anoth er slot with Sequencer Sele
355. put level with the In fader to achieve O dB on the input meters The top set of Threshold and Ratio knobs refer to the upper threshold of the compressor The upper compres sion ration is applied if the amplitude of the input signal exceeds the upper threshold The ra tio determines how many dB the signal must exceed the threshold to result in a 1dB increase of the output signal The lower threshold and ration controls are directly beneath the upper controls The lower compression ratio is applied if the amplitude signal is within the range be tween the upper and lower thresholds The Thresh setting shows up on the display just below the compression curve display The up per threshold setting will be on the right side of the display and the lower will appear on the left This will help you to dial in your threshold range to get particular hard knee or soft knee sounds Try adjusting the degree of separation between the upper and lower thresholds and watching the display to see where the compression crosses from sharp angled hard knee style to rounded soft knee You can adjust the attack time of the compression in milliseconds using the Attack knob The Attack setting determines how fast the compressor responds to turns down basically a signal that exceeds the threshold limits Slower attack times tend to let more transients through The Release knob lets you set how fast the compressor returns to unity gain or zero gain after fall ing below the t
356. quencer is a four channel modulation sequencer where you can independently draw and edit four different modulations You can route the mod ulations to synth parameters in the matrix modulation section Similar to the pitch sequencer to the right of the mod sequencer there are three vertical bars each with a different function The first one is a zoom scroll bar The second selects the vertical edit range while the third bar selects which channel of modulation is shown in the display You can either view and edit a single channel or you can view but not edit all four channels simulta neously To switch be tween these two modes simply click on the View button underneath the three vertical control bars When there is a vertical grid shown then you can draw in your modulation data After drawing in a shape click on View again and you will see the two dimensional representation where blue represents minimum values and red represents high values In two dimensional mode you can view all four modulation channels simultaneously Global loop length and zoom controls Underneath the modulation table are three horizontal global control bars that affect all tables The first one is the edit range bar that is also linked to the edit range bar for the pitch table The middle horizontal bar is the sequence loop length bar Similar to the other controls you re now familiar with this bar can be resized by dragging near the beginning or end and can be moved b
357. r It consists of three parts the Se lect Offset and Pitch sequencers Each of the parts has two tracks the trigger track at the bottom of the sequencer and the modulation track above The trigger tracks can be used independently from the modulation tracks but you can t modulate without a trigger In other words you can trigger the envelope without sending any modulations but not vice versa n the Envelope section you can choose which of the three trigger tracks is used for starting the envelope The trigger events of the Offset track can also be used to reset sample offset The modulation tracks can be used to modulate the sample player s main parameters These are the Select parameter for sample selection the Offset parameter for controlling the start po sition in the currently selected sample and the Pitch parameter controlling pitch of sample playback Control Function Loop bar The bar above the sequencer grid represents the sequencer s loop region Right click ctrl click for Mac users to set length Left click and drag to move Modulation Click on the grid to create modulation events Drag the mouse up or down to set the level These events are wired to the Sample select Sample offset and Pitch mod ules respectively They can be used to modulate the parameters of the respective mod ules in a controlled or randomly varied way These parameters are sample selection sample offset and pitch of playb
358. r switches activate the LFO envelope as a control source for the oscillators cutoff frequency The modulation depth depends on the Amount controller setting max 60 halftones e Amp The Amp switches activate the LFO envelope as a control source for the oscillators amplitude The modulation depth depends on the Amount controller setting A value of 0 5 would be an equivalent to an amplitude range between 0 5 1 0 5 and 1 5 1 0 5 Master e Level Controls the overall output in dB 6 dB are equivalent to a doubling halving of the amplitude e Tune Controls the overall tuning A3 440 Hz e Unison Det If you use more than one voice at a time while unisono is activated this con trol slightly detunes these voices against each other which creates a very lively and float ing sound Stereo Delay FX The Stereo Delay FX consists of two delay units which delay the audio signal by up to 800ms through digital storage The delays are wired to the left and the right output channel The delay time is adjustable and can be modulated by an internal LFO Moreover the flanger chorus and the echo effects depend on the internal mixture and the feedback of the signals REAKTOR FACTORY LIBRARY Manual 375 Synthesizer SoundSchool Analog Delay Delay influences the mid running time of both delays In addition the half time difference Del L R will be subtracted from the running time at the left delay while it wi
359. r triangle and Saw for sawtooth The triangle s curve has a linear shape The symmetry is a product of the relation between rise time and decay time It s adjustable by Symm and can also be controlled with the LFO and with the Filter Enve lope e Sine This signal has less overtones at Symm 0 It is parabolically shaped The rela tion between rise time and decay time symmetry of the signal form is variable It is ad justable by Symm and can also be controlled with LFO and with the Filter Envelope e Noise produces white noise It is based on a fast running random generator and has no pitch and no adjustable signal form Symm lets you set the symmetry or respectively the asymmetry of the Pulse the Rectangle and the Sine waveform At a value of O it is totally symmetric 50 50 At higher values the negative part of the Pulse and the increasing parts of the Rectangle and Sine waveform are getting longer while the positive and resp falling part is shortened This also creates a brighter sound because short pulses as well as steep flanks manifest in increased overtones At a value of 1 a triangle becomes a sawtooth with a vertically falling flank Sine behaves quite similarly Pulse becomes infinitively narrow and disappears With the Interval controller you can detune the pitch of the triggered note by up to 60 half tones 5 octaves up or down FM determines the Osc 2 s modulation frequency amplitude using the signal of Os
360. rack Selects the track that can be edited within the Edit Display Step Count Displays the number of the current step 1 to 16 If the gate is off the number is dark if the gate is on the number is light This can be helpful when editing the modulation track Edit Display Displays the trigger pattern filled rectangles as well as the modulation track unfilled rec tangles depending on the Track setting Clicking within the display allows the patterns to be edited High values of the trigger pattern represent high velocity in the modulation track they cause the modulated knob to turn to the right and low values turn the knob to the left Roll Mode Selects how often the trigger signal is sent Normally it is only sent once per beat by click ing with the mouse one can step through three differently colored modes where the trigger signal is sent more often see Roll Factors Loop Controls the length and position of the played sequence Only those steps within the rectan gle are used Drag the ends of the rectangle to adjust the loop s start and end points A sec ond smaller bar represents the current read out s position 3 2 4 Master Mixer This section has two functions First it mixes the six drum synthesizers down to a single signal or to four signals if Single Outs is activated Second it controls the snapshots of the com plete ensemble as the sound engine and the sequencer are slaved to this part of the instru m
361. rag the mouse up or down to select the desired pattern Global con Loop Bar The blue bar above the sequencer grid represents the sequencer s loop re trols gion Right click ctrl click for Mac users to set length and left click and drag to move Run Starts and stops the sequencer REAKTOR FACTORY LIBRARY Manual 248 Sequencers SQX 6 6 SQX oss E see ger IR ER int oke dr ECO 11 55 lia E L ER A run unit 9 IS 13 16 start len O ma m EN E EE EE FE EN EH A EE EN EN EA EN EN EHN EN EA EE EE copy paste dens shfle rnd gate E l sat e E gain ol H 5 s S e as 4 33 SQX user interface REAKTOR FACTORY LIBRARY Manual 249 Sequencers SQX 6 6 1 Introduction This ensemble enlarges the collection of sequencer instruments supplied with Reaktor 5 It provides four tracks designed to trigger drum sounds Each track is bound to a maximum length of eight quarters however this is what makes the instrument special each quarter can be subdivided into an individual number of smaller steps giving access to complex poly rhythmic beat programming The ensemble also contains an additional song sequencer that can be used to automatically recall snaps of the sequencer to build large scale patterns Finally a small but versatile per cussive tone generator demonstrates the sequencing capacities 6 6 2 SnapSeq chic ol B SnapSeq A K in sl Dusel FHT DEER E oner mie geen 1
362. ranular buffer To freeze the buffer press the Freeze button to the left of this graphical display If you stop the system clock the sound will continue but the scenes won t advance GrainStatesSP Start the system clock and step through the presets If you stop the system clock the sound will continue but the scenes won t advance 2 12 3 Structure and Signal Flow At the heart of GrainStates is the granular grain cloud module GrainStatesFX is based on two for true stereo operation grain cloud delay modules while GrainStatesSP is based on a single grain cloud sampler module Both the grain cloud delay and grain cloud sampler have identical controls with the grain cloud delay adding the ability to freeze the sound All of GrainState s controls with the exception of the 2Band Delay are used to control the grain cloud A master sequencer runs through eight scenes are run through sequentially with each scene providing control over various granular parameters Every scene can have its own length setta ble by the Ln slider whose units are set in the Seq Control macro You can also set the total number of scenes NrSt and if you want to disable the scene sequencer simply click on man and you can select a scene manually with the SelS knob Each scene provide control over pitch jitter PJ amount of pitch randomization in semitones pitch shift PS in semitones transposition TP in semitones volume Lvl and an XY panel lets you
363. re stores the value to its default double clicking the right side will set the value to the closest integer value 8 12 19 Gate Mode This section is used for choosing the global gate mode of the instrument when several individ ual keys are played on the keyboard at the same time You can choose between Control Function Normal Oscillator phase and modulation envelopes and LFO will be reset with every keystroke The Note Off Phase starts after releasing the last key played Hold Oscillator phase and modulation envelopes and LFO will be reset with every keystroke The Note Off phase starts after all keys are released Legato Oscillator Phase and modulation envelopes and LFO will not be reset The Note Off phase starts after all keys are released 8 12 20 Glide This section allows for adjusting the global pitch glide parameters of the instrument Control Function Legato Activates the legato mode If switched on the glide effect will only be used if more than one key is played Glide Time Adjusts the glide time between two notes abs rel Chooses between an absolut glide time or a relative glide time value glide time is rela tive to the pitch distance REAKTOR FACTORY LIBRARY Manual 335 Synthesizer Lazerbass 8 12 21 Pitch Mod This section allows for adjusting the global pitch modulation parameters of the instrument Control Function M
364. re providing anti aliased sine triangular pulse and sawtooth waveforms as well as two special modes Buzz and 2Saw The second oscillator block also features soft synchronization i e the oscillator is not always re triggered when the first oscillator s signal rises above zero but only at certain phase states of the second oscillator The Filter sections contain an additional saturation level that helps to tightly control the filter s resonance the internal filter processing uses over sam pling for more accurate sounds The second filter is a Ladder filter a lowpass filter that pro vides resonance also when using its 1 pole mode with 6 dB damping per octave The envelope generators and both LFOs provide similar high end features see below for details 8 1 2 List of Controls The instrument s panel is rather simple and similar to any analogue like subtractive synthesiz er Particular features of the sections are explained with the relevant controls Section Control Function Range Osc 1 2 Pitch Controls the frequency of the oscillator as offset to the pitch trig 60 60 gered by a MIDI Note On event in semitones See also Key Fine Controls the oscillator s frequency in cent This value is added to the 5 0 5 Pitch control PW Controls the pulse width of the Pulse waveform 50 at a value of 1 1 Pulse Width 0 and the phase offset of the second sawtooth wave in 2Saw mode des 180 degrees at a value of
365. re you can adjust the spring s physical charac teristics The Damp knob sets high frequency damping for the spring Turning the knob clock wise increases the damping Stiffness which mimics the flexibility of the spring gives bright er more resonant sounds at higher settings The Shape knob allows you to crossfade between a round spring shape to the left and a rectangular one to the right The round shape emphasized a ringing sound while the rectangular shape creates less ringing but a more diffuse sound The Thickness of the spring determines the virtual diameter of spring winding and therefore the overall length of the spring Longer spring settings result in reduced brightness The Length setting reflects global length Turn this up to increase the shattering decay sounds The Decay knob changes the length of the decays It alters the amount of feedback in the system Switching the Mono button off engages an additional short delay in one channel resulting in the simulation of stereo The Suspension section allows you to mimic the type of spring suspension in the system When you turn the knob to the left you increase the softness of the suspension material This will lengthen the decay rate of lower frequencies What this is actually doing is adjusting the cutoff REAKTOR FACTORY LIBRARY Manual 74 Effects Two Knees Compressor of a high pass filter in the feedback loop Suspension will therefore also have an effect on the
366. re granulated the output will sound The sample is now fed into the Resonator The Resonator uses three voices to create tuned at mospheric and spatial effects Each of the three voices can be tuned in semitones relative to each other Clicking the MIDI switch lets you control the root pitch using MIDI notes You can control damping and decay of the Resonator with the xy pad A rhythmic loop can be turned into a harmonic soundscape by manipulating the damping and decay controls and creating chords with the voice tunings From the Resonator the sample passes through the Delay module which includes a high pass filter You can use this to manipulate the sonic character of the sample before it hits the delay by removing low frequencies with the filter The Delay xy pad lets you set 16th note quantized delay times for the left and right channels Finally an attack release envelope allows you to contour the loudness of your sound Use the sample control to select a sample or double click on the grain cloud module to load your own Samplers Travelizer REAKTOR FACTORY LIBRARY Manual 201 Samplers Lurker 45 Lurker CH ENK DIR GLOBAL UNIT 1 3 KA UNIT 25 POST DELAY 4 2 Lurker s user interface EXT Int voices M REAKTOR FACTORY LIBRARY Manual 202 Samplers Lurker 4 5 1 Introduction Lurker is a hybrid effect capable of classic phaser sounds spring reverbs and fee
367. re the same table Seq you could end up changing a table sequence and inadvertently changing the sound of all other snapshots that use the same table If each snap shot has its unique Seq number you will avoid this problem Please note however that table data is excluded from the snapshot functions such as morph randomize and compare To be really safe if you spent a lot of time working on a sequence that you love save the entire en semble using the Save As command Pitch table To the right of pitch edit table are three vertical bars The first is the vertical zoom scroll bar Clicking and dragging near the top or bottom of this bar will act as a zoom while dragging in the middle of the bar scrolls the display The next vertical bar sets the trigger threshold Any notes below this threshold won t be triggered The third bar sets the edit range The edit range can be extended by clicking and dragging near the top or bottom or the edit range can be dragged up or down by clicking and dragging in the middle of it An additional horizontal editor bar is provided to select notes in time The copy paste cut insert functions to the right of the vertical bars do the usual functions for the area defined by the horizontal and vertical edit bars with a couple neat tricks P Inc sets how much the pitch will be increment ed when data is inserted or pasted in semitones If you wanted to transpose a figure by five BlueMatrix REAKTOR FACTORY LIBRAR
368. re triggered can be controlled as Speed At high values the sample is re triggered so fast that only a very short part of it is heard creating a familiar grain re synthesis sound Use the Sampler Start control to modu late the grain sound Section Control Function Master Sample Select Adjusts an offset for all Sampler Sample Select controls of the six independent sampler tracks Sample Select Modula tion Source Selects the modulation track that modulates the Sampler Select parameter See also Sample Select Modulation Amount Sample Select Modula Controls the amount of modulation applied to the Sampler Select tion Amount parameter by the track selected in Sample Select Modulation Source Transpose Adjusts an offset for all Sampler Transpose controls of the six inde Transpose Modulation Source pendent sampler tracks See also Transpose Scale Selects the modulation track that modulates the Transpose parame ter See also Transpose Modulation Amount Transpose Modulation Amount Controls the amount of modulation applied to the Transpose param eter by the track selected in Transpose Modulation Source Decay Scale Scales all decay times for each sampler track with the Sampler De cay control Decay Scale Modulation Source Selects the modulation track that modulates the Decay Scale pa rameter See also Decay Scale Modulation Amount D
