tritone`s user manual - Tritone Multiband Waveshaper
Contents
1. TABLE OF CONTENT INIRODUGTION oret P 4 SIGNALE FLOW OVERVIEW E P 5 FRONT PANELS DETAIDS ovt sd cata P 5 15 INPUTANDOUIPUP u i u uuu uu P 5 6 INPUT P P 5 8 sap nus Orhan P 6 FIPSAANDEERICKS P 6 CROSSOVER der Pm P 6 7 Scr EET P 7 ub vus URDU A ama san D tc P 7 8 P 8 VIET ERIING CAIVP io u ta tbi a eso Ie v P 8 DRIVE ua usun asua S a uu aa A P 8 ALGORISDLVI R uu u P 8 9 u u T Pig BLEND e Su Pg CE VIEL vous bane vibes iguana nuts asas P 9 Rugs eo ET Pg BAND EINIIIERKU ia Vel yes Gap seus bag P 10 11 Gre em EET TEE P 10 eoo Pau ves n P 10 T PES e Soup EUER P 11 EL IMO DUA OP ue m P 11 13 RE SPONSE ieee phanwtuapami E u puka asua P 11 METERING LAMP uu u usun eese tuo Duae P 12 AMOUNT Saa P 12 TARGET2. teil P 12 TIPS PE e Soup Pts PAICHIBROW SE EE P 13 PRESSE US FOLDER tst pt o a W bs bo dE ud P 13 REASON ESSENTIAL REASON FOLDER P 13 OPERATING MODE itte reduc ob td ba eeu bulbo st dvd n edi P 14 P 15 TIPS AINDSERICISS i y eet toa ta P 15 REAR PANEL IDET AGS yest P 15 17 MAIN emer P 15 16 WAVESHAPER iom P 16 17 EF MODUPATOR A Qus uu tetas tta beds hd a uite Q Wa qu EE P 17 CROSSOVER INPUTS 15m uot u a P 17 APPENDIX u si c P 18 19 ALGORITIIMSOVERVIPW EUER du P 18 AINTISALIASING OVERVIEW sideris ois TE dU A P 19 MIDIIMPEEMENTATION CHART s2 is S u l l uy CUIRE EN RE ERE du EUR UAR PARED P 20 REMOTEUMPLEVIENTATION CEPART nea toed P 21 TRITONE INTRODUCTION While subtractive synthesis involves the uses of filters to remove harmonic content from its audio source the use of waveshaping technic simply does the opposite Often simply called distortion a waveshaper add extra harmonic content to the original signal fed into it using various mathematical function or look up table where an input x gives an output f x Waveshaping synthesis can be tricky and Unpredictable due to its nature especially when using single band distortion unit Depending on the
3. ASYMMETRY 25 BLEND 26 LEVEL 2 45 DRIVE 28 ALGORITHM 29 HIGH WAVESHAPER ASYMMETRY 30 BLEND 31 LEVEL 33 RESPONSE 34 LOW AMOUNT 35 MID AMOUNT EF MODULATOR HIGH AMOUNT LOW TARGET MID TARGET HIGH TARGET ON OFF 102 BAND LIMITER OFFSET 103 UJ W O N W WO Ts gt SoundMod 2 TRITONE REMOTE IMPLEMENTATION CHART REMOTE IMPLEMENTATION CHART MAIN INPUT GAIN Input Gain Level VOLUME Output Gain Level Out Lvl Olev LOW MID FREQUENCY Crossover Low Mid Frequenc BandFC1 BFC1 CROSSOVER WMG 1 MID HIGH FREQUENCY Crossover Mid High Frequency BandFC2 BFC2 ON OFF Low On Off LowONOFF Lact DRIVE Low Drive LoDriv LDr LOW WAVESHAPER ALGORITHM Low Algorithm LoAlgo Lal BLEND Low Blend LoBlend LBI LEVEL Low Level LoPost LPG ON OFF Mid On Off MidONOFF Mact MID WAVESHAPER ALGORITHM Mio Algorithm MISALE Mal ASYMMETRY Mid Asymmetry MidAsym Mas ON OFF High On Off HIONOFF HAct DRIVE High Drive HiDriv HDr HIGH WAVESHAPER ASYMMETRY High Asymmetry HiAsym Has BLEND High Blend HiBlend HBI LEVEL High Level HiPost HPG RESPONSE Modulator Response EF Res Efol LOW AMOUNT Low Modulator Amount EFLoAmt EFLA MID AMOUNT Mid Modulator Amount EFMidAmt EFMA EF MODULATOR HIGH AMOUNT High Modulator Amount EFHiAmt EFHA LOW TARGET Low Modulator Target EFLoTarg EFLT MID TARGET Mid Modulator Target EFMiTarg HIGH TARGET High Modulator Target EFHiTarg EFHT BA
4. MODULATOR listen the audio at the inputs and generate from that an envelope which follow the amplitude peaks of the signals With the generated envelope you can now modulate parameters which allows you to have dynamic modulation thus creating variation at the output responding to the input dynamic change The EF MODULATOR have a sets of control described as follow RESPONSE Use it to control the RESPONSE of the generated envelope A lower value will generated an envelope less sensitive to the input peaks while a higher value will increase the response sensitivity to input changes The range of values for that knob is 0 10096 To get the EF MODULATOR working you should set the RESPONSE knob to a value higher than 096 1 10096 At 096 the EF MODULATOR is turned off Soundiied jj TRITONE METERING LAMP There is an associated tri color LED which you can use to approximately monitor the generated envelope If the LED merely light green and stay green most of the time this means that the envelope generated is merely following the inputs changes and have a small dynamics variations At the opposite if the LED stays red this means that the generated signal is too responsive and have no time to drop in level the envelope generated is more like a DC component In both case according to the AMOUNT and TARGET settings you might not hear sounds variations The best practice is to get the LED oscillating between green yellow and red AMOUNT
