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GForce`s Re-Tron - GForce Software

1. 9 rr Ir LON Purely Streetiy k d Tune ul Range Tape Bank Filter Envelope Amp Envelope M300B Violins ea mss BL EPY LS TAFE SLT Em P in i FI 1 10 50 50 R 70 Al HOST BAND 5 DETUNE PAN LEVEL SPEED SPEED SYNC Pass DEC sus REL Tape Bank LFO Filter Envelope TAP PITCH m HIGH 9 7 ALI HOST 0 710 Bano ihe ATT ST DETUME PAN LEVEL SPEED SYNC CUTOFF PASS ww ATT DEC SUS REL DEC SUS REL Velocity Master x Delay VOICES M o Dry Wet BD Wet 0 1 VOLUME FILTER VOLUME LENGTH FEEDBACK SY ENGTH FEEDBA x _ MIX DETUNE ts Re lron Operation manual GFORCE SOFTWARE THIS MANUAL IS COPYRIGHT GFORCE SOFTWARE LTD 2012 ALL RIGHTS RESERVED NO PART MAY BE REPRODUCED WITHOUT PERMISSION ALL TRADEMARKS ARE ACKNOWLEDGED GForce 3 Filter Attack 9 Re Tron Rear Panel 13 Filter Decay 9 sequencer Control LES The Library 4 Filter Sustain 9 Layer A Modulation Input 13 Re Tron Operation Manual Filter Release 9 Layer B Modulation Input 14 Layer Modulation Output 14 Patch Management Overview 5 Amplitude Envelope 10 Layer B Modulation Output 14 Patch Loading 5 Amplitude Attack 10 Patch Saving 5 Amplitude Decay 10 Trontastic Links 15 Laver A 6 Amplitude Sustain 10 ps 8 6 Amplitude Release 10 Credit and Thanks 16 Mute butt
2. pan LFO filter and filter amp amplitude envelope settings PATCH LOADING To load a Patch click on the Patch Selection Window and select from the list of Patches Loading a Patch loads tape banks into either or both Layers along with their individual settings and global effects Sounds are stored on your hard drive in folders and these can be accessed via the Folder icon In the case of each instrument category folder Choirs Strings etc Patches have been organised so that you can quickly see the variations of each Patch as follows Violins Basic A basic mono instance of the Violins tape bank loaded into Layer A Violins Wide Violins tape bank loaded into Layer A and Layer B with a little advance start on one layer to give the illusion of a stereo signal There may be some envelope settings applied too such as Envelope Attack and Release times Violins Wide Slow amp Dynamic Violins tape bank loaded into Layer A and Layer B with a little advance start on one layer to give the illusion of a stereo signal There will be some envelope settings applied too such as softened Attack and Release times Additionally the layers will be programmed to respond to velocity and possibly dynamic response of the filter As a rule the more esoteric and complex sounds will be in the folders named Artist Mixes while the more traditional Mellotron type sounds will be in the Instrument Folders PATCH SAVING Saving a Patch saves all the
3. VOICES the amount of ensemble effect applied to the sound fn J Le 2 4 ENSEMBLE VOICE KNOB Here you can determine the amount of detune between each voice The larger the detune value the more chorused the sound ENSEMBLE VOICE SELECTION SWITCH This selects the number of voices used in the ensemble section Note that the higher the voice setting the higher the load on your computer s CPU will be Also excessive detuning with 8 voices might make the sound a little sickly as if you ve swallowed too much sugar gt KEYBOARD CONTROLS MASTER TUNE KNOB sets the global tune of the instrument oim d Master PITCHBEND RANGE KNOB This sets the pitch bend range for both layers simultaneously The range available is from between 0 no effect and 12 semitones one octave The original instrument had no pitch bend control but by flicking this control is possible to simulate the snatching of tape that occurred either when a tape wasn t properly spooled or when hitting a note excessively hard Used sparingly and carefully this can add extra realism to your Re Tron performace MODULATION Although there is no modulation wheel on the Re Tron interface moving the mod wheel on your keyboard controller will affect the LFO pitch modulation parameters This affects each Layer and takes effect from the point that you have set the LFO Amount Increasing the modulation wheel on your keyboard controll