369. re vast and complex as reflected by the number of con trols on the panel However those wishing to start programming beats straight away will need to know a few essentials e All samplers and FX units can be quickly enabled or bypassed by clicking on the panel label at the top of each section When bypassed the label will appear faded Click again to enable the section e The sequencer section contains 3 windows the uppermost of which simply shows the cur rent beat position The middle window is for programming the main rhythm composed of a kick snare and hi hat simply click the mouse in this window to toggle hits on or off and to toggle hit accent click and hold the mouse button until the hit changes size The lower window is for editing 3 additional sequences the Pod and Tie samplers and a mul ti purpose freely routable modulation sequence Mod To select which of the 3 sequences to edit click the mouse on the appropriate label next to the window Overview Limelight s panel can essentially be separated into 4 areas 1 The Sequencer and Remix sections are where the basic drum pattern is programmed 2 The Out section in the upper right which allows final adjustment of the overall sound 3 The middle row of the panel which houses the 5 samplers Kick Snare and Hat carry the basic groove which is then complimented by the two additional samplers the Tie and Pod 4 The bottom row of the panel which contains a va
370. red and instead the output of filter 1 is fed into the input of filter 2 In both Parallel or Serial routing modes the output of the 2 filters is crossfaded ac cording to the Mix control If Man is selected then the adjacent knob defines the crossfade position Selecting any other entry overrides the manual knob and instead uses the selected source to define the crossfade position Filter Amp determines at which point the amplitude envelope Envelope 1 is applied to the signal pre or post the filter section Bypass Amp selects a source for the bypass signal amplitude envelope Multifilter 1 and 2 The two filter sections are identical with the exception that Multifilter 2 features a Link button When this is enabled the cutoff of filter 2 is relative to i e it is added to filter 1 The effect of the 3 main knobs in each unit is dependent on the filter mode selected from the main menu as denoted in brackets after each menu entry In most cases the left knob controls cutoff and the central knob controls resonance REAKTOR FACTORY LIBRARY Manual 355 Synthesizer Photone Section Control Function Beneath each knob are slots for selecting up to 3 modulation sources Further key scaling can be applied to the each control enable the Scl button and adjust the 4 key scaling sliders as required as in the oscillator tracking section Both filters also have an optional saturator
371. requency by up to 120 semitones o lt C gt Weak High velocities increase the filter freqeuncy by up to 12 semitones lt FM gt Sets the mod of FM amount modulation by the midi velocity o lt off gt FM is not modulated by midi velocity o lt A gt Moderate o lt B gt Strong lt Brp gt Sets the mode of modulation of the breakpoint of EG3 by the midi velocity o lt off gt BRP is not modulated by midi velocity REAKTOR FACTORY LIBRARY Manual 407 Synthesizer Titan o lt A gt Moderate High velocity values increase the breakpoint level by up to 20 o lt B gt Strong High velocity values increase the breakpoint level by up to 60 e lt D2 gt Sets the mode of modulation of the second decay time of EG3 by the midi velocity o lt off gt second decay time is not modulated by midi velocity o lt A gt Moderate High velocity values increase the decay time by up to 100 millisec onds o lt B gt Strong High velocity values increase the decay time by up to 100 seconds Modulation Matrix The modulation matrix is the Instrument view of Titan By double clicking on Titan s main ti tlebar the modulation matrix will pop into view In the modulation matrix 6 modulation sour ces envelopes Ifos etc can be routed to 11 destination pitch filter etc The sources are e One of the 3 envelopes EG1 or EG2 or EG3 e LFO1 e LFO2 or LFO3 e Table 1 e Table 2 e The pitchbend or the modulation wheel The destinations ar
372. resonance can be modified It uses a type of synthesis called physical modeling which uses contoured noise passing through feedback delays that can be tuned and filtered The ensemble is basically sep arated into three parts Steam Pipe and R66 the reverb module The Steam module gener ates shaped and filtered noise The Pipe module gives the wind pitch and resonance R66 provides the space You can think of the Steam module as SteamPipe s oscillator or at least part of it Steam pro vides the sound energy that will be pitch formed by the Pipe module To this end there are an ADSR volume envelope modulated by velocity and keyboard scaling meaning that the enve lope can be set to be shorter or longer overall as effected by velocity and low pass filter with key and velocity tracking The Gen section of the Steam module is where the timbral shaping of the DC Noise source takes place The low pass filter works in 1 pole or 2pole mode though the resonance control only applies to the 2 pole filter After the noise is filtered the signal is fed into the Pipe mod ule The Pipe module is made up of a number of submodules for creating pitch and resonance The noise signal is fed from a single tuned delay which provides pitch into the Allpass module for resonance A Saturator receives the signal next and applies edge and breakup The MW Filter finishes off the signal chain giving one final overall tone shaping stage The FeedBack and Push
373. ric sounds and at the same time thick mono phonic lead patches It consists of two independent sound generators The Sub Oscillator is based on additive synthesis and the Formant section performs like an oscillator with a con stant frequency vowel filter Internally those oscillators are quite complex the Sub Oscilla tor for example does not use normal harmonics of the main frequency to perform additive synthesis but produces subharmonics However those technical details remain hidden below the simple user interface REAKTOR FACTORY LIBRARY Manual 390 Synthesizer SubHarmonic 8 19 2 Voice This section deals with the voice assignment You have the normal monophonic and polyphonic modes and an additional unison mode that uses all available voices like polyphonic but sets them to the same pitch only slightly detuned The resulting phase interferences produce a chorus like effect The amount of portamento and the influence of the MIDI pitchbend wheel onto the instrument can also be adjusted here Control Function Voice Controls the voice assignment of the instrument Poly selects polyphonic Mono switches to Mode monophonic behavior Uni is also monophonic but uses all available voices which are slightly detuned to each other Detune Sets the amount of detuning in Uni mode Turn to the left for larger intervals between the voi ces Glide Switches portamento on or off see also Spee
374. richly de fined space The Size and Diffusion knobs work the same way as those in the Early section but there a few new options The RT knob controls a feedback loop allowing you to stretch out the apparent reverb time or the time it takes for the echo to return to the point of origin There are Effects SpaceMaster REAKTOR FACTORY LIBRARY Manual 72 Effects Spring Tank also controls for high and low shelving EQs called Hi Damp and Lo Damp respectively that allow you to shape the frequency range of the reverb signal You can modulate the delay time and apparent position of the reverb signal by using the modulation controls The Spin knob ad justs the amplitude of a sine wave LFO while the Dizzy knob controls amplitude for a Slow Random LFO You can create complex modulations by adjusting the balance of sine wave and random LFOs The Freq knob controls the rate of both LFOs together As in the Early section 6 or 12 diffusion modules can be selected with the Mode switch This section can also be by passed with the Byps button Both the Early and Late Diffusion sections feed into the EQ The EQ consists of stereo low shelf parametric and high shelf filters Starting at the left the Lo knob lets you control at tenuation or boost of the low frequency set with the Frq immediately above The Mid knob con trols the parametric EQ band The Frq and Q knobs above it let you adjust the frequency and bandwidth of the parametric The Hi
375. riety of FX processors REAKTOR FACTORY LIBRARY Manual 109 Grooveboxes Limelite Section Control Function Sequencer section main window Pattern sequencer The main window in the sequencer section is where the basic beat main window is programmed kick snare and hat Click the mouse inside this area to toggle hits on or off To toggle between normal and accented i e louder hits click and hold the mouse button The main sequencer window has 4 patterns A B C and D When Track is enabled the main window will always follow and display the current pattern A B C or D being played To select which to edit click on the desired pattern in the top left of the sequencer area Patterns A B C and D can be arranged in any order by using the pattern sequencer at the top right of the sequencer section Enable the pattern sequencer by clicking on the on off button and click and drag on the adjacent number to set the sequence length 2 to 8 bars Finally click and drag on the 8 pattern letters to define the pattern arrangement The Copy and Paste buttons allow any of the 4 patterns to be copied and pasted ei ther within or between snapshots To clear the current pattern click Paste while si multaneously holding a MIDI note REAKTOR FACTORY LIBRARY Manual 110 Grooveboxes Limelite Section Control Function Tie Pod and Mod The Tie Pod and Mod sequences can be edited in the
376. roduction ity to record incoming MIDI notes 6 2 2 Details Section Control Function Control Song Seq Toggles song mode on and off When on the pattern defined under Song Sequence is played When off the currently selected pattern is played and looped Zoom Level Choose whether 16 32 or 64 steps are displayed This has no influence on the notes played Notes Displays the notes track of the sequencer Click the notes grid to create notes right click to delete notes ctrl click for Mac users Note length de pends on the quantization settings on the top right side of the sequencer Velocity Displays the sequencer s velocity track Each note in the notes grid has a ve locity bar in the velocity track Drag with the mouse to change the levels Modulation Displays the sequencer s modulation track Enter the desired modulation steps by dragging with the mouse Quantized in 16ths Pattern A B C D When not in song mode see Song Seq the selected pattern is played and looped Song Se Song Edit The edit button enables you to assign patterns to the Pattern Slots quence Pattern When Song Edit is active click into a pattern slot and drag the mouse up down to select the desired pattern Slots Global con Loop Bar The brown bar above the sequencer grid represents the loop region Right trols click ctrl click for Mac users to set length and left click and drag to move Run Switches sequence play
377. rol Out Sets the output volume of this operator This volume is used when mix 0 1 Output Volume ing the four operators The FM signal is not affected by this control to adjust the amount of frequency modulation the FM Sources Section has to be used REAKTOR FACTORY LIBRARY Manual 298 Synthesizer FM4 8 6 3 FM Sources Section The FM Sources section controls the modulation matrix It defines a signal as a mix of all four Operator sections to be used as modulation source independently for each oscillator this also includes self modulation Each operator s signal can additionally be scaled by a MIDI modula tion source like the pitchbend wheel or the instrument s polyphonic LFO section by using the controls of the FM Mod section Control Function Range UN 4 Sets the amount of phase modulation applied to one of the operators specified by 0 10 the row of the Control by one of the other operators specified by the number The amount rises quadratically self Sets the amount of self modulation for each of the four oscillators 0 10 Mod 1 2 3 4 Scales the modulation signal from the FM Mod Source applied to the level of oper 0 1 ators 1 4 as sources of the FM matrix for all destinations At O the full operator level is sent to the matrix At higher values the level is dynamically attenuated by the FM Mod Source Source Selects a source e g the LFO or the LFO scaled by
378. rs Before reaching the filter the wavetables can be mixed with the aux sine wave which features tuning relative to the main oscillators in octaves and a noise source with adjustable filter color and envelope decay The sine oscillator can ring modulate the wavetables and the resulting signal can also be mixed into the filter input with the Ringmod level knob All of these sources are fed into a 4 pole low pass filter whose cutoff frequency and resonance can be set with the Filter XY pad Much like in the Wavetable section the knobs along the right edge of the Filter XY pad control the amount of positive or negative filter modulation from the envelope LFO and gate signals These modulation sources reside on the right side of the ensemble The LFO allows you to mix sine triangle and square wave shapes to achieve complex modulations LFO frequency and waveform symmetry can be controlled with the Rate and Symm knobs respectively You can also set the start point of the LFO wave when it is retriggered using the Phase knob When the Gysinc button is switched on the LFO is retriggered with each gate signal it restarts at the point in the waveform set by the Phase knob An ADSR envelope modulates the wavetable and or the filter frequency Another ADSR controls the amplitude contour The final elements in the signal chain are the MoDelay and the FilterDelay The MoDelay pro duces dimensional chorus and flanging sounds with its delay time LFO
379. rs for instance A visual display of the distortion function helps to see what s going on inside 2 1 3 Modulation Analogic Filter offers six modulation sources A built in LFO envelope follower enveloper MIDI note pitch modulation wheel and pitch bend wheel The modulation sources and the flexible matrix signal routing system at the bottom of this effect transforms it into an incredibly powerful machine The modulation signal routing system provides a source selector for each parameter to be modified among those modifiable parameters are the cutoff frequencies and resonance set tings of both filters and the distortion amount and symmetry control of the distortion section In addition to gate information from MIDI note on events that can even be used to trigger the filter you can also use the pitch and mod wheels as modulation sources An internal LFO envelope follower and auto trigger envelope can add movement to the sound without the need any external MIDI controllers The LFO offers different waveforms and can al so be synchronized to the global tempo or MIDI clock the small Unit knob syncs the LFO to MIDI clock and sets the musical note units that are shown under Freq The Envelope Follower calculates its modulation amount from the incoming signal At high levels there is a high mod ulation level and at low levels it s low The Interval knob controls the response time to fast REAKTOR FACTORY LIBRARY Manual 19 Effects
380. rs resp the pulse oscillator The value of this control is added to the pitch of the midi input lt Fine gt Adjusts the pitch of the saw oscillators resp the pulse oscillator in fine steps for detuning Detune one oscillator slightly for sweeping effects lt Quant gt Sets the stepsize of the quantizer used by the sine oscialltors See also lt Mode Saw gt Greater steps result in more distortion lt Width gt Sets the pulse width of the pulse oscillator lt Step gt Sets the amount of detuning of the seven saw oscillators Those oscillators do not use the same pitch instead their pitches grouped around the center pitch vary by steps whose size is adjusted by this control lt POrm gt Sets the shift of the pitch of the sine oscillator whose signal is used for ring modulation with the pulse oscillator lt lfo7 gt lt eg7 gt Control wether the Ifo or the second envelope EG2 modify the pitch of the saw oscillators Synthesizer Grobian REAKTOR FACTORY LIBRARY Manual 313 lt lfo2 gt lt eg2 gt Control wether the Ifo or the second envelope EG2 modify the pitch of the pulse oscillator lt Sub gt Sets the amplitude of the sine sub oscillator lt Noise gt Switches the noise generator on or off lt Noise Lvl gt Sets the amplitude of the noise generator lt EG2 gt P gt Sets the amount of pitch modulation by the second envelope EG2 See also lt eg gt and lt eg2 gt lt LFO gt P gt Sets the amount of p
381. rvals between both oscillators The controller s range is a half tone up and a half tone down with a resolution of 1 100 halftone 1 cent Sync Osc 1 gt 2 activates hard synchronization of Osc 2 to Osc 1 When active the phase of Osc 2 is set to zero for every time Osc 1 s curve passes zero upwards Independently of the current posi tion the waveform starts again from the beginning The pitch of the signal created is deter mined by Osc 1 while the sound is strongly dependent on the waveform and the frequency of Osc 2 Mix The output of both oscillators is mixed in the mixer module Additionally a ring modulator cre ates an amplitude modulated product of both signals which consists of mostly disharmonic frequencies The signals are mixed using mixer controls Osc 1 Osc 2 and RingMod Filter The filter s transmission characteristics are frequency dependent and have a strong influence on the tone color Overtones can be partially emphasized by resonance or softened The Mode menu offers ten different types of filters and bypass e Bypass Deactivates the filter Signals are sent directly to the amp e Notch 4 A 4 pole notch filter which strongly damps a narrow frequency range nearby the cutoff frequency causing a hole in the frequency response With increasing resonance the notch becomes more narrow and you will hear resonance effects on its margins REAKTOR FACTORY LIBRARY Manual 371 Synthesizer SoundSchool Anal
382. s a saturator so you could saturate just the upper mid frequencies for instance without muddying the bass It also makes an excellent de esser and sibilant reducer 2 10 2 Quick Start Even though Flatblaster gives control over many sound shaping parameters there s no need to be intimidated by its complexity A full range of presets shows off its capabilities and gives good starting points for tweaking the effect for your sound Simply play some audio through Flatblaster and step throught the presets Try experimenting with muting soloing and by passing each individual band so you can carefully hear what the blaster s doing Be careful when adjusting the saturation of each band The sound can potentially get very loud if you don t first reduce the make up gain the knob labeled Gain to the right of the Sat knob 2 10 3 Structure and Signal Flow The input signal is divided into four bands the three crossover frequencies are adjustable in dependently Each frequency band is processed by an independent identical compressor Each band can be muted soloed and bypassed no compression The signal is summed be fore going through a full band peak limiter which can also be independently bypassed The master bypass for the effect is located to the right of the input meters above the crossover set tings 2 10 4 Frequency Specific Compressor Each of the four compressors are absolutely identical In fact they have to be If they weren t
