Capsule User Manual
Contents
1. LFDamp HFDamp Width Level 12 THE GATED REVERB CONTROLS The top section of the reverb is the Mix area which contains 8 level knobs that allow you to set the amount of each drum that is sent to the reverb effect 17 Below this are the main reverb controls e PreDel pre delay sets the delay time between the input signal arriving in the effect and the reverb signal e Position controls the blend between the early reflections and the late reflections which affects the perception of the distance of the sound source e Size sets the size of the virtual space e Decay controls the reflectiveness of the walls of the virtual space e LF Damp controls the low frequency damping of the reverb e HF Damp controls the high frequency damping of the reverb e Width controls the stereo width of the reverb e Level controls the final output level of the effect To the right of these are the controls for the Gate e thr threshold sets the level which the input level must pass in order to open the audio gate When the signal drops below this level the gate will close e amt amount controls the intensity of the gate e H holdtime sets the shortest time the gate must remain open once it has been triggered e D decay time sets how long it takes for the gate to close once the input level drops below the threshold value 18 6 APPENDIX MIDI MAPPINGS2. 1 Click on the dropdown menu at the top of the percussion channel 2 Select and click on the percussion engine you wish to use If you are not using a percussion channel it is advised to set the engine selection to lt none gt as this will reduce the overall CPU load LFO The 4 percussion channel is attached to an LFO which can be used to further manipulate the sound The LFO has three controls e Rate sets the speed of the LFO e Amp controls the amount the LFO will modulate the amplitude of Percussion 4 e Pitch controls the amount the LFO will modulate the pitch of Percussion 4 If the percussion engine selected for Percussion 4 doesn t have a traditional oscillator that can have its pitch modulated the LFO will modulate the filter cutoff instead 11 2 SINES CONTROLS Mode selects between the 3 mixing modes for the 2 sine waves 0 Add the waves are mixed together equally 50 Multiply the waves are multiplied together to produce a ring mod effect 100 FM sine 2 modulates the frequency of sine 1 Attack controls the level and intensity of the initial attack Pitch 1 sets the pitch of the first sine wave oscillator Decay 1 sets the decay fade out time of the first sine wave oscillator Pitch 2 sets the pitch of the second sine wave oscillator Decay 2 sets the decay time of the second sine wave oscillator NOISE CONTROLS Cutoff controls the cutoff pitch of the
3. E TO O CAPSULE CLIQUE COIL ac Manual Version 1 0 VAs 2 _ FEE Pe js n RZ NN SS SS 1 CONTENTS 2 Welcome to GAPSULE Li lalla i Rin 2 2 1 System REQUIEM lalui eee dani 2 About CAPSULE sasi presi A telk uaduvees re rad dra 3 Getting Started nni taasta 4 4 1 US Reaktor ls bee aula nani ta vaev se A ee 4 4 2 Included Files Am 4 4 3 Opening CAPSULE 2 sin alia A Sea 4 4 4 Playback sh E ah 4 4 5 Controlilelpi rater 4 The CAPSULE INterta Gore cs mi ht a AE IR d r nti 5 5 1 The TRANSPORT Controls ds 6 5 2 The SOUND Control vii AA lia 7 5 21 View A Main DUE aaa 7 5 2 2 View B Percussioni inclina adi Lair ai aiar 11 5 3 The MONITOR and SETTINGS 14 5 45 The MASTER Fisica E AR 15 5 4 1 COMPRESSOR undra A t 15 5 4 2 SATURATOR EE dv dhee 16 5 4 3 GATED REVERB Lie G Gensere O Ger 16 Appendix MIDI Mapping naene ah aa aeaa e aoaia eataa ae aaa eati senet eee nr eee ee ecen annate 19 Appendix Multi Channel OUtputs i 20 Credits e ev 21 2 WELCOME TO CAPSULE Thank you for purchasing CAPSULE from ICEBREAKER AUDIO and HEAVYOCITY This guide will show you how to use the instrument give you an overview of the controls and offer some useful hints and tips along the way personally hope you enjoy this release and find it to be an inspirational addition to your musical toolkit 2 1 SYSTEM REQUIR
4. GM Mapping Maschine MPC Mapping Drum Function BO 8 C1 C1 Bass Drum D1 El CH1 Snare FH1 amp GH1 D1 Closed Hi Hat A 1 D 1 Open Hi Hat G1 F1 Tom 1 A1 F 1 Tom 2 B1 G1 Tom 3 C2 G 1 Percussion 1 D2 A1 Percussion 2 E2 A 1 Percussion 3 F2 B1 Percussion 4 C3 C3 Select Pattern 1 D3 D3 Select Pattern 2 E3 E3 Select Pattern 3 F3 F3 Select Pattern 4 19 7 APPENDIX MULTI CHANNEL OUTPUTS The outputs for the multi out version of CAPSULE are as follows Main Stereo Mix Left Channel Main Stereo Mix Right Channel Reverb Left Channel Reverb Right Channel Bass Drum Snare Drum Hi Hat Toms Percussion 1 10 Percussion 2 11 Percussion 3 12 Percussion 4 COON DOARWNE 20 8 CREDITS Instrument Design Programming Adam Hanley GUI Design Voger Design Artwork Alex Zhukov Snapshot Programming Adam Hanley Luis D Elias Ryan Mallen Paul Maurer 21