4. al master Warm and atmospheric This is the sound of George Chisholm a well known British comedy trombonist from the 60s overlaid three times to produce a phasey trombone ensemble George also provided rhythm fills on Trombone and Sax for the MKIl GLOCKS amp BELLS A nice keyboard split of crystal clear Glockenspiel and clanging Tubular Bells ideal for Penny Lane covers LOWREY amp LESLIE A slice of 605 cheesey organ not a medical condition so get hip daddio Groovy An attempt to make a very realistic sweet toned violin sound after the raucous din of the MKII violins and the edgy M300As This is a solo violin playing the scale and it can be best heard on Watching And Waiting by the Moody Blues Whether or not you like the band you ve gotta love the strings M400 VIBES Cool jazzy vibes with gentle vibrato Ideal for obscure chords in 13 8 and one of the most popular tron sounds ever This imposing recording features four males in the next room to the females as one half of the legendary 8 Choir No body fluids were exchanged Another early recording that featured heavily on Days by the Kinks Slightly lo fi but none the worse for it A subtle blend of mellotronic woodwind recordings with just enough clarinet to give you that In The Mood sonority that was Glenn Miller through and through DIM 200B ORCHESTRA Les Bradley the man in charge of Streetly tapes would sometimes c
5. available to original instrument owners 3 The introduction of the world s first Tron plug in instrument M Tron Proof if ever it were needed that you can never keep a good sound down was evident when the M Tron went on to become one of the world s biggest selling plug in instruments while its successor M Tron Pro continues the tradition of marrying a vast library of Mellotron sounds sourced over a ten year period with a highly intuitive workflow and comprehensive feature set The recently released Streetly Tapes Vol 1 for M Tron Pro marked the instrument s true coming of age as this was the first time the original EMI tapes had been made available for a plug in instrument Likewise Re Tron is something truly special Based entirely on the sublime Streetly library and including many previously unreleased tape banks sets new standard for a Tron instrument in the virtual world of the sounds included with Re TIron were recorded via the original EMI tapes and through a specially prepared Skelletron an exoskeletal M400 that allows easy alignment and azimuth adjustments to each of the 35 tape heads to give you the very best Tron sounds available When we released the original M Tron what made us really smile was a new generation of music makers utilizing these magic sounds in a fresh and exciting way It s our hope that within Reason Re Tron will inspire you to do likewise 35
6. current interface settings To save a Patch simply click on the Patch Save Button name your Patch accordingly and click on OK Tape Bank LAYER A M3008 iolins lo 50 50 ATT ST DETUNE PAN Tape Bank Violins SU to 10 HALF sT EE P AN EVE SPEED Fa OEE fa Bl E pr n mma dal S Cel Lio wu A WI 1 WP W el LAYER A Click within the Layer A window to see the list of available tape banks scroll to the tape bank you want to load and release the mouse button Once the load is complete the name of the tape bank will be displayed in the Layer A window LAYER B Click within the Layer B window to see the list of available tape banks scroll to the tape bank you want to load and release the mouse button Once the load is complete the name of the tape bank will be displayed in the Layer B window MUTE BUTTON Each Layer has an associated Mute Button and clicking on this mutes that layer so that only one layer is heard This is ideal for quick editing of individual layers TAPE REVERSE BUTTON Selecting this reverses the selected tape bank and plays from end to beginning Wonderful for creating things like backwards pianos and guitars Use in conjunction with the Attack Start Knob to fine tune the reverse time HALF SPEED BUTTON some users of the origina