383. s filters o Display X gt frequency of the filters o Display Y gt amplitude of the filters o Controller X gt center of the frequency range that is covered by the bandpass filters o Controller Y gt either the width of the frequency range or the phase offset of the wave that determines the amplitude of the bandpass filters depends on the Y gt width but ton on the left Effects Anima REAKTOR FACTORY LIBRARY Manual 21 LFO lt Sync gt If ON the LFO is synced to the global clock Its length is then set in 16th notes The global clock can be started and stopped by the corresponding buttons in Reaktor s toolbox If Reaktor is used as a plug in the clock of the host is used lt LFO Cycle gt Sets the cycle length of the low frequency oscillator LFO The LFO modu lates the phase offset of the wave that determines the amplitude of the bandpass filters If the Snyc button is on the length are set in 16th notes If off the length is set in milli seconds lt Sine gt Toggles the waveform of the LFO from triangle to sine wave lt Ampl gt Sets the amplitude of the LFO lt Asym gt Sets the amount of asymmetry of the LFO E g a triangle waveform turns in a sawtooth with a rising slope if the knob is turned fully clockwise Counter clockwise it turns into a sawtooth with a falling slope In the center it remains a triangle waveform Output lt Level gt Sets the output level in dB The meters show the post fader
384. s how much the individual objects differ in speed The higher the val ue the faster fast objects will rotate while slow objects will remain slow This can be used to increase the chaos of a melody However as it strongly interacts with the Step control it needs to be used experimentally together with the other parameters Spiral Step Controls the difference in speed between two adjacent objects Higher values result in more complex melodies Technically speaking all objects are aligned along a line The Step parameter defines how much faster the next object within this line is in relation to its predecessor However at a maximum level which is defined by the Spiral parameter the Step value is inverted so that the next object is slower than its predeces sor At the minimum speed level the Step value is inverted again so that objects become faster again and so on until all objects have a specific speed High Step levels increase the frequency of those inversion points and thus the melody s variation Spiral Shift Controls the initial object s speed from which all other speed values are de rived dependent on the Step control It can be used to create a variation of an existing melody Pitch Pitch Controls the pitch range of the melody High values result in a very wide spread melody while low values concentrate all objects pitch values around the central pitch Pitch Spread Controls the pitch range of the melody Hig
385. s or shortens the reverb generated by this feedback signal The reverb signal can be muf fled with the Damp control Damping can be modified by Key Track amount High Key Track values result in more damping on higher pitches This allows SteamPipe 2 to emulate struck or plucked instruments like pianos harps and acoustic guitars Section Control Function Delay Tune Tune Sets the fundamental pitch of the signal For standard musical tunings set it to the A440 oscillator at the bottom of the patch Fine Tune Fine control of signal pitch SREC Sample rate error correction Adjusts the tuning correction of the pipe When the signal modifications in this patch and REAKTOR s sampling rate interfere with the physical model of SteamPipe this extra fine pitch tuning becomes necessary Tune against the A440 section Mod Whl Sets the amount of pitch modification by the MIDI modulation wheel This simulates pitch changes of pipes getting blown softer or harder Feedback Rev Time Adjusts the time of the pipe s reverberation i e the amount of damping applied to the feedback s signal before it is mixed again with the new in coming signal The longer the reverb time the more the incoming noise steam signal becomes a tone with recognizable pitch Damp Sets the amount of high frequency damping of the pipe at key up Key track Controls the feedback s key tracking Turn to the right for longer reverb times at high MIDI pi
386. s own key track setting The lone Polarity switch inverts the pipe polarity changing the timbre of the sound often turn ing high frequency tones to deep ones and vice versa The FeedBack module processes the feedback in the signal chain The RT knob extends or shortens the reverb generated from the feedback signal The reverb signal can be muffled with the Damp control Damping can be modified by K Track amount know High K Track values re sult in more damping on higher pitches This allows SteamPipe to emulate struck or plucked instruments like pianos harps and acoustic guitars R66 The final step in SteamPipe s processing chain is the R66 reverb module R66 is a full fea tured and rich sounding reverb with lots of parameters to adjust First the Del module uses predelay time and left right panning offset to position the signal in time and space The Diffusion module has controls for size and reverb time and has a low pass filter and low and high frequencies damping in order to model a convincing space There are also controls to modulate reverb time and pan position with a sine wave or random LFO or both The Pos knob lets you set the reverb reflections early or late further coloring the sound of your virtual space Synthesizer Steam Pipe REAKTOR FACTORY LIBRARY Manual 389 Synthesizer SubHarmonic 8 19 SubHarmonic 4 56 SubHarmonic user interface 8 19 1 Introduction SubHarmonic generates pad like atmosphe
387. s picked by the rectangular control at the right Each of its eight boxes represents one of the eight parallel os cillators by moving the mouse within this area the boxes can be moved and their colors can be changed visualizing a different set of values taken from the range of values provided by the circular controls This sounds complicated but a short tutorial will help using the instrument Before the tutorial five more controls should be explained MUTE 4 48 Volume control REAKTOR FACTORY LIBRARY Manual 305 Synthesizer Gaugear A small display between the circular and the rectangular controls shows Lissajous figures of the signal below the instrument s volume can be adjusted by dragging the geometrical figure up and down p A ASI GLIDE Da 4 49 Glide control The glide label functions as a fader to set the amount of portamento between tied notes Ir el Ds four semitones 4 50 Pitch control Beside the envelope sliders two controls select the pitch set to which the pitch control is map ped e g by selecting b and major pentatonic topmost entries of both controls only pitch es of the pentatonic major scale with b as fundamental pitch are used for the eight oscillators Obviously this interface does not allow you to assign a particular set of parameters to one of the eight oscillators you have to trust your ears For a first exploration of this instrument s ca pacities set the rever
388. s returning to its origin if off the sampler is re triggered only when the global MIDI clock starts playing Length Con Sets the length of the loop that controls the sampler s re triggering if the trol Loop Switch is on See also Unit Select Unit Select Selects the rhythmical unit on which Length Control is based This unit re fers to the global MIDI clock Sampler Displays the currently active sample see Sample Select Double click to open the Sample Map Editor where sample files can be loaded and organ ized REAKTOR FACTORY LIBRARY Manual 203 Samplers Lurker Section Control Function Sample Se Selects one of the samples loaded into the Sampler lect Sample Pitch Transposes the selected sample This also affects the samples playback speed An octave up or down sets the playback to double or half speed re spectively Internal Level Controls the amplitude of the sampler External Level Controls the amplitude of the external signal External Mute Disables the external input External Dis Shows the level of the external signal play Snapshot Snapshot With the left mouse button a snapshot slot number can be selected by Store pressing the right mouse button the current instrument settings including all sequencer data are stored into this snapshot slot Snapshot Re Displays a list of the available snapshots selec
389. s the amount of poles and zeros of the second Filter Each ad Selector ditional pole results in 6 dB damping per octave i e there is maxi mum damping of 24 dB Using the Ladder filter model the signal passes four one pole stages and is then fed back to the input of the first stage so that there is a resonance effect at each of the four out puts Sat uration Sets the level where the signal is internally limited by a slight distor 12 12 Level tion preventing problems at high resonance values Key board to Controls the amount of keyboard mapping of the filters cutoff fre O 1 Cutoff quency At the left the cutoff frequency is constant at the right it follows the played MIDI notes i e the Cutoff control specifies the offset of the filter s cutoff to the triggered MIDI note s pitch Env elope to Adjusts the amount of cutoff modulation by the Filt Enve section in 100 10 Cutoff semitones At negative values the envelopes signal is inverted 0 Osc2 FM Sets the amount of modulation applied to the first Filter s cutoff fre 100 1 quency by the signal of the second Oscillator Negative amounts can 00 give a different sound color On Activates the filter In the Off position the filter is bypassed and has on off no load on the CPU A Sets the attack time of the envelope generators respectively 20 10 Attack 9 D Sets the decay time of the envelope generators respectively 20 10 0 Decay S Sets the sust
390. s the level of the effect signal Mute Mutes the effect signal Out Level Adjusts the main output level Mute Mutes the main output signal REAKTOR FACTORY LIBRARY Manual 255 Sound Generators Metaphysical Function 1 Sound Generators 7 1 Metaphysical Function 9 3 Metaphysical Function user interface REAKTOR FACTORY LIBRARY Manual 256 Sound Generators Metaphysical Function 7 1 1 Introduction More than just another synthesiser Metaphysical Function offers a truly engaging audio visual experience By taking full advantage of REAKTOR s complete freedom to innovate experiment and express it offers a sound design tool quite unlike any other with a vast and unique sonic palette ranging from beautiful soothing tones to dark disturbing soundscapes 7 1 2 Quick Start Metaphysical Function constantly generates sound from the moment the ensemble is opened until it is closed Pressing notes on your MIDI keyboard does not stop or start notes or control pitch in the way you might expect Instead the key to controlling Metaphysical Functions unique sound lies with the 32 automat able faders which control a variety of parameters including the amplitude and pitch of the oscillators and the settings of the FX units Each fader has two modes of operation static or automated While static simply operates like a traditional fader automated requires some explanation To enable automation
391. s the sound quality and capabilities of the classic modular synths into your computer For more information on building your own instruments with the Classic Modular macro library please check your Reaktor 4 user s guide The Classic Modular library is included on the Reaktor 4 CD Oscl and Osc2 each offer a different waveform selection Osc 1 offers the traditional sawtooth pulse triangle sine and impulse waveforms while Osc 2 lets you choose between bipolar ramp bipolar pulse pulse parabolic and noise The bipolar waveforms shape can be modi fied in realtime with the small Shape knob Osc 1 can be frequency modulated by Osc 2 for FM sounds with the small FM knob and switch above while Osc 2 can be ring modulation by Osc 1 for metallic and gong sounds with the small Ring switch Osc 1 can also be synced to Osc 2 with the choice between hard soft and MIDI gate activated modes Since Osc 1 and 2 each offer unique features they can both be switch on or off to save CPU with the small switch on the right The base pitch and fine tuning of each oscillator is done with their respective Pitch and Fine knobs The two oscillators feed into Filter 1 which offers a choice of 12 or 24 dB octave lowpass highpass bandpass peak EQ and notch modes Cutoff and Reson adjust the cutoff frequency and resonance respectively and the FM knobs controls how much Osc 1 or Osc 2 will fre quency modulate the cutoff frequency settable with the small swi
392. sample and set whether it will track incoming MIDI notes The MIDI switch turns note tracking of sample pitch on The Jitter control introduces small amounts of pitch modulation The Slide switch next to this makes the sample pitch glide from note to note Slide intensity can be positive or negative An LFO allows you to modulate Travelizer s pitch turn it on and off with the small switch above the Shp fader The LFO can be crossfaded between triangle wave and sine wave shapes with the Shp fader Clicking and dragging on the Amount and Rate x y pad lets you adjust modulation depth and speed The LFO can be set to retrigger on MIDI gate events with the Gate button The Position module allows you to modulate the playback position of the sample You can smoothly or roughly sweep through the sample using a crossfadeable sine triangle LFO like the one in the Pitch module The Inertia control allows you to smooth out the LFO movement in effect limiting its swing The Jitter control adds small amounts of random posi tion modulation to achieve a glitchy rhythmic edge Like the Pitch LFO the Position LFO can be retriggered by MIDI gate events by clicking the Gate button Samplers Travelizer REAKTOR FACTORY LIBRARY Manual 200 The Smoothness control lets you adjust volume crossfading between sample grains A high Smoothness amount will result in a more defined sound with less obvious granulation The low er the Smoothness control is set the mo
393. sampler tracks it contains the following parameters Speed Grain and Reset The controls for Pan Send Level and Track Level are available in every page Additional modulation controls are available for some of the controls mentioned above Sample Sample Map Editor Displays the currently selected sample Double click with the left mouse button to open Reaktor s sample map editor One of the map s samples can be selected with the Sample Select control Sample Select Selects the track s sample played upon a trigger signal of the step se quencer See also Sound Engine Master Sample Select Sample Select Modula tion Source Selects the source that modulates the Sample Select parameter See also Sample Select Modulation Amount Sample Select Modula tion Amount Adjusts the amount of modulation applied to the Sample Select pa rameter by the source selected in Sample Select Modulation Source Transpose Sets the amount of transposition applied to the selected sample For the upper three sampler tracks this transposition does not affect the sample s playback speed due to the underlying grain resynthesis al gorithm for the three lower sampler tracks it also changes the play back speed See also Sound Engine Master Transpose and Sound Engine Master Transpose Scale REAKTOR FACTORY LIBRARY Manual 131 Grooveboxes Massive 1 1 Sectio
394. science you don t need to know the details to make great sounds The basic layout of Lazerbass is similar to a subtractive synthesizer The first two columns on the left allow creating the overall timbre of the sound This is done by first choosing a basic oscillator wave form and subsequently sculpting the sound by changing the amplitudes and frequencies of the individual partials through different mathematical algorithms The signal is then affected by a filter section middle column The different filter types can be modulated in real time by the modulation section at the bottom of the panel The upper middle section allows visual control of the signal through different analyzers and an oscilloscope which are crucial to understanding how the different controls affect the synthesizer signal The column on the right contains different sections for global parameter settings such as master volume or the master volume envelope Note that most of the individual sections of Lazerbass can be switched on or off using the round buttons on the sections headers If switched off these sections won t affect the signal following the simple rule of if you don t see it you won t hear it Each Section also has a default button on the top right Clicking this button will set the values of the section to its de fault Try experimenting with the default settings of the individual sections and turning them off and on to understand how they affect the sound
395. scilators 1 to 3 have identical controls From top to bottom each oscillator section contains controls for Level Wave waveform selection Pitch Sym waveform symme try FM frequency modulation and Sync hard synchronization As denoted in brackets in the Wave menu Sym FM and Sync are only relevant to cer tain wave types Osc 4 Oscillator 4 is distinguished from Osc s 1 3 by virtue of its special wave types each of which features a special modulatable parameter Both the Sym and FM sections are used to route modulation sources to the special parameter Note that FM is not possible for any wave types in Osc 4 See Appendix 4 for more details Osc 1 4 Level The Level section offers a main amplitude knob two menus offering a choice of am plitude modulation sources and a slider bar to determine the amount of amplitude modulation The upper menu offers two modulation sources Tracker A or Tracker A inverted Tracker A is a key position tracking device located in the Tracking section see below The lower modulation source menu allows the selection of other various internal mod ulators such as envelopes see the section entitled Modulation and external MIDI sources Vel CC1 Pitchbend and aftertouch REAKTOR FACTORY LIBRARY Manual 351 Synthesizer Photone Control Function Osc 1 4 Wave A wide range of wave types are available SAW Sawtooth PLS Pulse TRI Trian
396. se and moves the cutoff frequency downwards The effect s range is scaled in half tones K Track keyboard tracking With this function you attach the cutoff frequency to the pitch of the current note With a value of O the pitch doesn t affect the filter at all while at 1 the cutoff filter is lead by the note s pitch Filter Envelope The filter envelope controls the Attack Decay Sustain and Release parameters of a filter which is also presented graphically Starting with hitting a key the filter reaches a peak value which depends on how hard the key is hit velocity and falls back to zero on release of the key The envelope affects the cutoff frequency via the Env controller and it can be set to affect other modulation targets via Filter Envelope gt Oscillator A Attack This control determines how long it takes the envelope to reach its initial peak D Decay This control determines how long it takes the envelope to run down from its peak to the sustain level S Sustain Here you determine the envelope s level during the main sequence of the note s duration R Release This control determines how long it takes the envelope to decay from sustain level to zero after releasing the key Amplitude Envelope The amplitude envelope controls the Attack Decay Sustain and Release parameters of the note amplification which is also presented graphically Starting with hitti
397. se button to position the loop The length can be adjusted with the right mouse button Mac ctrl click Loop Copy Copies the currently active loop into the internal clipboard Loop Paste Pastes the contents of the internal clipboard into the currently active loop Loop Clear Initializes the note tracks and the modulation curve within the range of the currently ac tive loop Loop Rand Sets the note tracks and the modulation curve within the range of the currently active loop to random values 3 13 3 Splitter The granular sample player enables you to load samples and trigger defined parts of them with individually stored settings for envelope pitch speed and grain length via the built in se quencer or MIDI input You also have a tempo syncable LFO and some control over routing modulations and quantizing sample playback parameters Section Control Function Slots Edit If active you can change the parameters of the selected slot see LFO Modulation Shape Envelope and Output Also an incoming MIDI note value is assigned to the selected slot You can also assign notes with the mouse see Slots Slots If Edit is active you can change the slot s parameters and change the assigned MIDI note by clicking into the slot and dragging up or down You can also assign MIDI notes via MIDI in see Edit Copy Copies all parameters of the selected slot Paste Pastes the slot clipboard into the selected slot overwr