5. e Knee Controls the sharpness of the Ratio at the Threshold level At low settings the transition is gradual and curved but at high settings it is sharp and instant e Att Controls the attack time of the effect This is how long it takes for the compressor to react to audio when it passes the threshold e Rel Controls the release time This is how long it takes for the compressor to react to audio when it returns below the threshold level e Out Gain Since a compressor lowers the audio level it may be necessary to increase the effect output gain This knob controls the output level of the compressor effect e Mix Sets the dry wet mix amount This can be used to soften the artefacts of heavy compression or to facilitate a technique called Parallel Compression To the bottom left are controls for the side chain signal which is the signal that the compressor listens to in order to calculate how much it should alter the amplitude of the input By altering the side chain with filters you can make the compressor react more or less to certain frequencies e HP controls the cutoff frequency of a high pass filter The higher the value of this knob the less the compressor will react to low frequencies e LP controls the cutoff frequency of a low pass filter The higher the value of this knob the less the compressor will react to high frequencies e Listen allows you to listen to the side chain signal Between the side chain
6. if you change the rate of playback this may cause the playback position of the sequencer to change 4 5 CONTROL HELP All controls in CAPSULE have info text You can use this to better understand what each control in CAPSULE does without the need to refer to this manual You can view these by activating Info Hints either by clicking on the i symbol beside Reaktor s transport controls or by pressing Ctrl i With Info Hints active you can view the info text by hovering your mouse pointer over any control 5 THE CAPSULE INTERFACE EE WTA CAPSULE COMPRESSOR Rec Pattern Cycle 9 T El Erase Erase All Copy2All Hsien SOUND Volume Volume Volume Volume SATURATOR O A 5 a O CK Punch XK Drive In Gain Tilt Out Gain P Dec Dec P Mod Dec Pitch Spread Dec Dec Scale O O O O a JOC JOC Attack Drive Attack Drive Vol CI Vol Op Pitchi Pitch2 Pitch3 C Cc C O gt C Y O PreDel Position Size Decay thr amt A Soa Closed Opon Tomi Tom2 Toma OO LFDamp HFDamp Width Level Mama dia EE es ss DO 1 THE FULL CAPSULE INTERFACE The CAPSULE interface can be broken up into 4 main areas 1 The TRANSPORT controls are located to the top left Here you can control the playback and global editing functions of the patterns 2 In the top centre is the MONITOR which not only visualizes the sound but also contains the settings controls 3 The whole right side of the inst
7. intensity of the pitch modulation from the pitch envelope e Noise controls the level of noise in the attack transient e Attack controls the clickyness of the attack e Drive controls the overdrive amount SNARE The Snare engine is designed to produce drum sounds that are sharp and noisy It uses a simple tonal oscillator mixed with a noise generator OE Pitch O N Mix CO P Mod Dec D NColour NDec D 9 Attack Drive CK 4 THE SNARE CONTROLS The controls are as follows e Pitch sets the main pitch of the oscillator e OJN Mix blends between the oscillator output and the noise output e P Mod Pitch Modulation controls the intensity of a short decay envelope on the oscillator pitch e Dec controls the decay fade out time of the oscillator volume envelope e NColour controls the colour character of the noise e NDec controls the decay fade out time of the noise volume envelope e Attack controls the clickyness of the attack e Drive controls the overdrive amount Hi HAT The Hi Hat engine creates sounds that are high pitched and metallic It uses a bank of square wave oscillators mixed with the noise generator the result of which is then processed through a series of filters It has two modes Closed short decay and Open long decay Filter Volume 5 THE HI HAT CONTROLS The controls are as follows e Filter sets the cutoff freq