5. material fed into such a device and the device itself you can sometimes ends up with audio material which is hard to sit properly in your mix ALGORITHM ASYM BLEND LEVEL OFFSET ON OFF D gt io GRR ermoousron WAVESHAPER sano LIMITER RN The SoundMod Tritone has been designed with that optic in mind and which consist of Getting a better control over your distorted tones Creating movement between different harmonic content generated from the same audio source Distorting your sound heavily with the ability of keeping clarity definition warmth and musicality Allowing the user to get the best compromise between functionality ease of use and creativity And finally having a clean visual design which should fit with the Propellerhead Reason s rack TRITONE MULTIBAND WAVESHAPER SIGNAL FLOW OVERVIEW EF Modulator Crossover Audio In Waveshaper Individual Output Output Volume Audio Out To get a better understanding on how to operate Tritone a little overview of the signal flow should help The diagram above illustrate how the signal flows inside the unit As you can see Tritone is divided into six main section which are the Input Gain the Crossover the EF Modulator the Waveshaper the Band Limiter and the Output Volume Details of each section will be discuss into the next section Note that the color convention used here will be describe later Dotted l
6. AS rey wr The change of operating mode is simply done by toggling the switch labeled A ALIAS That switch allow you to enable or disable the Anti Aliasing operating mode Aliasing occurred when some frequencies are higher than the system sampling rate Because waveshaping sounds involves the addition of overtones in the audio spectrum you can easily create frequencies higher than the sampling rate In such a situation there is no way for the host to reproduce frequencies higher than the sampling rate and it will generate frequencies in the lower range of the spectrum which can sound really unnatural For example if your sample rate is running at 44100Hz your maximum bandwidth is 22050Hz If you have an overtone in the range of 25000Hz instead you will get a harmonic created at 2950Hz 25000Hz 22050Hz To avoid this we use oversampling to increase the internal sampling rate Tritone uses polyphase filters solution to increase internal sampling rate and to remove frequencies which can cause aliasing If enabled internal sampling rate will be 2X host s sampling rate Thus if your host is running at 44100Hz Tritone is internally running at 88200Hz which increase the audio bandwidth to 44100Hz instead of 22050Hz The filters involved here have been designed to be the most efficient as possible while being as transparent as possible and not being too heavy on CPU You can turn ON and OFF A ALIAS to see if you get an improvement in t
7. It controls the amount of modulation sent to the targeted parameters There is three AMOUNT knobs one for each bands The band where they are sending the modulation signal are identified with those three letters L LOW M MID H HIGH The range of value for AMOUNT is 100 10096 This means that you can also control the polarity of the modulation signal Setting the AMOUNT to a negative value will subtract the modulation signal to the targeted value while setting to a positive value will add the modulation signal to the target value Setting it to 096 will stop sending the envelope to the target but it will not turn off EF MODULATOR like for RESPONSE case TARGET You can toggle between two modulation targets Which are BLEND or LEVEL The lower position indicate that you are modulating the LEVEL parameter while the higher position indicate that you are modulating the BLEND parameter But are identify on the front panel Tips and tricks e Works great on material which have a rhythmic component a too much sustained sound might not works properly e Target to the LEVEL to create compressor expander effect e Create transient shaping on drums with heavy RESPONSE and target set to BLEND Use the EXTERNAL INPUT to sidechain the EF MODULATOR see REAR PANEL below sounded 12 TRIT ONE MULTIBAND WAVESHAPER e Use the EF MODULATOR CV OUTPUT see REAR PANEL below and created wicked sounds by routing back that m
8. ND LIMITER ON OFF Band Limiter On Off BandLim Blim OFFSET Band Limiter Offset BLOffst Boff OPERATION MODE ON OFF Anti Aliasing On Off AAlias Aals SoundMod 27
9. ON OFF Use that switch to simply enable or disable the bandwidth limiting OFFSET The OFFSET knob allow you to offset the operation frequencies of band limiter filters by fraction of octave The range of value for the OFFSET knob is 1 0 2 5 oct That offset is calculated by looking at the crossover frequencies and by an octave value sets from the knob As example suppose the LOW MID knob left knob in crossover section value is sets at 320Hz and offset sets at 1 0 octave Then the frequency of the band limiter for the LOW band is 640Hz The same happens with the MID band but this time by taking the value of the MID HIGH knob right knob in crossover section For the high band its follow the same rules as for the MID band except that there is an extra operation This extra operation is not in the scope of that document and will not compromise your creativity SoundMod 10 TRIT ONE MULTIBAND WAVESHAPER Tips and tricks e As simple rules a higher value means more harmonic content passing while a lower value means less harmonic passing through outputs e Band limiter is not only effective on the master output but on the individual output as well e f you prefer to use your own filters you should disabled band limiter for best results EF MODULATOR If you want to add movement to your audio material this is why EF MODULATOR stands for EF MODULATOR is the abbreviated form of Envelope Follower Modulator In simple terms EF