398. se mid position to switch the mod ulation off The yellow meter displays the actual value of the parameter modulated by E 2 1 3 EnFX Filter 1 3 An envelope follower filter is traditionally used to create wah wah sounds but the flexiblity of EnFX s design makes much more experimental sounds possible See the envelope follower info above for information about the envelope follower section e lt rate gt Sets the rate of a slow random generator The value displayed below shows the time in milliseconds that goes by before another random event is generated e lt Depth gt Sets the depth of modulation i e the amount by which the envelope follower signal is modulated by the slow random generator Turn right for more modulation e lt Res gt Set the amount of resonance the left knob at the lower cutoff freqeuncy the right one at the higher freqeuncy See also lt cut pass gt e lt Filter cutoff freq meter gt Show the current cutoff freqeuncy Here you can see also the effect of modulation by the envelope follower and the slow random generator Left repre sents a low freqeuncy right a high freqeuncy The meter on the left below the lt LOW gt knob displays the frequency used in the lower filter while the other one displays the fre qeuncy of the higher filter See also lt cut pass gt REAKTOR FACTORY LIBRARY Manual 35 lt E gt Set the amount of modulation of the filter cutoff freqeuncies by the envelope fol lo
399. sequence de fined under Song Sequence is played If off the currently select ed pattern is played and looped Pattern A B C D When not in song mode see Song Seq the selected pattern is played and looped Song Se Song Edit The edit button enables you to assign patterns to the Pattern quence Slots Pattern Slots When Song Edit is active click into a pattern slot and drag the mouse up down to select the desired pattern Global con Pattern view Track view Click on AII to see the complete pattern with all tracks Click on trols any button to the left of a track to view the track exclusively In track view you can also change the velocity of the individual notes Loop Bar The darkish green bar above the sequencer grid represents the se quencer s loop region Right click ctrl click for Mac users to set length and left click and drag to move Notegrid Click into the grid to add or delete note events Sel Toggles note select mode on or off When on you can select an area of the note grid to be cleared copied from or pasted to This works in all viewing modes Copy Copies the content of the current pattern Paste Pastes the pattern clipboard into the current pattern overwriting all events Rec Switches on note recording via MIDI in Cir Deletes all selected notes of the pattern Zoom Level Click and drag mouse up or down to zoom in and out of the cur 16 st 32 st rently displ
400. ser interface REAKTOR FACTORY LIBRARY Manual 218 Sequenced Synthesizers Introduction Atmotion was designed to create moving sounds like pads atmospheres and special effects Osc amplitude FM modulation amount and filter cutoff are controlled by LFOs and sequenc ers to be modified rhythmically Many different types of sounds are possible in addition to at mospheric sounds such as percussive sounds pads and leads with slight and subtle LFO sequencer modulation Signal Flow and Overview Atmotion consists of two identical oscillator gt filter gt flanger sections Each section has three step sequencers which are hard wired to oscillator level frequency modulation FM amount and filter cutoff After the flangers the two sections are mixed put through a traditional ADSR amplitude envelope then sent through a chorus and dual band delay effect osc11 filter11 flanger1 and osc21 filter21 flanger2 sent through envelope chorus dual band delay out There is also a Ifo modulating the fm depth and the pulse width its controls are to be found in instrument panel All modulation sources are monophonic so all voices are modulated the same Each of the 6 event sequencers are followed by an envelope and an event feedback de lay that modify the modulating signals using a structure as follows It s important to remember that the envelope and delay only operate on the EVENTS that the sequencers output sequen
401. set two parameters graphically at once The horizontal axis sets the start position of the grain relative to the graphical display on top of the internal buffer while the vertical axis sets the length of the grain Three additional knobs provide control over the smoothness of scene transitions and the grain density smear Smr REAKTOR FACTORY LIBRARY Manual 54 Effects Grainstates FX GrainStatesFX only The sound is filtered by the Filtor macro with independently adjustably highpass HP and lowpass LP frequencies Res adjusts the resonance of both filters while Byps disables the filter The output of the filters is fed back into the grain cloud delay with feedback independently adjustable per scene with the FB slider to the right of the XY control The feedback is only ac tive then the grain cloud delay is not frozen When the grain cloud delay is frozen it ignores any signal to its inputs The sound then passes through a 2Band Delay which gives independent control over delay time in sixteenth notes StepsL and StepsH feedback FBL and FBH and a filter modulating LFO The cutoff and resonance of the filter that splits the two bands is determined by the Frq and Res knobs Finally a D W knob sets the mix level To bypass the filter simply set D W to zero 2 12 4 Additional Controls Global Params In the global parameters you can set the global attack and decay of the grains and the amount of pan jitter stereo randomi
402. shortcut key L and Next or shortcut key buttons can also be used to move between snaps When Flow is enabled changing the value of those knobs also results in recalling the respective snapshot REAKTOR FACTORY LIBRARY Manual 101 Grooveboxes Krypt Section Function These features allow copy amp paste of complete ensemble settings To do this enable Flow and select the preset number you wish to copy with the central knob Then disa ble Flow and the select a destination snapshot to paste to Finally press the central Store button to write to the slot The Playlist instrument can be used to program a sequence of particular snapshots for both the sequencer and the sampler instruments The loop bar speed and direction controls are similar to those found in the sequencer The sequencer snapshot se quence is programmed in the upper row and the sampler sequence in the lower row Press Run to enable the module REAKTOR FACTORY LIBRARY Manual 102 Grooveboxes L3 D L E i E E i i E i E x Gain Pan ER Att EH Clear Copy Paste Str Dimp Len Dey Gain 4 16 The L3 user interface 3 5 1 Introduction L3 is a sequenced drum loop recycler Load a loop click some stuff mangle the loop REAKTOR FACTORY LIBRARY Manual 103 Grooveboxes L3 The instrument s panel can be broken down into three sections The top section contains a pattern s
403. signal the left channel alone or a mono mix of both Distance Intensity The Delay knob on the other hand adjusts the delay times offset thus controlling the and Feedback phase variation applied to the chorused signal in respect to the unprocessed signal The Spread control additionally changes this offset slightly for each LFO independent ly to enhance this effect The Intensity knob mainly controls the sound of the chorus It determines the amount by which the delay times vary After passing through the delay units the signal is routed to the Feedback section where it can be filtered using the Colour knob to control the filter s frequency and is then mixed with dry signal The FB amount knob is bi polar At the right there is nor mal feedback at the left the feedback signal s phase is inverted at mid position the feedback is turned off REAKTOR FACTORY LIBRARY Manual 27 Effects Cyan Section Function LFO Waveform and LFO determine the shape and number of low frequency oscillators Rate controls how fast the delay times are modulated by the low frequency oscillators This speed is displayed either in Hertz or if MIDI Sync is enabled in rhythmical val ues MIDI Sync is only available if Freq Mode is set to Phaselocked meaning that the phase of the LFOs is linked to each other If it is set to Freerun the LFOs phase can be spread like the delay time offset by the Ph Spread knob
404. situations Snapshot List Provides a list of all adjustable snapshots of the currently selected snapshot bank Clicking on an entry loads the entry s data Randomization Quantization Select Sets all parameters of the sequencer tracks and effects to random values The sequencers data and the tracks level controls are not randomized Selects one of twelve quantization presets Horizontally each preset ranges over sixteen steps the higher the displayed vertical value the more delay is applied to this step The first preset for example alternates between low and high values so each second step will be delayed resulting in a standard off beat shuffle The presets only define relative times the effective delay time at maximum values is set by the Master Shuffle and Track Shuffle controls Master Shuffle Adjusts the maximum delay time This delay time is scaled for each track in dividually by the Track Shuffle control Grid Controls the grid of the step sequencer displays It has no effect on the in strument s sound Track Shuffle Scales the delay time of the Master Shuffle control for each track individu ally At maximum value the respective track uses the main delay time at the minimum value there is no delay REAKTOR FACTORY LIBRARY Manual 123 Grooveboxes Massive 1 1 Section Control Function Track Timing Adjusts the static m
405. so simplified offering only Size and high frequency Cut con trols for both Front and Surround diffusion signals The Late Diffusion module is effectively the same as the one found in SpaceMaster Stereo Re fer to the description above the learn how it works The Mix section allows you to balance the Front and Surround signal amount and to adjust the wet dry mix for each REAKTOR FACTORY LIBRARY Manual 71 2 16 4 SpaceMaster Stereo SpaceMaster Stereo is composed of a PreDelay module an Early Diffusion module a Late Dif fusion module and a post EQ The Diffusion modules can be combined together to create a complex impression of space By adjusting the balance of the Early and Late diffusion mod ules you can precisely move the origin of the reflections from near to far or front to back making SpaceMaster perfect for Surround mixing situations in which a truly room filling reverb can be created The Input section at the fat left allows you to trim the input gain to avoid overloading the au dio signal The input is next processed by the PreDelay Use this to add an initial delay to the wet signal You can also use the L R offset knob to add some perceived stereo width by altering the delay time of the left side single delay module You can bypass the PreDelay with the Byps button Next in the signal path the Early Diffusion module which is actually a series of up to 12 dif fusion delays provides the near reverb processing
406. spread velocity range while low values concentrate all objects velocity values around the central velocity value e Velocity Step Controls the difference in velocity between two adjacent objects Higher val ues result in more complex melodies All objects are aligned along a line and The Step parameter defines how much louder the next object is in relation to its predecessor At a maximum level which is defined by the Spread parameter the Step value is inverted therefore the next object is quieter than its predecessor At the minimum velocity level again defined by the Spread parameter the Step value is inverted again so that objects become louder This process continues until all objects have a specific velocity High Step levels increase the frequency of those inversion points and therefore the melody s varia tion also e Velocity Shift Controls the initial object s velocity from which all other velocity values are derived dependent of the Step control in relation to the central velocity It can be used to create a variation of an existing melody a SET in ute e ES PATTERN SONG SEQUENCE Bei HE o SS EE ENEE Se 4 29 SQ 16 user interface REAKTOR FACTORY LIBRARY Manual 241 Sequencers SQ16 6 2 1 The SQ16 sequencer delivers classic step sequencing in a very useable package It features 16 notes tracks with velocity control plus additional modulation tracks a song mode and the abil Int
407. ssesssscsssavsssatsnssessaescaeseaee 310 8 8 4 Modulada 311 8 9 O veh nets O E A E 312 A EE 317 Eh WE 319 SE nn a A 320 SILO QS tapo 320 REAKTOR FACTORY LIBRARY Manual 13 8 12 8 13 8 14 Table of Contents 8 11 3 Signal Flow and Structure 320 811 4 A na a 322 EE EE 323 A A A A ati 324 8122 OM rara 325 8 12 3 Group Attenuation sosina EE 325 8 12 4 a IA PU PCR O Teale 326 8 12 5 Ratio Multiply ooo ccesesccssssscssssesescsssscsesssscsesssscsessscesssssceceusessnsesesenseaeestesacsesesseesees 326 8126 NIU ias 327 8 12 7 DISPOrSiON a a A 327 8128 E LEET 327 8 129 NESW DIZ AMMO AR ices etc is ine R 328 ERAN OO 328 8 1211 O A O A A 329 8 12 12 Using the Modulation Mat 331 8 12 13 Modulation Envelope 332 SR Modulation LFO rra ini 332 8 1215 Modulation AER E 333 8 12 16 Panning Mastel ccccscccssssesssscssessssessssessssessescessessssasssssssseassesarsavassavansaseseaescanescane 333 8 12 17 Master Envelope Release Mode c sssccsssssssescsssssssesssssssssesssscsssaassatsnsaessaescaeseaes 333 9 1218 ER EE 334 8 12 19 A A ho deste kd ites ashes 335 EE E T EAE EE A 335 A Rogen albus abies deus shes Aesbagedett ato aedeagal dh decasteecwte 336 K UE 337 A O E EE A 339 REAKTOR FACTORY LIBRARY Manual 14 Table of Contents 8141 A n a 340 A A EEEEEeE 340 8143 Oslo 341 0 144 TEE 343 8 14 5 Envelope CC1 Sequencer and LFO uo cescecsssessssessssessssessssessesssssacsrsstsnsaresssesssesea
408. st one The Filter Envelope controls the filter s cutoff frequency for every triggered note while the Amp Envelope controls its volume With the FILT ENV gt 0SC module the Filter Envelope can be set to also effect the pitch P the symmetry S signal form and the amplitude A of the oscillators A further source for modulation is the LFO low frequency oscillator which produces slow os cillations It has influence on the pitch P and the symmetry S of both oscillators the Filter s cutoff frequency and the Amp amplifier Except for the Stereo Delay FX and the Scope all parts of the sound processing are polyphonic All signals are intermingled after having passed the amp The Stereo Delay FX consists of two delay units which are wired to the left and the right output signal REAKTOR FACTORY LIBRARY Manual 377 Synthesizer Steam Pipe 2 8 17 Steam Pipe 2 fei B E SteamPipe E JOE n v lout er 1 Flute sllueaeesl 6 unison 1 int SIEAMPIPE 2 ATTACK DECAY SUSTAIN RELEASE VELOCITY SCALING OC NOISE CUTOFF KEY TRACK l VEL TRACK ENV AMT S au y Wa LEGATO X POLES 50 250 0 00 1 TUNE FINE TUNE SREC MOD WHL ME DAMP KEY TRACK TUNE FINE TUNE H MOD WHL DIFFUSION D i 0 10 0 00 60 00 0 00 1 00 0 00 0 00 OFFSET SOFT HARO SYMMETRY HI PASS O HI PASS 1 KEY TRACK LO PASS 0 I LO PASS 1 I KEY TRACK pa Ge POLARITY i PITCH BEND DETUNE MODE GLIDETIME MOD WHL SPEED GAIN 1 8 ty MONO
409. stinations is summarized in the following table REAKTOR FACTORY LIBRARY Manual 345 Synthesizer Oki Computer 2 Section Control Function Range Sources Vel MIDI note on velocity O to 1 PB MIDI pitchbend wheel 1 to 1 CCl MIDI CC1 the modulation wheel Note that re O to 1 corded CC1 movements in the recordable enve lope section are routed to this parameter E2 Envelope generator 2 O to 1 Seq The sequencer 1 to 1 LFO The LFO 1 to 1 Destinations Amp Output volume 100 to 100 Pitch Oscillator pitch 12 to 12 semitones Wave Oscillator wave position 16 to 16 Cutoff Filter cutoff 60 to 60 semitones Chorus Chorus frequency 100 to 100 REAKTOR FACTORY LIBRARY Manual 346 Synthesizer Photone 8 15 Photone MODE P een EE STRETCH GLIDE 18 TUNE OSCILLATORS Post FILTER AMP FA F4 F 2 p El v MODE BYPASS AMP Manual y e Vi to Ve H es j 7 a NS eo amp ES Fa wo sct sct sct sct sct ZN yee e i ex eo 6 d d H SCANNER MODULATION SECTION AMP MoD J AMP MOD 4 e o J E PH RESET RATE VIA EEN RATE VIA 3 7 Photone user interface Introduction In essence Photone employs a relatively straightforward subtractive architecture featuring a bank of oscillators two filters and an array of effect processors However several features set Photone apart In addition to the unprece
410. sts the amount and polarity of modulation applied to the oscillators Amount pitch The left side of the control adjusts coarse values the right side is used for fine tuning clicking the control s title bar restores the value to its default Osc1 2 3 Pitch Transposes the oscillators sound respectively The left side of the control ad Shift justs coarse values the right side is used for fine tuning by clicking on the controls title bar with the mouse the value is reset to its default Osc1 2 3 Modula Turns modulation of the oscillator s pitch by modulation slot A or B on or tion Switch A B off Wave A B Modulation Selects sources to modulate the waveform The two individual slots A and Source B can mix up to two sources This will show no effect until the doubled sawtooth or the wavetable is selected in Osc1 2 31 A B Modulation Adjusts the amount and polarity of modulation applied to the waveform Amount Clicking on the control s title bar resets the value to its default This will show no effect until the doubled sawtooth or the wavetable is selected in Osc 1 2 3 Osc1 2 3 Wave This either selects a digital waveform from the wavetable or if the doubled form Control sawtooth is activated in Osc1 2 3 this controls the ratio between the phas es of both sawtooth waves Osc1 2 3 Modula Turns modulation of the waveform selection by modulation slot A or B on tion or off Switch A B Sync Gate Sync Switch Turns s
411. sustain level is O in the Att menu Envelope 3 is similar to envelopes 1 and 2 but without hold sustain and release phases Envelope 4 Envelope 4 is a special recordable envelope Mouse movements of the slider can be recorded and then played back every time a MIDI note is pressed To enable automa tion select either One Shot or Loop mode To record a new sequence arm recording by clicking on the progress display below the slider it will flash then click and drag on the slider Release the mouse button to finish the recording and then exit record ing arm by clicking a second time on the progress bar Incoming gate signals will re trigger the recorded movement It will playback once in One Shot mode or loop indef initely In Loop mode If Rel is enabled the envelope amplitude will fade out on note release according to the adjacent release time knob REAKTOR FACTORY LIBRARY Manual 359 Synthesizer Photone Section Control Function LFO 1 and 2 Photone features 2 LFOs Their controls are similar but the most important differ ence is that LFO 1 is polyphonic while LFO 2 is monophonic Shape selects the oscil lator type Normally the frequency of the LFOs is specified in Hz using the large knob howev er certain other options are also available as selected by the Rate Via menu If Rate Via is set to MIDI the frequency is set in musical time using the bottom right menu By selecting N