8. EMENTS e PC Mac running Native Instruments REAKTOR 5 9 2 or higher CAPSULE does not run in Reaktor Player only the full version of Reaktor More information on Reaktor can be found on the Native Instruments website http www native instruments com en products komplete synths reaktor 5 3 ABOUT CAPSULE CAPSULE is a retro drum synthesizer The sound of CAPSULE was inspired by many analogue drum machines from the late 70s and early 80s Different styles of drum synthesis were analysed and researched The idea was to capture an aesthetic of an idea of electronic sounds from the future but from an era when technology was limited No single device was emulated fully but small parts from multiple classic drum machines were combined in different ways to create a sound that is both new and old at the same time These sounds are then partnered with an effect chain designed to create a full sounding drum mix but without getting burdened with too many options There s a Compressor Saturator and Reverb available to further polish the basic sounds 4 GETTING STARTED 4 1 USING REAKTOR For help and guidance with using Reaktor either as standalone or in a host please refer to the Reaktor user manual The full details of Reaktor s features will not be covered in this manual For additional help and support with using Reaktor use the Native Instruments user forum or contact the Native Instruments support team Only contact ICEBREAKER AUD
9. IO if you are having a problem with the CAPSULE instrument specifically 4 2 INCLUDED FILES In the main CAPSULE folder you will find 2 versions of CAPSULE e Capsule stereo ens the main Capsule ensemble file with a stereo output for the full mix e Capsule multi out ens a version of the ensemble with individual outputs for each of the drums See section 7 Appendix Multi Channel Outputs for more information These files can be placed anywhere on your hard drive but for use in Reaktor s browser we suggest you place them in the Reaktor user folder located here lt user gt Documents Native Instruments Reaktor5 Library 4 3 OPENING CAPSULE To open CAPSULE either e Double click on the ens file e Open Reaktor and go to File gt Open Ensemble or press Ctrl 0 e Drag and drop the ens file onto the Reaktor desktop icon or into Reaktor itself e Browse for CAPSULE in Reaktor s file browser Now CAPSULE should be open and ready to use 4 4 PLAYBACK In order for CAPSULE s sequencer to run Reaktor s own clock must be running To start the clock running in standalone either click on the play button in Reaktor or press the spacebar on your computer keyboard If you are using CAPSULE in a host Reaktor will be slaved to the host clock so the sequencer will run when the host project is playing back CAPSULE is synchronized by using the song position so the first beat of a bar is always played as such However
10. aps the drums as closely as possible to the GM standard for drums Maschine maps the drums chromatically for easy use with pad controllers like MASCHINE or the MPC Noise Mode most of the drums use the same noise source which can have two different modes Analogue the noise is produced with a high quality random number generator Digital noise is produced using a 13 bit LFSR pseudo random number generator Reverb Routing the reverb can be routed internally in two different ways Serial the reverb signal is blended with the main mix before it reaches the compressor effect Parallel the reverb signal is blended with the main mix after the saturator effect 14 5 4 THE MASTER FX 5 4 1 COMPRESSOR The built in bus compressor can be used to alter the dynamics of the kit either to control peaking or to creatively alter the sound COMPRESSOR On Thresh Ratio Knee AH Rel Out Gain Listen le HP LP OO Mix 10 THE COMPRESSOR CONTROLS The Compressor can be toggled on or off by clicking on the LED to the top right The main controls are as follows e Thresh Controls the threshold level Any audio that enters the effect above this level will be attenuated according to the setting of the ratio and knee controls e Ratio The ratio of the compressor controls the amount of attenuation applied to audio above the threshold level At the maximum setting the compressor will act like a limiter