10. annel To save CPU load try to only hook up the left mono input and output if your source is not stereo SoundNod g TRITONE WAVESHAPER I O All the inputs on the WAVESHAPER section are CV type while all outputs are audio type Each three waveshaper s band have the following sets of CV and audio connectors DRIVE CV INPUT Connect that input to override the DRIVE parameter on the front panel ASYM CV INPUT Connect that input to override the ASYM parameter on the front panel BLEND CV INPUT Connect that input to override the BLEND parameter on the front panel LEVEL CV INPUT Connect that input to multiply the LEVEL parameter on the front panel This CV input is not overriding the LEVEL parameter and is the only one which behaves like this CV INPUTS POLARITY All CV inputs are unipolar types which means that CV in the range 1 1 will be converted to 0 1 range CV INPUTS TRIM All CV inputs have a trim knob which you can use to adjust amplitude of the CV signal coming in AUDIO OUTPUT Each waveshaper bands own a pair of audio connector for the left and right channel They are labeled as INDIVIDUAL OUTPUT Type of these connectors are true stereo like main I O These output allow you to take directly the processed band and add external extra processing to one or several bands There is two things to consider when creating patches with these outputs The first is that the master VOLUME on the panel have no effect on these ou
11. available Tritone uses the mathematical function method instead of the look up table method for shaping the signal This reduce the needs in memory space when one Tritone instance is created inside the rack There is 11 algorithms at that time Furthermore algorithms are using various method of calculation The algorithms are Lo Crunch Overdrive Hard Clip Soft Clip Rectifier Diode Drop Foldback Wrap Expo AM Exponent Amplitude Modulation 10 Tanh Diff Hyperbolic Tangent Difference 11 Hash Rectifier OQ U BUM SoundMod 18 TRITONE MULTIBAND WAVESHAPER ANTI ALIASING OVERVIEW The following illustration show you the impulse response for the anti aliasing polyphase filters That graph show you the response at 2X 44100 Hz 88200 Hz Both interpolation and decimation filter have the same specification e Cutoff frequency 18 kHz e Stop band frequency 22 kHz e Stop band attenuation 56dB e Pass band ripple 0 25dB BEE B i l Pt tt TT TT 51 4dkHz kHz 1 20kHz 24kHz 28kHz 32kHz 36kHz 4 kHz 19 TRITONE MIDI IMPLEMENTATION CHART MIDI IMPLEMENTATION CHART BYPASS ON OFF MAIN INPUT GAIN VOLUME I NO I UJ LOW MID FREQUENCY 14 CROSSOVER MID HIGH FREQUENCY 15 ON OFF 43 DRIVE 18 ALGORITHM 19 LOW WAVESHAPER ASYMMETRY 20 BLEND 21 LEVEL 22 ON OFF 44 DRIVE 23 ALGORITHM 24 MID WAVESHAPER
12. eshaping process Increasing this knob will increase signal distortion The range of value for this knob is 0 18dB ALGORITHM The ALGORITHM selector allow you to choose which method to use to shape the audio signal There is two way to make the algorithm selection Clicking on the up or down arrow button will cycle through algorithms or clicking on the algorithm display will show a popup menu with available algorithms see ALGORITHMS OVERVIEW in the APPENDIX of the manual for more details TRITONE ASYMMETRY The ASYM knob determine the way algorithm should process the positive and the negative part of the signal and the range for this control is 0 100 That means that if control is set to 056 both positive and negative signal s parts are processed the same way Setting the value to 100 will process both parts in a different way BLEND The BLEND knob allow you to take the audio signal directly from the corresponding crossover band unshaped and blend it with its shaped copy The range of values for this knob is 0 100 At 100 that means that you have the full shaped wave If you set this parameter to 50 this mean that you get 50 of the unshaped crossover signal mixed to 50 of the shaped signal while 0 means that you only have the crossover unshaped signal The blend is also made by using the equal power method the same as the pan knob on Reason s ReMix mixers which allow the user to get the same power through all knob