412. sustain level of the envelope generator Release Controls the release time of the envelope generator Speed Multiplies the overall envelope time Velocity Determines the extent to which envelope amplitude is linked to veloci ty Clock Sync Synchronizes the envelope times to the global MIDI tempo Loop Activating this button results in the attack hold and decay stages looping when MIDI notes are depressed CCl Record Arms the CC1 recorder Play Enables playback of the recorded movements triggered like an enve lope by MIDI gate signals Loop Loops the recorded movement on playback Sequencer Clock Sync Synchronize the sequencer to the MIDI clock Note that when both Clock Sync and Phase Lock are activated the sequencer becomes locked to the MIDI song position Phase Lock Locks the phase of the sequencer When this is active MIDI note events will not re trigger the sequencer Note that when both Clock Sync and Phase Lock are activated the sequencer becomes locked to the MIDI song position Loop When enabled the sequencer will loop indefinitely otherwise it will play back only once when triggered REAKTOR FACTORY LIBRARY Manual 344 Synthesizer Oki Computer 2 Section Control Function Snap Activates a vertical grid with a step size of 1 12 of the complete height Frequency Determines the sequencer speed Length Sets the sequencer length in steps Smooth Determi
413. t HP gt Sets the cutoff fregeuncy of a highpass filtering performed to the feedback signal lt Lift gt Sets the maximum level lifting Turn right to amplify very silent signals in the feed back tail turn left to amplify only the louder signals Use it to make very long and damp ed feedbacks audible lt Smth gt Sets the amount of smoothing in the level lifting algotithm Turn to the left for smooth transistions turn to the right for sharper and faster response to level changes lt Swap gt Sets the amount and mode of channel swapping of the feedback signal Turn to the left for no swapping i e the left channel remains the left one the right channel the right one Turn to mid position for mono processing i e both signals occur in both chan nels Turn to the right for crossfading i e the left channel signal becomes the right channel signal and vice versa lt Fb gt Sets the amount of feedback in the delay More feedback leads to a decay with more repeats lt Dry Wet gt Crossfades between the dry unprocessed signal at the left and the wet proc essed delayed audio at the right Effects EnFX REAKTOR FACTORY LIBRARY Manual 33 e lt E gt Sets the amount of modulation and its polarity applied to the dry wet balance Turn to the right for a more wet signal at high envelope follower signals turn to the left for a more dry signal at high envlope follower signals Use mid position to switch the mod ulation off The
414. t bands the number of bands has an obvious impact on the sound with fewer bands leading to more synthetic voices and higher bands make the voice easier to understand You can adjust the number of voices of the vocoder instrument to change how many bands are used Up to 128 voices bands are possible All changes in number of bands are immediately shown in the graphical display The amplitude of each frequency band of the voice is linked to the frequency bands in the string or synth sound The re shaped bands of the carrier signal are mixed together providing the output signal of the vocoder If you re interested in vocoding you may also want to do check out another NI product the VOKATOR The VOKATOR features vocoding up to 1024 bands a built in synthesizer and granular sampler and many high end vocoding features www ni vokator com You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effect plugin Please check your Re aktor or Reaktor Session user s guide for helpful information 2 5 Cyan J INTENSITY MIX AUTOMATION DISTANCE FEEBACK SATURATION OUTPUT Sg A A AD d 3 3 f Y e m 0 Peak EQ on is CEN 4 Na 4 We Y ama H INTENSITY sum DELAY SPREAD FE SECOND COLOUR FIRST e d WEE DRY WET WAVEFORM LFO LFO RESET FREQ MODE RATE PH SHIFT PH SPRO D TREMOLO STEREO a a E ean ge 500
415. t chsel gt Selects the channel to be edited see lt View gt e Event Table gt Contains the seqeuncing events Deselect lt View gt to leave 2D mode for ed iting of data e lt R gt This small vertical XY control to the right of the sequencer randomizes values in the event table lt R gt either randomizes the events in the current channel lt ChSel gt or when lt all gt is selected all channels e lt all gt When on adjusting lt R gt results in filling the visible area of the Event Table with randomized values When off clicking into lt R gt only alters the current channel lt ChSel gt e lt shfl gt Sets the amount of shuffle i e the amount of delaying quantization Kick e lt Sens gt Sets the sensibility of the module to incoming gate events At low values varying velocity of the gate signal doesn t effect the sound much while at higher values velocity modulates amplitude and pitch e lt Pitch gt Sets the fundamental pitch e lt fFreq gt Shows the fundamental pitch of the kick drum in Hz e lt Fenv gt This value is added to the fundamental pitch to calculate the initial pitch when the kick drum is triggered The pitch will glide down to the fundamental pitch with the glide speed set by lt Fdec gt e lt Fdec gt Sets the time time of the pitch slide Technically speaking this sets the decay time of a DR envelope whose output is added to the fundamntal pitch by increasing this value it will take l
416. t version of the classic granular texture maker Travelizer lets you scrub through any sample using the grain cloud module lt can be played over MIDI allowing you to create ethereal pads and leads Travelizer differs from its earlier versions because grain length can be quantized to 16th notes allowing textures and granular rhythms to be synced to MIDI clock REAKTOR FACTORY LIBRARY Manual 199 4 4 2 Quick Start Step through the presets with the system clock on and feel free to experiment Try using the travel xy pad to control sample playback position and grain length while a sample is playing If you click on the pad the volume Attack Release envelope will trigger and start the sound Click the Gate button to continuously trigger the volume envelope so you can make adjust ments while the sample is looping 4 4 3 Structure and Signal Flow Travelizer granulates any sample loaded into it giving you a variety of controls over the quality of the granulation The sample grains pass through a 3 voice Resonator with independent con trols for tuning and the capability to track midi notes The Resonator is followed by a stereo delay with paired with a high pass filter An attack release envelope allows you to contour the loudness of the sound Travelizer s grain cloud module allows you to break the sample down into grains specifying certain qualities of the sound like grain size and smoothness The Pitch module has controls to tune the
417. tal Adjusts the level of the fundamental frequency If multisaw or multisquare is used only the fundamental of one of the parallel oscillators is affected Beating Adjusts the amount of beating which results in a detuned sound This form beating is not affected by the pitch of the note played x lt LFO Turns synchronization of the beating frequency to the LFO on or off Width Adjusts the pulse width of the PW square waveform PW square only 8 12 3 Group Attenuation The group attenuation section allows for the attenuation of defined group of partials which are divided by a recurring pattern mask This allows altering the basic timbre of the sound REAKTOR FACTORY LIBRARY Manual 325 Synthesizer Lazerbass Control Function Balance Adjusts the balance between the different groups At a value of 0 5 the groups will be evenly balanced and the signal will not be affected At the values O or 1 only one group of partials will be audible Pattern Defines the size of the recurring pattern of individual partials msk sym Adjusts the symmetry of the pattern mask by defining the number of partials in each group 8 12 4 Oscillator Phase This section affects the phasing of the individual partials If this section is switched on the phase of each individual partial will be automatically reset when a new phrase is played The phasing of the individual partials can be shifted by a random value which will result
418. tart double click on the sampler window open the REAKTOR sample map editor and load Memory Drum 2 with a few drum samples As you trigger the samples from your key board notice that the green box in the Edit section moves to indicate the current MIDI note Any parameter that you adjust will be stored for that MIDI key For example press a MIDI note and then adjust the Envelope attack and decay time Now press another key and adjust some parameters for that sample and so on Memory Drum 2 is designed to be programmed with MIDI controllers To assign a MIDI con troller to a parameter use the MIDI learn function on the XY modules on the panel You can also assign MIDI controllers to some parameters that use Multi Picture modules such as the Shape on off button To do this right click on the module and select show in structure Then assign a MIDI controller to the hidden button module beneath the Multi Picture module You can also assign controllers to the Bank and Sample controls in the Sample section in this way allowing you to browse through the sample map using MIDI controllers Be aware that whenever Memory Drum 2 receives an event from an assigned MIDI controller it will write to the memory of whatever sample or samples are currently selected This can be a problem with certain hosts which send extra MIDI controller data to plug ins on initialization or when stopping starting playback Or it can be a problem if you accid
419. tch to calculate the initial pitch when the drum is triggered The pitch will glide down to the fundamental pitch with the glide speed set by lt Fdec gt lt Fdec gt Sets the time time of the pitch slide Technically speaking this sets the decay time of a DR envelope whose output is added to the fundamntal pitch by increasing this value it will take longer for the envelope to get to the fundamental pitch set by lt Pitch gt lt Cut gt Sets the cutoff frequency of the filter lt Res gt Sets filter resonance lt L H gt Sets the balance betwen lowpass left and highpass right filter lt Shpe gt Crossfades between the lt Crve gt modified amplitude envelope and the unmodified one see lt cRVe gt Turn left for the unmodified envelope lt Crve gt Sets the cutoff frequency of a 1 pole filter used to smooth the amplitude enve lope lt Adec gt Sets the decay of a DR envelope used to control the amplitude of the synth lt sPRd gt Sets the position of the synth in the stereo field The position is modified by the velocity of the gate signal the more quiet the note the more centered the sound is lt Level gt Sets the output level lt On gt Turn the whole instrument on off When off CPU is saved but there is a slight delay in turning the instrument on again For quick muting and unmuting it s better to use lt Mute gt e lt Mute gt Instantly mutes the whole instrument but the CPU is still used Toms 1
420. tch to the right of the FM knob Pkey determines how the filter tracks the pitch of the notes from the sequencer When BlueMatrix REAKTOR FACTORY LIBRARY Manual 225 Sequenced Synthesizers Pkey is set to 1 then the filter cutoff will exactly follow the pitch of the sequencer notes meaning that higher notes will be brighter and lower notes will be duller If set to zero then the cutoff frequency won t change The other knobs GainC Limit F foll and Rel all control the fine tuned shaping of the filter across the frequency and resonance spectrum GainC con trols how much loudness reduction will be applied at high resonance values Limt F foll and Rel control a built in resonance limiter to avoid unwanted harmonic thumps with high reso nance values The Distortion section between the two multimode filters also features multiple modes of oper ation While the clipper mode provides a relatively harsh distortion sound and the saturator mode results in warm overdrive the several wrapping modes marked by the name of the wave form used for wrapping produce unique sounds from subtle to extreme A visual display of the distortion function helps to see what s going on inside Note that the same Filter 1 gt Distortion gt Filter 2 section of Blue Matrix is available as an effect in the Ana logic Filter Box Filter 2 is similar in layout to Filter 1 but its primary function to to further shape the sound after the Distortion unit Th
421. tches Allpass Tune Tune Controls the pitch of the allpass resonance If the allpass filter is switch ed off this control shows no effect Fine Tune Fine tunes the allpass resonance pitch If the allpass filter is switched off this control shows no effect SREC Sample rate error correction Adjusts the tuning correction of the pipe When the signal modifications in this patch and REAKTOR s sampling rate interfere with the physical model of SteamPipe this extra fine tuning of pitch becomes necessary Tune against the A440 section If the all pass filter is switched off this control shows no effect REAKTOR FACTORY LIBRARY Manual 381 Synthesizer Steam Pipe 2 Section Control Function Mod Wil Sets the amount of pitch modification by the MIDI modulation wheel This simulates pitch changes of pipes getting blown softer or harder Allpass On Off Turns the allpass module on or off Switch on for additional attack effects of the pipe s sound Diffusion Sets the diffusion of the resonances generated by the allpass module Turn to the left for additional attack effects of the pipe s sound It also enhances the sound of harmonic frequencies which are not multiples of the main pitch like e g in bells Push Pull Offset Sets the offset amount added to the reverberating steam signal This pa rameter influences the incoming steam and ts reverberation in the pipe It interacts tonally with th
422. te or SP Clock Gate frequency modula tion is not available Rate Modulation Amount Rate Adjusts the amount and polarity of modulation applied to the LFO s frequency Clicking the control s title bar restores the value to its de fault If Trigger Mode is set to Clock Gate or SP Clock Gate fre quency modulation is not available Sets the frequency of the LFO If Trigger Mode is set to Clock Gate or SP Clock Gate a grid is applied to this control quantizing the LFO s rate to the metrical units selected in Rate Quantization REAKTOR FACTORY LIBRARY Manual 284 Synthesizer Carbon 2 Section KeyScaler Control Function Rate Quantization Selects the metrical unit used as quantization grid for Rate when Trigger Model is set to Clock Gate or SP Clock Gate Sliders Provides a signal derived from the current pitch that can be used as modulation source The four sliders define the function used to map the MIDI pitch onto the modulation signal At low pitches the value of the leftmost slider is used as modulation signal at high pitches the value of the rightmost slider is selected In between interpola tion occurs using the two middle sliders as control points In addi tion to the normal signal there is a modulation source that multi plies the key scalers value by the current MIDI velocity MIDI Controllers Faders The leftmost fader is hard wired to the MIDI
423. te the modulation amount Carbon s LFOs offer valuable sound shaping functions Using the FSpr knob in either LFO section adds a fre quency spread to the LFO frequency across multiple voices This means that if you play a chord each note would have slightly different LFO speeds for a shimmering organic sound Also the modulation of the LFO can be delayed for instance to program a vibrate which takes a few moments before coming in Synthesizer Carbon REAKTOR FACTORY LIBRARY Manual 292 Synthesizer Carbon 845 Global Parameters Parameters effecting the entire synth are set in the Global section such as Mono Poly set with the Mono button tuning unison spread and glide Hold lets you specify how long each note will last for no matter how long the actual MIDI note was held down for value set in mSec underneath the Hold button Old controls how much pitch randomness is introduced to emu late vintage hardware 8 5 Equinoxe Deluxe fa B Equinoxe Deluxe a amr in v Out ar 4 Equicolor Pad Strings Ensemble KleinStein Delay L 460 046 ouy TH Delay R 4 42 Equinoxe Deluxe user interface 8 5 1 Introduction Equinoxe Deluxe simulates special features of old analogue synthesizers and effects with Reak tor s new Core technology First there is an Octave Lock mode emulating analogue synthesis techniques see below for details Second the Ensemble and KleinStein effects provide high quality so
424. ted 18 Phipp Street London EC2A 4NU UK www native instruments com IOC NATIVE INSTRUMENTS O NATIVE INSTRUMENTS GmbH 2015 All rights reserved Contact Table of Contents Table of Contents Welcome to the REAKTOR Factory Library oooococonnccccnnonanccononannoncnnnanonnnnnancnronnanannnnnannas 17 LE t 18 2 1 Analogic Filter Box uan alada 18 2 1 1 RER 18 2 1 2 Structure and Signal FlOW c cccssssssessesessssessescsssesssssssssarsssssssssssavsssasnsaessaescaeseaee 18 2 1 3 Mod lati i ovina E E R R 19 2 2 A is an ell CU E O SERE E nope i 20 2 3 Banaan Electrique csscsccesscsessssssescsscssscseessssscscssssssssssscsesssecsvetscessesscesessecineeesesteseeatesecenassenees 23 2 3 1 IMtOGUCTION seiersen 23 2 3 2 Getting Started ocoococcononcnnoncnnnnncnenenenesenescnern cerrar narrar arrancar 24 2 3 3 Structure and Signal FlOW w cccccscsccssecssesssessssscsssssssessessssseecesscsesesssseeseeeesseeseess 24 2 4 A O A 25 2 4 1 user 25 2 4 2 Quick ST rra 25 2 4 3 Structure and Signal FOW EE 25 2 4 4 The Vocoding ENGINE cnn nono carino carreras 26 2 5 Tira aio tin ic Esa 26 2 6 ec UE 29 2 6 1 use EE 29 2 6 2 QuickStart guter Pmeo ncdbyrvenes O 29 2 6 3 Structure and Signal FIOW c cccssssssesssssssesessescsssasssessssessssssssscsssasssssssaessavescaeseaee 29 2 7 A PA PA 31 2 7 1 EnF EE EE 32 2 1 2 AP eseis inriniestinsikenen narnii dr desskrna saot 34 2 1 3 len E E 35 REAKTOR FACTORY LIB
425. ted filters and feedback delays The Wrap and Rand edit modes provide special ways of altering your chosen parameter across all eight channels simultaneous ly The Skrewell unit structure and therefore the available parameters for each channel is different in each of the three operation modes Four main knobs manipulate the sound global ly mainly by mapping the individual channels parameters Additionally a large display visual izes the audio output as Lissajous figure 7 2 2 Operation Modes There are three operation modes each one based on a unique tone generator system In Im plant Quad mode each channel consists of a pulse oscillator with subsequent feedback delay within the delay line a normalizer and a filter alter the signal Xung Tekh is similar except the filter is placed before the feedback delay Subtotal uses a parabolic waveform instead of the pulse waveform and omits the filter completely The parameters of the tone generators are ad justed in the Sound Engine section Control Function Operation Mode Selects the main way of operation Randomize All Ch Sets all parameters of all channels to random values The Output Volume should be lowered to prevent unexpected bursts of noise 7 23 Sound Engine This section adjusts the parameters of the tone generators Depending on the Operation Model setting a list of the currently available parameters is in the Parameter Select display The se lected para