11. band pass filter Res Resonance controls the level boost at the cutoff frequency Attack sets the attack fade in time for the volume envelope Decay sets the decay fade out time for the volume envelope P Dec Pitch Decay sets the decay time of the filter pitch envelope P Mod Pitch Modulation sets the modulation intensity of the filter pitch envelope SYNTH CONTROLS Pitch sets the pitch of the oscillator Decay sets the decay fade out time for the volume envelope Cutoff controls the cutoff frequency of the low pass filter Res Resonance controls the level boost at the cutoff frequency F Dec Filter Decay sets the decay time of the filter envelope F Mod Filter Modulation sets the modulation intensity of the filter envelope CLAP CONTROLS Density sets the number of electronic hands involved in the clapping Rate sets the time between each individual hand clap Weight controls decay time of each hand clap Color controls a filter that shapes the tone of the claps Tail controls the decay time of the tailing sound after the initial claps DIGITAL CONTROLS Mode sets the mixing mode between the 2 sound sources 0 pulse oscillator only 25 50 mix of pulse and noise 75 noise only 100 pulse and noise multiplied Decay sets the decay fade out time for the volume envelope Tune P controls the pitch of the pulse wave os
12. cillator Tune N controls the rate of the LFSR pseudo noise generator P Width controls the pulse width of the pulse wave oscillator 12 CLICK CONTROLS Length sets the length or weight of the click Filter blends between 3 filter modes Low pass Band pass High pass Cutoff controls the cutoff frequency of the filter Res Resonance controls the level boost at the cutoff frequency ZAP CONTROLS Start P Starting Pitch sets the oscillator pitch at the top of the envelope curve End P Ending Pitch sets the oscillator pitch at the bottom of the envelope curve Attack sets the attack fade in time of the pitch and volume envelopes Decay sets the decay fade out time for the pitch and volume envelopes 13 5 3 THE MONITOR AND SETTINGS The monitor displays a visualization of the sound 8 THE MONITOR However the monitor is not just a pretty face To the top right of the monitor you will notice an alphanumeric display which gives a value readout of any pitch controls You can use this to make sure all your drums sounds are tuned to each other and to the whole track Clicking on the gear icon above the pitch readout opens the Settings View 9 THE SETTINGS CONTROLS There are three main settings each with two options Key Mapping selects the MIDI key mapping of the instrument See section 6 Appendix MIDI Mappings for additional information General MIDI m
13. controls and the Mix knob is a monitor that displays the input signal level in green and the compression amount in red 15 5 4 2 SATURATOR The saturator emulates the effect of overdriving an amplifier circuit Used in small amounts it can add warmth and subtle colouring to the sound at extreme settings the sound will distort heavily SATURATOR In Gain Tilt A Q 11 THE SATURATOR CONTROLS The controls are as follows e In Gain controls the level of the signal entering the effect e Tilt controls how the effect reacts to different frequencies At higher settings the saturator will distort more with bass heavy signals at lower settings the saturator will have a heavier effect on high frequency signals e Out Gain controls the output level of the effect 5 4 3 GATED REVERB A reverb effect creates an artificial simulation of an acoustic space CAPSULE includes an algorithmic reverb with a built in gate A gated reverb allows you to artificially shorten the tail of a large reverb so you can thicken a sound without blurring it The gated reverb has its own mixer allowing you to send the different drums into the effect at different levels compared to the main output It also has two routing options serial and parallel The routing can be set in the main settings described in section 0 16 The MONITOR and SETTINGS GATED REVERB On BD SD Pi P2 P3 P4 00000000 PreDel Position Size Decay thr amt OO OO
14. han one the patterns will cycle from the first to the number specified by this control e Erase sets all the values in the selected pattern to zero e Erase All clears all of the patterns in the snapshot e Copy 2 All copies all of the data from the currently selected pattern into the other three patterns 5 2 THESOUND CONTROLS The Sound area has two pages accessed by the switch to the top right e A displays the main drums e B displays the percussion To the top of each channel is a Volume control which is used to set the output level of the drum before it reaches the Master FX Below each drum is a label Clicking on the labels will display the sequence for this drum in the step sequencer button Note that the hi hat has Closed and Open variations and that there are 3 toms you can select 5 2 1 View A MAIN DRUMS CAPSULE has 4 main drum sounds each with their own set of controls Bass DRUM Also known as a Kick Drum this synthesis engine is designed to produce low drum sounds Q Pitch Wave OK P Dec De 9 9 P Mod Noise D D Attack Drive CK 3 THE BASS DRUM CONTROLS Volume The controls are as follows e Pitch sets the main pitch of the drum e Wave blends the oscillator between a sine wave and a triangle wave e P Dec Pitch Decay controls the decay time of the pitch envelope e Dec controls the decay fade out time of the volume envelope e P Mod controls the