13. he sound quality This parameter is not automatable but is remotable SoundMod 14 TRITONE Tips and tricks e Try to leave A ALIAS off while working on big project turn it ON before bouncing or exporting your audio e Fven if A ALIAS removes frequencies which can cause aliasing aliasing can still occurred if the material fed into Tritone is high in harmonic and if Tritone s settings are heavily distorting the sound e Using several instance of Tritone and letting A ALIAS enabled on each instance in your Reason session can dramatically increase your CPU load if you experience this disable A ALIAS and enable it only when needed audio bounce and audio export e According to the audio material you are working with and Tritone s settings you might not have to use A ALIAS If there is no aliasing occurring at all or if you just like the aliasing effect produced leave it disabled REAR PANEL DETAILS When you flip back Reason s rack this is what Tritone s rear panel looks like There is plenty of connectors allowing you to create complex CV and audio routings Waveshaper Ext In z o r v Low Mid Freq Mid High Freq Drive Asym CV Input MAIN I O The main input output connectors is where you will hook up Tritone most of the time These I O are true stereo type This means that if you only hook up the left mono input channel the right audio outputs will not receive signal from the Tritone s left ch
14. ines are not audio signal but modulation signal generated from audio FRONT PANEL DETAILS INPUT AND OUTPUT INPUT GAIN r l Use the input gain control to simply attenuate or amplify the input signal Pushing the knob higher than OdB will overdrive the input by applying some tube like saturation to the signal before the waveshaping processor The range of value for the input gain is INF 9dB TRIT ONE MULTIBAND WAVESHAPER VOLUME This control help you to match the output amplitude of Tritone before entering into the next rack s inputs Contrary to the INPUT GAIN parameter VOLUME don t add extra saturation at the output where signal amplitude reaches values higher than OdB Tips and tricks e Even if the INPUT GAIN is set at OdB or less the signal fed through crossover can be saturated if the input reaches levels near or above 0dB If this is the case and you want a less overdriven signal sent to crossover you just have to lower the knob value until your needs are met e Create nasty distortion by increasing INPUT GAIN s value or only use that saturation by dropping BLEND knobs values to 096 See WAVESHAPER below e fthe output is too high in amplitude turn down the VOLUME knob doing so will only attenuate the output without modifying the tone character CROSSOVER Mrs s 2 i a if a amana m m M CN wo m Labeled as X OVER this section is a two point crossover which split the signal comi
15. ng from the INPUT GAIN stage into three separated bands The left knob sets the frequency of the first crossover to split the low and the mid low frequencies while the right knob sets the frequency of the second crossover to separate the mid high and the high frequencies The arrow shape under each knob illustrate the frequency crossing point between each crossover while the colored shape are labeling each new bands This gives a quick way to visualize Tritone s control and signal flow TRIT ONE MULTIBAND WAVESHAPER The range for both frequency control are as follow e LOW MID crossover frequency range 80 320Hz e MID HIGH crossover frequency range 420 1680Hz This mean that the maximal bandwidth for the low band is 320Hz 1360Hz for the mid band and 19580Hz for the high band Tips and tricks e Automating these knobs before a breakdown can help to create tension in your track e When your song is playing automate these knobs with smooth and long curves to create movement and morphing in the harmonic content of your audio signal WAVESHAPER The waveshaper section is the biggest of Tritone and is where most of the magic happens As we have seen previously the crossover splits our input signal into three individual band The waveshaper interface is showing three horizontal orange stripes where each of them receive one of the crossover band There is five thin grey line passing at the right of each sets of control and going at the bott
16. odulation output to one or several parameter s from the device feeding Tritone ex Osc Pitch Filter Cutoff Filter Res Mod Wheel e f you are not using the EF MODULATOR sets the RESPONSE knob to 096 to save CPU load remember that AMOUNT knobs sets to 0 will stop modulating its target but will not turn down the EF MODULATOR PATCH BROWSER As in many other native Reason s devices Tritone supports patch browsing Presets and Combinators patches coming with Tritone are organised this way PRESETS FOLDER This is where presets for Tritone are and it is divided into these three sub directories Bass Beat and Lead Bass folder contains presets which were created using bass sounds Beat folder contains presets which were created using drums or percussions loops Lead folder contains presets which were created using synths pianos rhodes and vocals sounds REASON ESSENTIAL REASON FOLDERS Both folders are sub divided into two folders Effects and Instruments Each folders contains different patches made with Combinator rack and at least one Tritone The main difference lives in the fact that Reason Essential owners will be able to use patches living inside Reason Essential folders only Reason full version owners can use patches included into both folders Patches contained into these folders are also labeled with the name of the artist who created them SoundMod IF TRIT ONE MULTIBAND WAVESHAPER OPERATING MODE A ALI