426. termined by a combination of one of the several modula tion sources and the slider bar REAKTOR FACTORY LIBRARY Manual 353 Synthesizer Photone Control Function Tracking The tracking section provides 3 key tracker modulation sources For every MIDI note key press the tracker computes a value depending on the MIDI note number and the positions of the 4 sliders The leftmost slider corresponds to MIDI note 36 the sec ond slider corresponds to MIDI note 56 the third slider to note 76 and the fourth to note 96 Other MIDI notes falling between these 4 points result in an interpolated output value Notes falling outside the 36 to 96 MIDI note range are clipped so that they produce the value of the first or fourth slider respectively The first of the 3 key trackers labelled A in this section can be routed to oscillator amplitude in Osc 1 4 level sections This can be used for example to dampen the amplitude at high pitches or to fade between two oscillators depending on the notes played select TrkA for one oscillator and TrkA Inv for the other The second tracker labelled FM modulates the amount of FM for Osc 1 to Osc 4 The third tracker labelled 3 is for general purpose key scaling and can be routed to a variety of parameters Pitch Mod Below the tracking controls lies the global i e all oscillators pitch modulation sec tion Selecting vibrato mode menu enables an LFO to modulate pitch
427. th a highpass After filtering each band is saturated separately e lt Reso gt Sets the resonance of the 2 pole filter see lt Split gt e lt low gt Sets the amplification value of the low frequencies e lt mid gt Sets the amplification value of the middle frequencies e lt high gt Sets the amplification value of the high frequencies e lt ON gt Turns the effect on or off REAKTOR FACTORY LIBRARY Manual 156 Grooveboxes 3 11 Scenario A 01 waw untitled Mar B 01 wav untitled Map C 04 wav untitled Map CD wan D O1 wav Offset SampleSel oping Offset SampleSel LoopLng Offset SampleSel SE Offset SampleSel LoopLng So pitch wOTh y piTch CH woTh piTch k d V e R b d h ALA C Y Naf BER gt 9 ES Ea E E E Master gn fILTEr g ln fILTEr oi fILTEr g ln ins Osu S ini 6550 0 ay ono s a 2 Ek G aa E mUTe a Hoia smth as ome wre i 1 1 Qm lt NORMALIZATION on Mi ReL 1 Default Voices 64 Pa CH en clear steps Si Baty 9 ED ED ma S lA aaa E nian bel 1 Default grin sp mid o E paar Looe PROPERTIES SLICE MANIPULATOR 1 INFINITY FFB GATE ON OFF ie high Se lw LooP 3 SPLIT shiftA shift B fat Delay Fock fILTEC 3 any PEA E a mp A aay oe D da go SN APSH Ot Gi d Ez N O D enable oy y ae an Sm e E en a Om L ggg
428. the MIDI modwheel that is routed to control the sources of the FM matrix CC Nr Adjusts the MIDI CC number if CC is selected as Source The MIDI modwheel 0 12 can be addressed by CC 1 7 8 6 4 LFO Section The LFO section is polyphonic i e each note triggered via MIDI can have its own independent LFO signal with specific rate and phase The LFO has a special One Shot feature that stops the modulator after half a period reducing it to a AD envelope generator to use this the Key Sync has to be activated The modulation signal can be used to scale the FM amounts using the FM Mod section but it can also be routed directly to the oscillators pitch and amplitude resulting in vibrato and tremolo REAKTOR FACTORY LIBRARY Manual 299 Synthesizer EMA Control Function Range Waveform Selects the waveform of the LFO The negative waveform is similar to the pos itive one but starts at a phase of 180 degrees this can be particularly useful when using the One Shot feature Asymetry Controls the shape of the waveform higher values shift the point of highest EL amplitude to the end of the waveform Rate Sets the LFO s oscillation frequency as a MIDI pitch This is the fundamental 0 05 20 rate modulated by the Keyboard To Rate value KR Keyboard To Controls the amount of rate modulation by the triggered MIDI note s pitch At 1 1 Rate a value of 1 the rat
429. the Quad version 2 16 3 SpaceMaster Quad except that it adds a Center channel The PreDelay XY pad adds control for the center channel SpaceMaster Surround also adds an Output Gain section that allows you to use precise metering to control the relative volumes of the Center Sub Front and Sur REAKTOR FACTORY LIBRARY Manual 70 Effects SpaceMaster round reverb signals The balance of Early Late signal can also be adjusted for each channel using the Mix module which has familiar controls for wet dry levels Finally SpaceMaster Sur round does not include the EQ module found in the Stereo and Quad versions 2 16 3 SpaceMaster Quad FOUR CHANNEL REVERB O REAKTOR LIBRARY 1 10 Space Master Quad user interface The SpaceMaster Quad ensemble works in the same way as the stereo version 2 16 4 SpaceMaster Stereo but it splits the reverb signal into four discrete outputs for using in a four speaker system The signal for the forward speakers is referred to as the Front signal while the signal for the rear speakers is referred to as the Surround or Sur signal In the Input section you can adjust the gain for Front and Sur signals to determine how much signal sour ces reaches each signal chain The PreDelay section is simplified from its stereo brother by use of an XY pad to finely adjust Front and Surround L R offset The overall PreDelay time can be controlled by the Time fader The Early Diffusion section is al
430. the Y coordinate of the Xy controller in the center of this panel modu lates the width of the frequency band that is covered by the bandpass filters If off the Y coordinate modulates the phase offset or starting point of the wave that determines the amplitude of the bands The missing parameter can be set with the Wdth Phse knob lt Keyb gt If ON incoming midi notes shift the cutoff frequencies of the bandpass filters Note that the actual cutoff frequency as set by MIDI notes is not displayed in the XY pan el lt Wdth Phse gt Width Phase control If the Y Wdth button is off this knob controls the width of the frequency band that is covered by the bandpass filters in semitones If the Y Wath button is on it controls the phase offset or starting point of the wave that deter mines the amplitude of the bandpass filters Values between O and 1 set the phase be tween O and 360 degrees lt Waves gt Sets the number of cycles of the wave that determines the amplitude of the bandpass filters lt Resonance gt Sets the resonance of the bandpass filters in dB The amplification is com pensated internally so the resonance controls only the narrowness of the bandpass filters lt Drive gt Sets the amplification before the distortion unit The amplification is compensat ed internally so it controls the amount of distortion lt XY Panel gt The XY panel shows a graphical representation of the amplitude and frequen cy of all bandpas
431. the fundamental MIDI pitch which generates four subharmonics below this frequency The ratio of the harmonics to the main pitch and their amplitudes can be con trolled individually similar to a standard additive synthesizer A feedback feature provides ba sic waveform modulation crossfading smoothly from a sine wave to one that sounds like a saw tooth waveform Controls Function Pitch Controls the pitch shift of the sub oscillator s main frequency there is a coarse top and a fine bottom control As the sub oscillator generates harmonics below the main frequency the pitch control shifts those sub tones to a usable frequency Harmonic Select four sub harmonics of the main frequency Their volume is controlled by the re A B C D spective Amplitude control Amplitude Select the amplitude of the corresponding sub harmonic adjusted by the Harmonic A B C D control Feedback Amount Sets the amount of feedback applied to the sub oscillator internally Turn to the left for a undistorted sine like sound to the right for a saw like signal Envelope Controls the modulation amount applied to the Feedback amount by the Modulation Modulation Amount Envelope 8 19 6 Formant Oscillator This particular oscillator is made up by a simple sine waveform however the adjustable fre quency band doesn t move with the oscillator s pitch but remains stable as a formant of the sound By moving this frequency band yo
432. the modulation Unipolar wheel CC1 hold MIDI controller 1 sampled at note on Unipolar CC7 MIDI controller 7 the volume slider Unipolar CC7 hold MIDI controller 7 sampled at note on Unipolar EnvA Envelope generator A Unipolar Env B Envelope generator B Unipolar LFO The LFO Bipolar except Sqr amp Ramp LFO hold The LFO sampled at note on Bipolar Rnd Random value generator Bipolar Destination Amp Slice amplitude 100 to 100 Pan Stereo pan 100 to 100 REAKTOR FACTORY LIBRARY Manual 197 Samplers Grainstates SP Section Control Function Polarity Range Pitch Slice pitch 12 to 12 semitones Start Sample start position 1 to 1 Env A Attack Envelope A attack time approximately 10 to 10 seconds Env A Decay Envelope A decay and hold time 100 to 100 Hz Lofi resampling frequency 100 to 100 semitones Drive Overdrive amount 60 to 60 decibels Cut Filter cutoff 120 to 120 semitones Aux Aux send level 100 to 100 Env B Amp Envelope B amplitude 100 to 100 LFO Amp LFO amplitude 100 to 100 43 Grainstates SP See 1 1 7 REAKTOR FACTORY LIBRARY Manual 198 Samplers Travelizer 44 Travelizer Position Grain amp Resonator Filter amp Delay Sample amp Volume O REAKTOR LIBRARY 1 15 Travelizer user interface 4 4 1 Introduction Travelizer is the lates
433. the modulation table they re always linked to the length of the entire sequence 5 3 5 Modulation Blue Matrix features two identical standard ADSR envelopes and a single LFO that syncs to tempo Both envelopes are velocity sensitive Vel gt A sets how much the velocity will affect at tack time while Velo sets how much velocity will control the amplitude of the entire envelope The speed of the LFO can be set in musical note values or freely When Unit is set to O then the Frequency of the LFO is set in Hz When Unit is set to any other value the frequency of the LFO takes on the musical units set by Unit For example if Unit is 96 and frequency is 1 then the LFO will be set to the very fast speed of 1 96th note per cycle The display under neath the Freq knob depends on how Unit is set if Unit is set to O then the display automati cally shows values in Hz and if Unit is set to a musical value then the Freq display will auto matically update Width and Phase control the shape of the LFO which can be selected by the switch to the right Key S determines if the LFO will synchronize to note on events as deliv ered by the sequencer BlueMatrix REAKTOR FACTORY LIBRARY Manual 229 Sequenced Synthesizers All of Blue Matrix s modulation sources are routed in a comprehensive modulation matrix The LFO two envelopes four modulation channels from the sequencer and typical MIDI controls like mod pitchbend velocity can be routed to s
434. the random waveform and in the Geiger modes it defines the im pulse density The Colour parameter can be modulated select a modulation source from the lower drop down menu and set the amount of modulation with the Mod knob Pitch and Amplitude The section labelled PM pitch modulation above the modulation main mod oscilla tor menus provides a low frequency sine oscillator dedicated to oscillator pitch modu lation for main mod and sub oscillators When the PM power switch is enabled Depth defines the amount of pitch modulation and Rate sets the LFO speed The LFO is polyphonic and each new MIDI note resets the phase Similarly the section labelled AM provides a dedicated amplitude modulation LFO The amplitude modulation is applied after the Harmonics amp Shaper section REAKTOR FACTORY LIBRARY Manual 213 Sequenced Synthesizers Akkord Section Function Harmonics Shapers This section is where the mod oscillator modulates the main oscillator to create addi tional harmonics This section also offers several wave shaping distortion algorithms Harm determines the amount of harmonic distortion of the oscillator signal main sub and noise via the modulation oscillator The harmonic distortion is created by applying a small delay to the signal and modulating the delay time via the modula tion oscillator Shaper determines the amount of wave shaping distortion Five distortion modes are availabl
435. the threshold of the limiter Levels above this value get processed Peak Adjusts the hard limit of the signal No signal will exceed this limit Rel This adjusts the release time It is the time the limiter takes to return the signal to normal when it falls below the limiting threshold Soft Hard Balances between soft saturation and hard clipping of the above peak signal REAKTOR FACTORY LIBRARY Manual 47 Effects Flatblaster Control Function Compare Controls the amplification of the uncompressed signal if Bypass is active If you want compression without amplification set it to O and make sure there is no change in lev el when toggling the Bypass button Link Activates stereo linking of the two input channels Bypass Bypasses the Full Band Peak Limiter only leaving the 4 compressors active 2 10 Flatblaster Crossover Mid High Compressor ki D D Mid Low Compressor up Ki 0 Ei Er 0 85 9 0 o u0 Low Compressor Full Range Peak Limiter REAKTOR LIBRARY 1 5 Flatblaster user interface 2 10 1 Introduction Flatblaster is a high end finalizing and multiband dynamic shaping tool Flatblaster combines four frequency specific compressors with a full spectrum peak limiter It is an excellent final step mastering plug in but it can also be used while mixing since it doesn t introduce any de REAKTOR FACTORY LIBRARY Manual 48 lay to the signal Each of the compressors ha
436. ther parameters using the drop down menus in the other sections The 2 envelope controls are identical Attack Decay and Release set the times of the respective stages and the Sustain knob sets the level of the sustain stage When the envelope Delay sections are enabled the envelope signal is fed through a tempo synced feedback delay unit creating more complex rhythmic envelope shapes Delay sets the delay time in 16th steps and Return controls the amount of feedback LFO 1 and 2 The two identical low frequency oscillators can be used as modulation sources for the oscillators the Harmonics Shaper section and the filter Five waveforms are available Sin sine Tri triangle Pls pulse Rnd1 slow ran dom waveform and Rnd2 random waveform REAKTOR FACTORY LIBRARY Manual 211 Sequenced Synthesizers Akkord Section Function When Sync is enabled the LFO cycle is retriggered on each MIDI note phase start position is set with the Phase knob The BPM switch enables the LFO speed to be set in cycles per bar and the Fade switch enables LFO fading in and out fade time is set using the Fade knob Freq specifies the LFO speed in either cycles per bar or cycles per second and Width adjusts the waveform shape Tone Generation Section Function Main and modulation Main Osc selects the main oscillator waveform and Mod Osc selects the modulator oscillators oscillator waveform
437. ting a snapshot with the call mouse recalls all its data including sequences Snapshot Selects whether the snapshots are only recalled internally or if external con Mode trol signals received at the instrument s Snap port are recognized too This allows connection to a master song sequencer Shuffle Quantization Selects one of twelve quantization presets Each preset ranges over sixteen Select steps the higher the value within the display the more delay is applied to this step The first preset for example alternates between low and high val ues So every second step will be delayed resulting in a standard off beat shuffle The presets only define relative times the effective delay time at maximum values is set by the Shuffle control Shuffle Scales the preset of the Quantization Select control Turn to the left for no quantization independent of the selected preset to the right for full delay times 4 5 3 Sequencer There are two step sequencers tracks A and B and two tracks that glide from step to step C and D Each sequencer provides individual control over length and speed REAKTOR FACTORY LIBRARY Manual 204 Samplers Lurker Control Function Length Control Sets the length of the loop that can be edited within the sequencer display in steps See also Unit Select Unit Select Selects the rhythmic unit with which each step of the sequencer track is interpreted This refers to t
438. tion a pattern Bars per Pattern Adjusts the number of bars in each pattern Beats per Bar Controls the number of beats in each bar A beat is interpreted as a quarter note each step represents a sixteenth note Swing Sets the amount of shuffle i e the amount of slight delay on off beats 3 5 3 Step Sequencer Things get more interesting here L3 features eight parameters which can be sequenced by programming their value at each 16th This is what turns old loops into new loops REAKTOR FACTORY LIBRARY Manual 104 Grooveboxes L3 The most obvious of these eight parameters is slice order This is displayed in the lower of the two large windows the Slice Position Sequencer By clicking the mouse here you can rear range slices of the original loop The window is 16 steps high which means you can select the first 16 slices of your loop If the selected loop has more than 16 steps use the Scroll Bar at the left to see more slices The right mouse button has a function here too it restores any step to its default value i e to the original slice order The upper window the Parameter Sequencer is for editing the remaining seven parameters gain pan pitch reverse roll attack and decay Clicking the right mouse button resets steps to their default value Control Function Parameter Controls the values of the various parameters for each sequencer step Use the right mo
439. tion of the second decay time of EG3 by the midi pitch o lt off gt EG3 decay 2 is not modulated by midi pitch REAKTOR FACTORY LIBRARY Manual 406 Synthesizer Titan o lt A gt Strong Shortens the time at pitches above 60 by up to 70 o lt B gt Moderate Shortens the time at pitches between 65 and 88 by up to 50 MIDI Velocity Router Titan has many musically useful velocity modulations hardwired lt 03 P gt If on the midi pitch of oscillator 3 is multiplied by the value of lt amt1 gt and the velocity lt 02 P gt If on the midi pitch of oscillator 2 is multiplied by the value of lt amt2 gt and the velocity lt 01 P gt If on the midi pitch of oscillator 1 is multiplied by the value of lt amt3 gt and the velocity lt F1 C gt Selects the mode of frequency modulation of Filter 1 by the midi velocity o lt off gt Filter 1 is not modulated by midi velocity o lt A gt Moderate High velocities increase the filter freqeuncy by up to 40 semitones o lt B gt Strong High velocities increase the filter frequency by up to 120 semitones o lt C gt Weak High velocities increase the filter freqeuncy by up to 12 semitones lt F2 C gt Selects the mode of frequency modulation of Filter 2 by the midi velocity o lt off gt Filter 2 is not modulated by midi velocity o lt A gt Moderate High velocities increase the filter freqeuncy by up to 40 semitones o lt B gt Strong High velocities increase the filter f
440. to bottom the sequence can be set to reset every bar reset every 2nd bar reset ev ery fourth bar or no reset at all The Grid selector below Reset is used to set the beat resolu tion of the sequence grid i e 1 32 1 16 1 8 1 4 Set the length of the sequencer pattern using the Range selector A range of O will mute the sequencer The T button will instantly switch the sequencer resolution to triplets of the chosen grid value introducing interesting rhythmic twists The 1 2 button will set the sequence play back to half time Since this is a nondestructive event not changing the timing goBox will always stay on the beat The Reverse switch labeled by an arrow pointing to the left has the effect of reversing the sequence playback This is also a nondestructive effect instantly switching on the beat back to forward play The Bi Directional sequence playback button to the right of Reverse causes the sequence to alternate forward and reverse playback Finally the Shuffle knob allows you to add varying degrees of swing to the sample triggering GoBox REAKTOR FACTORY LIBRARY Manual 93 Grooveboxes goBox can shift the sequencer patterns automatically to keep your beats fresh by using the Po sition Mod LFO Position Mod is a low frequency square wave with adjustable width and rate that modulate the current sequencer step position You can specify the range of modulation in sequencer steps by using the Steps control Along