15. he lower toms e P Mod Pitch Modulation controls the intensity of a short decay envelope on the oscillator pitch e Noise controls the level of noise in the attack transient e Attack controls the clickyness of the attack e Pitch 1 sets the main pitch of tom 1 the low tom e Pitch 2 sets the main pitch of tom 2 the mid tom e Pitch 3 sets the main pitch of tom 3 the high tom 10 5 2 2 VIEW B PERCUSSION CAPSULE has 4 percussion slots into which you may load any of the 7 available synthesis types Volume Volume Volume Volume ee 6 6 Cutott Res ee F Dec P Dec P Mod MIC 7 THE PERCUSSION CONTROLS Percussion 1 The percussion synths you can select from are e 2Sines 2 sine wave oscillators that can be mixed and modulated in different ways e Noise a noise generator going through a band pass filter e Synth a small scale synth engine with a single saw wave oscillator and a low pass filter e Clap a special engine designed to emulate hand claps e Digital based on some of the tech from BitRate this engine gives you a single pulse wave oscillator and a pseudo noise generator which you can blend in different ways e Click generates a short click which is then routed through a multi mode filter Surprisingly versatile e Zap a quick and easy engine for generating sweeps and zaps To select a sound engine for a percussion channel follow these steps
16. rument contains the MASTER FX 4 The lower left quadrant contains the SOUND controls where you can adjust the synthesis parameters and the patterns 5 1 THE TRANSPORT CONTROLS The transport controls for the sequencer are located to the top left of the interface TRANSPORT Play Rate Steps Rec Pattern Cycle mi Erase Erase All Copy2All El AL all 2 THE TRANSPORT CONTROLS e Play The play button activates the sequencer Note that the sequencer playback is also tied to the host transport so the Play button will only activate the sequence when the host is also in playback this includes Reaktor when in standalone e Rate Sets the rate of the sequence e Steps Sets the number of steps in the patterns e Rec Toggles recording mode on off If both Rec and Play are active the MIDI input will be recorded into the currently playing pattern e Pattern This control is used to display the currently playing pattern and also select which pattern is to be edited using the step buttons in the SOUND area The light green hollow box highlights which pattern is currently playing and the dark green filled square shows which pattern is selected for editing There are four patterns one in each corner of the pattern area You can also select a pattern for viewing playing by using the white keys on MIDI notes C3 to F3 e Cycle When set to 1 the currently selected pattern will be played on a loop When set to any value other t
17. uency of the main band pass filter e O N Mix blends between the oscillator bank output and the noise output e Pitch setsthe central pitch of the oscillator bank e Spread controls the frequency spread of the oscillator bank e Dec Cl Decay Closed controls the decay fade out time of the closed hi hat e Dec Op Decay Open controls the decay time of the open hi hat e VolCI controls the level of the closed hi hat e Vol Op controls the level of the open hi hat Toms The Toms engine produces tonal percussion sounds at three different pitches It uses a single oscillator running through a filter to give a range of timbral possibilities The 3 toms are all controlled from a single control set The toms are also monophonic so only a single tom can sound at any one time Punch Shape Dec Dec Scale COR P Mod Noise Attack 0 Pitchi Pitch2 Pitch3 TD OO Tomi Tom2 Tom3 6 THE TOMS CONTROLS The controls are as follows e Punch controls the filter modulation during the initial attack phase e Shape controls the overall cutoff of the filter e Drive controls the overdrive amount e P Dec Pitch Decay controls the decay fade out time of the pitch envelope e Dec controls the decay time of the volume envelope e Dec Scale scales the decay time for each tom At the zero setting all toms will have the same decay time at higher settings the higher toms will decay faster than t
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