17. om of the front panel those lines groups each sets of similar control At the bottom an outlined rectangle with the label WAVESHAPER is used to identify the waveshaper section You will see this convention again for the EF MODULATOR the BAND LIMITER and the A ALIAS section TRITONE The sets of control available are as shown below DRIVE ALGORITHM ASYM BLEND LEVEL DRIVE ALGORITHM ASYMMETRY BLEND and LEVEL There is also two other elements an ON OFF toggle button and a metering lamp ON OFF The graphical design around that switch identify which band own the following stripes of controls In this example you can see that the color of the graphic shape around the toggle switch is red and is pointing the sets of parameters on its right According to the color code in the X OVER section it means that these sets of controls are those for the low band If the switch light is off the channel is disabled METERING LAMP The metering lamp is a tri color LED green light show a normal level yellow show that the signal is around the OdB level and the red color above OdB Notice that this lamp are positioned to the left of the DRIVE knob which mean that this lamp show the level coming from the X OVER Increasing the DRIVE knob will not increase the lamp intensity Note that this lamp is only a simple indicator and aren t designed to be extremely precise DRIVE Use that knob to boost the signal if needed before the wav
18. s values LEVEL This is where you can merge back each band by controlling their individual level It is acting like a simple mix control The range of values for this knob is INF 6dB Tips and tricks e nstead of turning down the LEVEL knob on an unused band disable that waveshaper band by using its ON OFF switch this will save CPU load e f your signal is heavily distorted with every DRIVE knobs sets to OdB you can drop the master volume of the instrument fed into Tritone s input or turn down the INPUT GAIN knob e On heavily distorted signal use the BLEND or DRIVE knob to help you adjust the level of shaped signal e ASYM effect might not be audible in one of these situation if the BLEND value is sets to low if the DRIVE or INPUT GAIN is too high or on some material TRIT ONE MULTIBAND WAVESHAPER BAND LIMITER l a pt To avoid confusion band limiter is not a compressor limiter which limit signal s dynamic The band limiting section is composed of three filters at the end of each band allowing you to remove harmonic content The BAND LIMITER terms are used because this section limit the individual band s bandwidth The configuration and the filter used help you to get a better control over the mix of each distorted band at the output and get an overall warmer tone In simple words you can see it as a tone control As shown there is only two controls for that section
19. tputs because the signal is taken before the main output amplifier However you can still use the LEVEL knobs to control the signal level on these outputs Another way could be the use of a Reason s mixer and control the bands level on that mixer The second consideration is when using BYPASS switch these output SoundMod 16 TRITONE are shut off and it is a normal behavior Otherwise Tritone would not meets Propellerhead s requirement EF MODULATOR I O The EF Modulator own one mono audio input and one CV output EXTERNAL AUDIO INPUT When connecting an external audio signal to that input the EF MODULATOR will leave the internal audio signal and take that signal to generate its envelope Use it for sidechain purpose EF CV OUTPUT That output send the envelope generated internally and is unipolar type CROSSOVER INPUTS You can modulate crossover frequencies using those two inputs LOW MID FREQ CV INPUT Connect that input to override the LOW MID bandsplit frequency knob s value MID HIGH FREQ CV INPUT Connect that input to override the MID LOW bandsplit frequency knob s value CV INPUT POLARITY All CV inputs are unipolar types which means that CV in the range 1 1 will be converted to 0 1 range CV INPUTS TRIM All CV inputs have a trim knob which you can use to adjust amplitude of the CV signal coming in Sound nod 7 TRITONE APPENDIX ALGORITHMS OVERVIEW Because computer power is more and more
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