441. to the classic subtractive synthesis used in analog synthesizers but it has some special features on the oscil lator level which result in a significantly wider variety of sounds The WaveSet oscillators of Nanowave are not based on the common waveforms like sawtooth or square They use so called WaveSets which contain many different waveforms 43 of these WaveSets are included with Nanowave Within a WaveSet a particular waveform can be chos en manually but the really crucial feature in WaveSet Synthesis is the option to travel in the WaveSet i e switching dynamically between the waveforms of a WaveSet REAKTOR FACTORY LIBRARY Manual 337 Both of the Nanowave oscillators have an identical structure Each gives you the option to se lect the WaveSet the octave and the pitch tuning in semitones With the slide switch you can manually move through the WaveSet or alternatively the waveform position can be modulated by a separate wave envelope by attack keytracking or by the LFO Additionally frequency mod ulation is possible A couple of other sound sources are also available a simple sine oscillator a noise generator with selectable tone colour and the ring modulation signal produced from waves 1 and 2 Nanowave s multi mode filter works with a slope of 12 dB oct and can be modulated in various ways The LFO starts with note onset and consequently allows envelope like modulations It also has a separate envelope for the LFO a
442. transformed in a pseudo ran dom way Seq Rnd Off These three buttons switch the modulation modes for the Pitch pa rameter Choose between direct modulation by the modulation track random variation based on the modulation track and no modulation REAKTOR FACTORY LIBRARY Manual 147 Grooveboxes Random Step Shifter Section Control Function MOD Switches on the sequencer s modulation for the Pitch module Pitch Sets the transposition of the sample This is the transposition applied when MOD is inactive This interacts with the RANGE control and is independent from tempo as long as Fit is inactive RANGE Sets the range of bipolar sample transposition in semitones A value of 12 gives you a transposition range from 12 to 12 semitones Fit When active the pitch follows the tempo changes of sample play back like in a conventional sample player Attack Sets the attack time of an ADSR envelope triggered by the sequencer events Decay Sets the decay time of an ADSR envelope triggered by the sequencer events Sustain Sets the maximum level the envelope will reach Release Sets the time that passes until the envelope is completely faded out after it has reached the sustain level Sel Offs P Selects the trigger input for the envelope It can be the trigger track from the select offset or pitch track respectively on Switches the envelope on or off
443. trol Function 1 6 1 8 1 12 1 16 1 24 1 32 Mute Mutes the sequencer output Notegrid Click the grid to add or delete note events Click and drag the mouse up or down to change velocity Right click ctrl click for Mac users and drag to define the loop area Clock divider Choose between different clock divisions This speeds up or slows down the pattern but retains a metric relationship to the original speed You get original speed with the 1 16 setting Shffl Shuffle function Click and drag mouse up or down to adjust the amount of shuffle X playback walk normally modes X random step in X direction XX random step in whole X row Y playback walk normally modes Y random step in Y direction YY random in whole column R Randomizes the current loop area Clr Clears the current loop area Copy Copies the content of the current loop area Paste Pastes the pattern clipboard into the current loop area overwriting all events REAKTOR FACTORY LIBRARY Manual 246 Sequencers SQP EXT int e erh In v Out v USES Usices 300 unison 4 32 The SQP user interface 6 5 1 Introduction The SQP is a piano roll style sequencer covering a very wide midi note range You can enter notes via the mouse or record incoming MIDI notes If you want to input longer events with the mouse just click and drag the start or end of an existi
444. ts the amount of voice panning Clicking the control s title bar restores the value to its default Amount Master 1 2 Defines the instrument s output level Use the large middle knob to adjust the preset s maximum level the smaller knob to the right controls the instrument s output amplitude in all patches Key Amp Adjusts the amount of automated amplitude correction in respect to the synthesizer s pitch Turn to the left for no influence of the pitch onto the output level to the right to damp high pitches This can be used to simulate the sound of analogue synthesizers 8 3 Carbon Resonance P N Width DETUNE Qualspe 0 0 04 2nd Un 1 Pitch Mod Pitch Mod Pitch Mod Env 21 SO Width Mod _ Width Mod mel Ew2f LFO1f REAKTOR LIBRARY 1 19 Carbon user interface REAKTOR FACTORY LIBRARY Manual 287 8 3 1 Introduction The Carbon synthesizer is a fantastic sounding machine with over a hundred sounds from a dif ferent planet At its heart Carbon is a powerful subtractive synthesizer with four oscillators co pious modulation and a filter We even wouldn t hesitate to say that Carbon has one of the best sounding digital filters you ve heard In fact Carbon has a choice of eleven different filter types and designs each painstakingly shaped for silky smoothness across the entire frequency range Carbon s LFOs include innovative features such as the possibility to vary their frequency slightly in e
445. u can achieve vowel filter like effects REAKTOR FACTORY LIBRARY Manual 393 Synthesizer SubHarmonic Control Function Pitch Controls the pitch of the main frequency there is a coarse top and a fine bottom control Formant Adjusts the frequency of the oscillator s formant this formant is not changed by the main pitch Frequen cy Envelope Controls the amount and polarity of modulation applied to the Formant Frequency by the Modu lation Envelope Turn to the left for inverse modulation i e low formant frequencies at high i modulation signals and to the right for normal modulation i e high formant frequencies at high envelope levels Amount 8 19 7 Mix and Output In this section the signals of both oscillators can be mixed positioned in the stereo field and leveled Control Function Mix Crossfades between the sound of the sub oscillator at the left and the signal of the for mant oscillator at the right Spread Sets the amount of displacement within the stereo field applied to the instruments voices Turn to the left for a mono signal and to the right to pan each voice individually this is particularly impressing if Voice Voice Mode is set to Uni Gain Sets the output gain 8 19 8 Reverb The high quality reverb unit is contained within the panel s B view It can further enhance the sound s spatial characteristics When not in use it shou
446. ual 395 Synthesizer Sum Synth 8 20 Sum Synth 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 10 0 0 0 0 0 0 0 0 00 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 r OSCILLATORS __ 3 a PITCH CONTROL E KC TYY E ED EB EB EA C CED m AMPLITUDE ENVELOPE i aAa ES SEH so oe TITT Ce TEE PANJO RIVE rn DUT _ Ce TE EC z MESS E Ran SUMSYNTH d SUM SYNTH Il Instrument and Sounds by Lazyfish Il Panel by lan Warner 1 26 Sum Synth user interface 8 20 1 Introduction BE D pm FILTER FREQ ENVELOPE _ L DIFFUSER CHORUS aie a oem Jour noo sreeo oie Dense wisn srenco wet ony A 0 0 0 0 0 0 0 0 0 0 10 0 0 0 0 0 0 30 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Sum Synth is an additive synthesizer with a few tricks up its sleeve A unique oscillator section makes it easy to control the frequencies of the oscillators and shape of the sound while an informative graphical display s
447. ual resonator pitch 40 to 40 semitones Placement defines the filter s position within the signal flow It can be placed before the main comb filter section Pre or after it Post or disabled altogether Off Resonator Diffuse Feedback A resonator is essentially a feedback loop with a short delay time the length of which determines the resonator pitch While the specific configuration of the 6 resonators is defined in the Chord Structure section the Resonator section allows configuration of 2 global parameters the Feedback Filter mode lowpass or notch and the method of Feedback Control required to prevent overflow from the feedback Sat and Clip offer soft curve or hard clipping of feedback above Odb and both work on individual sam ples whereas Limit operates more akin to an analog compressor reducing the volume of the feedback when the signal exceeds Odb The Diffuse Feedback unit applies an allpass filter to the feedback chain that adjusts the signal s phase for interference effects Color sets the center frequency 26 8400 Hz of the feedback s allpass filter As the filtered signal is added to the unfiltered one some special interference effects be come audible Amount sets the amount of diffuse feedback This is a bipolar control when cen tered there is no feedback at the right there is normal feedback and at the left the feedback signal is inverted for special interference with the allpass filter
448. uency Response The two EQ sections serve slightly different needs The Damping EQs are integrated into the reflection stages and influence their frequency responses The Post EQ acts on the main out put of the patch should be used to color the overall sound Section Control Function Frequency Low Frequency Low shelving filter that cuts into diffusion delay frequency re Damping Dam sponse of both early and late reflections Use the horizontal slid P er to adjust cutoff frequency and the vertical slider to adjust cut or boost High Frequency High shelving filter that cuts into diffusion delay frequency re Dam sponse of both early and late reflections Use the horizontal slid P er to adjust cutoff frequency and the vertical slider to adjust cut or boost Post EQ Low Frequency A low shelving EQ that acts on the main output of the reverb Boost Use the horizontal slider to adjust cutoff frequency The vertical slider adjusts cut or boost High Frequency Boost A high shelving EQ that acts on the main output of the reverb Use the horizontal slider to adjust cutoff frequency The vertical slider adjusts cut or boost REAKTOR FACTORY LIBRARY Manual 67 Effects SpaceMaster 2 16 SpaceMaster REAKTOR LIBRARY 1 8 Space Master 1 user interface 2 16 1 Introduction The SpaceMaster series of reverbs breaks new ground in reverb modelers for Reaktor Space master uses two different Diffusio
449. unction Restart When this button is activated starting or ending any automation recording will restart all sliders Pressing the button below will restart all sliders immediately which simu lates recalling a snapshot Speed The overall automation speed can be set to one of four levels by clicking on this but ton Randomize Randomizes all controls Mute Mutes the output REAKTOR FACTORY LIBRARY Manual 261 Sound Generators Skrewell 1 2 Skrewell fei B E Skrewell E Bert In Outw DI E iro vs Mondriar sl SELECTOR Ga Er FUNCTION XUNG TEKH d FREQ MOD OSC AMP RANDOMISE ALL CH all AMP MOD d 7 HIGH PASS SUBTOTAL LOW PASS DELAY SKREWELL RW ga 7 FILTER 4 37 Skrewell s user interface REAKTOR FACTORY LIBRARY Manual 262 Sound Generators Skrewell 7 2 1 Introduction Skrewell is an intuitive and visual sound design workstation whose soundscapes can range from meditative atmospheres to crackling harshness Its sound engine uses eight parallel oscil lator sections channels that blend into a single complex signal This unique construction means that its interface is unlike that of a classic additive subtractive synthesizer The Draw edit mode allows for standard value adjustment for each channel s parameters The parameters are represented by eight vertical bars one bar for each oscillator section which control the channels oscillators integra
450. und 2 1 1 lt On gt Switches the envelope follower on or off to save cpu power lt Hold gt lt Release gt Set the hold and release values of a HR envelope that is triggered by a rising of the input level It shapes the output of the peak detector Lower values i e shorter hold and release times result in a sharper response to level decays lt Mono gt Switches between stereo mode off and mono mode on Use mono mode for a more stable envelope In stereo mode the two incoming channels are processed seperate ly a separate envelope of the left and the right channel is generated In mono mode both channels are mixed together before extracting the envelope ATTENTION If a mono input source is connected to both effect input channels be careful using this switch The enve lope is already mono so there s no additional benefit instead by mixing i e adding both channels the signal is amplified and exceeds the normal range lt PkRel gt Sets the release time of the amplitude peak detector Lower values at the left result in more sensitivity to smaller peaks e g HiHats higher values instead only detect really high peaks like bass drums etc lt Smth gt Sets the amount of smoothing of the shaping envelope Higher values result in a more smoothed signal following the envelope of the incoming signal lt Envelope Meter L amp R gt Show the output of the envelope follower section EnFX Delay 1 3 At the center the EnF
451. unds that aim on reproducing the warmth of their old predecessors particularly the KleinStein phaser is of high technical complexity within the Core cell REAKTOR FACTORY LIBRARY Manual 293 Synthesizer Equinoxe Deluxe 8 5 2 String Section The Strings section is the central sound generator of this instrument Essentially this is a saw tooth oscillator shaped by an amplitude envelope and a 4 pole ladder lowpass filter It features an additional Octave Lock mode simulating an old analogue technique that used twelve oscilla tors each one dedicated to one pitch class By this octaves are exactly of the doubled fre quency and there occurs no beating while the harmonics are shaped in a special way Control Function Range Octave Switches the Octave Lock feature on or off on off Lock Cutoff Controls the cutoff frequency of the lowpass filter shaping the sawtooth signal in 20 120 semitones Resonance Sets the resonance of the ladder lowpass filter H Envelope Switches between three envelope modes They differ regarding their behaviour if Mode a MIDI note is triggered while another one is still playing In Poly mode the old note isn t changed while the new one starts playing In Mono mode the old note is stopped and the new pitch is played This is also true for the Reset mode but here the amplitude envelope see Attack and Release is also re triggered by the new note event Attack Adjusts t
452. unison REAKTOR FACTORY LIBRARY Manual 340 Synthesizer Oki Computer 2 Control Function Gate Mode Selects whether the instrument is used as polyphonic or monophonic synthesizer Unison Determines the number of simultaneous voices This is only active if Gate Mode is set to mono Spread Defines the amount of voice detuning in semitones This is only active if Gate Mode is set to mono Glide Sets the amount of portamento i e the time used to reach a new MIDI pitch This is only active if Gate Mode is set to mono Octave Transposes the pitch of the entire oscillator in octave steps Semitone Transposes the pitch of the entire oscillator in semitone steps Fine Fine tunes the entire oscillator s pitch Pitchbend Defines the MIDI pitch bend wheel range in semitones 8 14 3 Oscillator The Wavetable Position Bar located beneath the main oscillator window is perhaps the most difficult part of the synthesizer to understand This bar has two purposes Firstly the square box indicates the current wave slot selected for editing there are 16 slots Secondly the bright green line indicates the current wavetable position The current wavetable position is set by the Wavetable Position Knob to the left of the drive knob plus any modulation routed to the wave table position see Modulation Matrix The best way to explain how the Wavetable Position Bar works is by example Click
453. upted in amplitude to create low fi effects while a sawtooth oscillator is interrupted in time for the familiar sync effect Oscillator 4 is mainly but not always used as a sub oscillator offering standard pulse and sine waveforms with pulse width modulation Below each oscillator mode selector the tuning of each oscillator Synthesizer Carbon REAKTOR FACTORY LIBRARY Manual 288 can be set in semitones and cents in the PitchShift section The pitch of each oscillator can be modulated by either the second envelope Env 2 or LFO 1 Oscillators 1 and 4 can have the width of their waveforms also modulated by Env 2 or LFO 1 The additional parameters in the oscillator section such as odet oscillator detune LCo loudness correction etc are used only for very fine shaping of the amplitude and range of modulation of the oscillators across the frequency spectrum We warned you that Carbon was from another planet All four oscillators plus noise are summed and sent to Carbon s outstanding filter The filter provides eight different filter modes where nearly every mode uses straight forward technology mainly to emulate the warm and powerful sound of analogue filters The modes Va CLa and J S offer an additional alternative mode which can be switched on by the Alt control below the main mode selector increasing the effective number of modes to 11 Many of the filter types are very similar and offer a quick and easy way to modify the
454. ur different direction modes forwards gt backwards lt and two ping pong modes lt gt inverted gt lt TEMPO Via this menu you can choose a tempo for the effects unit s modulation sequencer These are clock division settings that keep the sequencer always in sync with the global tempo 3 12 6 Mixer The four channel mixer provides control over Pan Volume and two effects sends It has a routing system allowing you to send the different channels either to the master stereo bus or into up to 4 individual stereo busses This output routing system has to be activated in the Master section The four stereo channels are identical in function and carry the signals of the Noise synthesizer and the three Sine synthesizers Control Function Power Switches the respective channel on or off Use to mute single or multiple sound units PAN Dial in the position of the respective sound unit in the stereo field VOL Volume of the respective sound unit FX 1 Send level to effects unit 1 FX 2 Send level to effects unit 2 Output Click multiple times to choose the 4 available stereo busses Works only if use single outs is bisse activated in the Master section Also this is sensible only if your sound hardware has multi S393 ple outputs or if you route the individual outs of Sinebeats into further REAKTOR instru ments Right click ctrl click if you re on a Mac to reset to outputs 1 2 3
455. use button to reset a parameter to its default value Sequencer Gain Adjusts the gain of each slice Pan Adjusts the position of each slice within the stereo field Pitch Adjusts the pitch of each slice i e its transposition in respect to the original pitch of the sample file Reverse Determines the playback direction At minimum the default setting slices will play forward as normal At any other value they will play in reverse At lower values play back will start from near the end of the slice whereas with higher values playback will start from nearer the beginning of the slice Roll Causes the slice to retrigger repeatedly within each step With higher values the slice will retrigger more quickly Attack Causes the loop volume to suddenly cut out and then fade back in At maximum the fade in time is exactly 1 beat i e four steps Decay Modulates the envelope decay time At center default decay time is unaffected With higher values the decay time is extended and with lower values the decay time is re duced Therefore the effect depends on the envelope decay time setting controlled by the Decay control of the Sampler section Slice Controls the order of the slices Low values represent slices at the beginning of the Position sample file high values slices at its end Thus a line from the bottom left to the top right results in normal playback order as defined by the sample file without any re Sequencer arrangement
456. ve 1 1 Control Function Loop Length Start Marker Displays the length of the playback loop area This position can bed edited by the Loop Marker Displays the position at which the sequencer starts running upon a MIDI start event This can be altered by dragging the marker with the left mouse button Loop Marker Displays the playback loop When the read out pointer reaches the end of the loop area it is set back to the loop s beginning The loop s start can be changed by dragging the mark er with the left mouse button dragging with the right mouse button changes its length Sequence Edit Display Marker Defines the sequence of snapshot recall events A new event can be created by double clicking an empty area of the sequence with the left mouse button double clicking on an existing marker deletes it The markers can be selected and moved along the horizontal time axis with the left mouse button The snapshot number can be adjusted With the right mouse button The position and snapshot number of the currently selected marker are dis played as Recall Position and Recall Snapshot at the bottom of the instrument they can also be edited there Shows the area of the complete song that is shown within the Sequence Edit display With the left mouse button the start position also displayed at the left of the row can be moved with the right mouse button the display length can be adjusted its end is dis played
457. ve shapes around the input signal When used on a sine wave these two functions can sound somewhat reminiscent of FM Noise enables a noise generator REAKTOR FACTORY LIBRARY Manual 342 Synthesizer Oki Computer 2 8 14 4 Filter Out This section controls the shaping applied to the sound s frequency spectrum filter and ampli tude Control Function Amplitude Selects the main output envelope In most cases E1 will be the preferred choice Sometimes however you may want to use Envelope 1 for modulation purposes only In Envelope Mode this case select either G MIDI gate ignoring velocity or Vel MIDI gate including velocity Damp Controls the amount of high frequency damping Volume Sets the main output volume in decibels Cut off Sets the filter s cut off frequency Resonance Adjusts the filter s resonance amount Track Defines the amount of cut off pitch tracking At 100 cut off is increased by one semi tone for each increment in MIDI pitch At 100 cut off is decreased by one semitone for each increment in MIDI pitch At 200 cut off changes by two semitones for ev ery one semitone change in pitch Low pass Determines the mix ratio of the high pass band pass and low pass components of the Band pass filter output signal High pass 8 14 5 Envelope CET Sequencer and LFO Oki Computer 2 features two envelope generators Both can be used for gen
458. veloped particularly for this instrument The panel has been optimized for usability with a clear structure providing fast access to all parameters while hiding the technical com plexity Basically Carbon 2 is a classical subtractive synthesizer The signal of the three oscillator sec tion left column of the panel passes through a multi mode filter middle column and is then routed to the effect units right column Several modulation sources such as envelope genera REAKTOR FACTORY LIBRARY Manual 276 Synthesizer Carbon 2 tors and LFOs placed in a second page in the right panel column and the global parameters a third page in the right column control the sound adding additional liveliness and move ment 8 22 Oscillators The oscillator section produces the instrument s basic signal Three oscillator slots provide sev eral different waveforms along with traditional analogue types like sine and sawtooth there is a digital wavetable oscillator containing a wide array of waveforms that can be crossfaded smoothly A noise generator and a ring modulator based on the signal of the three main oscilla tors are added for a total of five basic sound sources Each oscillator slot offers control over volume pitch and waveform synchronization The pitch and sync controls are placed in two pages at the bottom of the panel grouped with a third page controlling the waveform This third page is only active if the digital wavetable
459. vent table sequencer lt Cutoff gt Sets filter cutoff lt Res gt Sets filter resonance lt lp gt Selects lowpass filter mode Actual filter type is set from the Instrument panel lt bp2 gt Selects a 2 pole band pass filter lt hp2 gt Selects a 2 pole high pass filter lt bp4 gt Selects a 4 pole band pass filter From the Instrument panel the following additional controls are available e lt LPType gt Selects which lowpass filter to use in lt lp gt filter mode o o o o o lt cs gt Lowpass filter with a characteristic that resembles the Yamaha cs 15 filter lt dbl gt Distorting 24dB oct filter lt fb gt Lowpass Filter with feedback lt p52 gt Pro 52 filter lt 2pol gt 12dB octave standard lowpass filter lt Cut2 gt Sets second filter s cutoff Only active in lt dbl gt lowpass filter mode lt Res2 gt Sets second filter s resonance Only active in lt dbl gt lowpass filter mode lt FB gt Sets feeback of lt fb gt filter lt KTrk gt Sets filter keytracking Value O cutoff frequency not affected by note pitch Value 1 cutoff frequency tracks note pitch exactly REAKTOR FACTORY LIBRARY Manual 222 Sequenced Synthesizers Atmotion Dual Band Delay The two oscillater filter flanger chains are merged and then sent through a dual band delay The dual band delay effect first divides the sound into two frequency bands Low and High Each band has separate delaytime and f
460. ving cut boost Spin A delay effect containing controls for left T1 and right channel T2 delay time and feedback FB The effect can be used for traditional delay sounds for spreading the sound within the stereo panorama field and for delay modulation sounds similar to pitch shifting Resochord The Resochord uses 6 parallel delay lines each at differing delay times representing the notes of a chord This in effect imposes an additional harmonic structure onto the input signal The preset list selects from 20 chord types Delay feedback is the sum result of the FB knob and FB fader The overall delay time is offset in semitones via Pitch Fine and either P1 or P2 via Mod Mix crossfades between the dry signal at the bottom and the Resochord output at the top REAKTOR FACTORY LIBRARY Manual 260 Sound Generators Metaphysical Function Section Control Function Reverb The preset list selects from 6 room types Order determines the serial routing order of signal through the Resochord and Reverb units after the Spin module Select Pre to route the post spin signal through the Reverb first then Resochord Select Post to route through the Resochord first then Reverb Mix crossfades between the dry signal at the bottom and the Reverb output at the top Volume Volume determines the overall level and Width determines the amount of stereo spread Additonal Controls Control F
461. voices means that less CPU will be needed but the sound of the snare will be less complex e lt Sens gt Sets the sensibility of the module to incoming gate events At low values varying velocity of the gate signal doesn t effect the sound much while at higher values velocity modulates amplitude and pitch e lt Pitch gt Sets the fundamental pitch e lt Wdth gt Sets the snare s frequency range e lt Level Attack Delay gt Selects which spectral envelope table to edit REAKTOR FACTORY LIBRARY Manual 152 Grooveboxes lt Event Table gt Shows the spectral envelope for either the Level Attack or Delay The hor izontal access corresponds to frequency lowest lt Pitch gt highest lt Pitch gt lt Wdth gt Vertial axis is the amplitude at that frequency 40 O db for level chan nel O 60 db for attack and decay channels lt Color gt Filters the snare Minimum values are more thin while maximum values are more rich lt Filter gt Selects the filtertype for lt Color gt 12 pole or 24 pole lt Res gt Filter resonance for lt Color gt lt Pan gt Stereo panning lt Level gt Sets the output level lt On gt Turn the whole instrument on off When off CPU is saved but there is a slight delay in turning the instrument on again For quick muting and unmuting it s better to use lt Mute gt lt Mute gt Instantly mutes the whole instrument but the CPU is still used Percuss 1 an
462. w off when you go to a new scene it does not load This is very useful for copying and pasting scenes from one location to another 3 11 4 Loading Samples The most convenient way to load samples into Scenario is with the Browser Simply double click on the visual display of the sample to enter the sample map editor If you want to clear the map to start fresh simply double twice on the delete button Using drag and drop just load your samples into the sample map editor You probably don t want to use the graphical keyboard sample map editor unless you re very careful to align one sample per key The text based sample map editor will take care of this automatically Please see your user s manual for more helpful information about loading samples and using the sample map editor Because of Scenario s advanced time stretching algorithm all samples must first be analyzed before they can be used When you drag the samples into the sample map editor it will first analyze them for you You will then be asked if you want to save the analysis data into the samples it s recommended to do so so you don t have to analyze them again the next time the live set is loaded 3 11 5 Tips and Tricks There are many tricks you can use Scenario for No one every said you had to use it live either You can also use it in the studio to create complete tracks with Filter splitting create one track out of four You can take advantage of Scenario s filters
463. wer whose signal before was modulated by the slow random generator Turn left to make the filter freqeuncy be reduced on high incoming envelopes turn right for the oppo site i e high envelope signals increase the cutoff freqeuncy The left knob modifies the lower cutoff freqeuncy the right one the higher freqeuncy See also lt Cut Pass gt lt Low gt Sets the lower cutoff freqeuncy See also lt Cut Pass gt lt High gt Sets the higher cutoff freqeuncy See also lt Cut Pass gt lt Cut Pass gt Crossfades between cut mode left position and pass mode right position In cut mode all freqeuncies below the lower freqeuncy set by lt Low gt and above the high er freqeuncy set by lt High gt are cut off resulting in a bandpass filter whose boundaries are specified by the lower and higher freqeuncy In pass mode all freqeuncies below the lower freqeuncy set by lt Low gt and above the higher freqeuncy set by lt High gt are passed through resulting in a noth filter whose boundaries are specified by the lower and higher freqeuncy Effects EnFX REAKTOR FACTORY LIBRARY Manual 36 Effects Fast FX 2 8 Fast FX tdi ll lc mmer E mme emm POSIVAR ay at 108 wav ffx alLmap ses em em em E E GS EHDDOEER O A B FASTFX 1 Default MIDI Voices 64 E AST EX SE AS ENEE LECTRONIC lt INSTRUMENTS VOLUME lt 2 OSOS INPUT JUNCTION OUTPUT SLICE MANIPULATOR amo EE POS
464. wever in the context of drums voice stealing can often be desirable Consider the example of a pair of open and closed high hat samples you may want these two samples to share the same voice so that the triggering the open hat sample truncates the closed hat sample and vice versa Please note that voice groups will only work effectively if 1 the highest group number in use does not exceed the number of voices in the instrument properties which is four by default and 2 all samples are manually assigned to a voice group rather than a mixture of auto and manual voice assignments 4 2 5 Modulation Memory Drum 2 s advanced modulation routing allows various parameters to be modulated by a variety of sources Beside the MIDI sources like the modulation wheel and the pitchbend control there are two envelopes and an LFO Envelope A is hard wired to the amplitude of the sample playback but can also be used as freely assignable modulation source Some mod ulation sources have a variation denoted by hold This option samples the value of the source when triggered Try assigning the Pitchbend wheel to Pan and repeatedly trigger the sample while moving the Pitchbend wheel Change the source to Pitchbend H and listen to the difference Section Control Function Enve Shape Morphs the envelope shape from concave at low values to linear at center to lope B convex at high values Attack Specifies t
465. witch the sequencer on or off The sequencer is bound to the MIDI clock so Reaktor s global clock or an external sequencer s clock has to be running for Snapper to work Control Function Host Turns Snapper into slave mode A host program like Logic or Cubase can send MIDI pro gram change events to select Massive snapshots In this case Snapper s song sequence is bypassed The host s track containing the MIDI program change events should be played a few milliseconds depending on the host before all other tracks to ensure correct timing within Massive Zoom Loop Zooms the sequence display see Display Marker to the current loop area see Loop Marker Previous Zoom After zooming the display to the loop area with Zoom Loop this button returns the dis play to the previous zoom factor Zoom All Displays the complete song sequence Start Position Displays the position at which the sequencer starts running upon a MIDI start event This position can be edited by using the Start Marker Current Position Displays the current position of the sequence read out Run Switch Switches the sequencer on or off When on the instrument reacts to MIDI clock events e g from Reaktor s global clock like start stop and continue Loop Start Displays the start of the playback loop area This position can be edited by the Loop Marker REAKTOR FACTORY LIBRARY Manual 135 Grooveboxes Massi
466. y dragging in the middle You can set the quan BlueMatrix REAKTOR FACTORY LIBRARY Manual 228 Sequenced Synthesizers tize value for the loop bar with the Bar control to its left The bottom most bar is the horizontal zoom range bar which operates the same as all the other zoom range bars dragging the be ginning or end acts as zoom and dragging the middle scrolls Recording data into the sequencer It s possible to save MIDI data sent to the instrument e g by a keyboard The Rec gt buttons at the left of the data fields select and activate the different sequencer parts for recording Note that both upper data fields can only be recorded together as MIDI events always contain both pitch and trigger information while each modulation track can be recorded separately The actual recording starts when the Rec button is pushed If at this moment another region of the sequence is playing than the region selected by the horizon tal edit bar the W lamp will light up to mark the sequencer s waiting status when the global read out pointer enters the edit region the R lamp is will light to show that the instrument is recording Two hints for using the tables 1 Ifyou accidentally draw into a table you can always use the table s Undo command 2 Use the global copy and paste commands to work on a copy of a sequence or to build a new sequence up from an existing one Set the horizontal edit bar either the one under the pitch table or
467. ynchronization of the oscillators waveforms to the MIDI gate on or off If on all three oscillators are reset to the phase adjusted in Gate Sync Phase when a note is pressed Gate Sync Phase Controls the phase to which all oscillators are set on MIDI gate events Click ing on the control s title bar restores the default value Osc2 3 Sync Switch Switches on or off the synchronization of the oscillators 2 and 3 respectively to the signal of oscillator 1 If on the oscillator is reset to the phase adjusted in Osc2 3 Sync Phase when the signal of oscillator 1 rises above zero See also Osc2 3 Mode Fadel REAKTOR FACTORY LIBRARY Manual 278 Synthesizer Carbon 2 Section Control Function Osc2 3 Sync Phase Controls the phase to which the oscillators 2 and 3 are reset when the signal of oscillator 1 rises above zero Clicking on the control s title bar restores the default value See also Osc2 3 Mode Fade Osc2 3 Mode Fade Interpolates between hard synchronization at low values and soft synchroni zation at high values In hard synchronization mode the oscillator is always reset if the signal of oscillator 1 rises above zero with soft synchronization this is not always the case producing a mix between the synced waveform and the non synced one Clicking on the control s title bar restores the de fault value 823 Filter The filter section is placed betwee
468. ynthesizer destinations using the comprehensive modulation matrix Switch to the B view of the synth to see the modulation matrix You can easily switch to the B view by clicking the B button in the title bar of the synth You can route the modulation to the following synth parameters Oscillator pitch osc 1 osc 2 or osc 1 2 osc 1 FM osc 2 shape osc Ya mix filter cutoff osc 1 osc 2 or osc 1 2 filter 1 FM filter resonance 1 or 2 envelope parameters and even distortion delay time and delay feedback In short nearly everything The modulation sources LFO envelope sequencer modulation etc are arranged vertically The modulation destinations synth parameters such as filter cutoff oscillator pitch etc are arranged vertically Simply activate the switches for the combination you d like to modulate Underneath each modulation column is a switch to turn the modulation on or off and a knob to set the modulation amount BlueMatrix REAKTOR FACTORY LIBRARY Manual 230 Sequenced Synthesizers Vierring 5 4 Vierring INIT LEN PATTERN SELECT Length Mod init mm Shuffle Patt DS EET init init Len Modulation 1 Cal Modulation 2 Band 1 BAND SPLITTER Hipass BP1 Lew Lew2 e snd1 1 lt 2 Rest mod gt on on on on mst qe EI atti att2 att3 attu mo on on on on qe decl decz dec3 decy mst RING MOD PITCH qlde EI Pz P Py RM 0000 O inv inv
469. zation In GrainStatesSP this is also where you select the active sample with Sel GrainStatesFX only the Move macro controls a built in ramp oscillator that controls the delay time The Steady knob is the amount of delay modulation when at zero then the ramp oscil lator does not change the delay time 2 12 5 MIDI Control In addition to automated sequencer control GrainStates also lets perform with a MIDI key board In the MIDI macro you have control over the MIDI functionality If m TP is activated then MIDI notes will pitch the sound like in a conventional sampler In GrainStates however all notes are the same length regardless of pitch When mSel is active each scene is map ped onto a note pitch between 48 and 59 only the white keys of a keyboard by pressing one of the notes the respective scene is selected With the Split knob you can specify another key range that recalls scenes m tg toggles MIDI triggering of sound on and off GrainStatesFX only m frz lets you toggle the freeze effect on off via MIDI REAKTOR FACTORY LIBRARY Manual 55 Effects Longflow GrainStatesSP only If you play GrainStatesSP over MIDI you can activate the envelope env macro to also control the amplitude of the sound with MIDI according to the settings of the envelope You can play a sound through the built in loop player through the realtime audio inputs or you can process audio in realtime by using Reaktor as an effe

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