7. ed range FILTER ENVELOPE FILTER AMOUNT This slider determines the filter amount applied to the filter envelope FILTER ATTACK Used to alter the Attack Time of the filter envelope Please be aware though that in order to retain vital characteristics of some instruments we have retained the start points of certain instrument tape banks Therefore an immediate attack may not always be possible FILTER DECAY Used to alter the Decay Time of the filter envelope FILTER SUSTAIN Used to alter the Sustain Level of the filter envelope between 0 and 100 FILTER RELEASE Used to alter the Release Time of the filter envelope LFO FILTER AMOUNT id FILTER AMOUNT HOST SYNC ATT DEC SUS gt AMPLITUDE ENVELOPE AMPLITUDE ATTACK Used to alter the Attack Time of the Amplitude Envelope Please be aware though that in order to retain vital characteristics of some instruments we have retained the start points of certain instrument tape banks Therefore an immediate attack may not always be possible AMPLITUDE DECAY Used to alter the Decay Time of the amplitude envelope AMPLITUDE SUSTAIN Used to alter the Sustain Level of the amplitude envelope between 0 and 100 AMPLITUDE RELEASE Used to alter the Release Time of the amplitude envelope This determines the amount of dynamic control over volume or amplitude When set to zero all velocities play at a constant volume Turnin
8. ely in time with your track To activate Host Sync press this button and now whenever you move the mouse over the Delay Time knobs you will see the current setting RIGHT DELAY LENGTH KNOB This allows adjustment of the delay time of the right channel As with the Left Delay Time knob this is variable between 0 and 2000 milliseconds when unsynchronized and 1 32nd of a beat and 1 Bar when synchronized via the Host Sync button RIGHT DELAY FEEDBACK KNOB Determines how many delay repeats occur on the right channel DELAY DRY WET MIX KNOB This simply mixes the level between the dry signal and the wet delay Signal Anywhere over halfway will cause the delays to sound at a higher level to the original dry signal b ENSEMBLE Re Tron Ensemble is modeled from a variety of vintage ensemble units and adds fixed pan positions for each voice to help give the patch some width There are some things to consider when using this effect For example if you have two layers active with their sounds panned hard left and right the more ensemble you add the more you will lose the clearly defined pan positions This is because the pan positions of the ensemble voices begin to dominate the higher the ensemble mix In these cases simply be mindful that full on ensemble settings may not be as effective as more subtle ones ENSEMBLE DRY WET KNOB Balances the dry and effect level Turned clockwise this knob increases k
9. er Using this it s possible to create big wide sounds Try panning Layer A to the left and Layer B to the right Adjusts the volume level for the selected layer Layer A and Layer B can have independent volumes The LFO can be used to modulate filter cutoff or pitch depending on which Mode is activated in this section Ca REV L1 LOW PASS HIGH PASS HALF D Host 09 10 BAND SPEED SYNC CUTOFF PASS LFO AMOUNT This control determines the vibrato amount or depth and is used in conjunction with the LFO Speed knob to help create pitch or filter movements Layer A and Layer B can have independent LFO Amount settings REV 21 HALF SPEED SPEED SYNC This control determines the vibrato speed Use this in conjunction with the LFO Amount knob to create pitch movements Layer A and Layer B can have X independent LFO Speed settings wt CIE When the LFO Sync button is activated the LFO Speed knob will display i AMOUNT a range from 16 4 a four bar cycle to 1 32 a 32nd note cycle when i you move over this knob Dotted note settings are indicated via a 0 and triplet note settings are indicated via at TF V Hosr 9 710 CUT OFF In Reason it s common to have other monikers for dotted notes as follows 2 4d 3 4 1 4d 3 8 1 8d 3 16 1 16d 3 32 LFO SYNC The LFOs be synchronized so that they modulate precisely in time with your track To activate LFO sync press th
10. er progressively adds modulation If you already have a degree of pitch modulation applied to either layer returning the mod wheel to zero will return pitch modulation to the Patch set values Again one of our favourite things is to have slightly different mod rates for each layer so that when you use it in earnest the effect is somewhat epic One of the undeniably coolest things about Reason is the ability to flip to the back of the rack via the Tab key It s here where you ll encounter a wealth of inputs and outputs via which you can interconnect all manner Fouad Modulation lnpys of Reason devices Se Re lron GATE Since this functionality has been around since version 1 of Reason it s assumed that you have a good grasp of how this interconnection is implemented and the results that can be obtained by using this exceptionally smart feature z 2 c 3 cC gt C c oo c E 3 a SEQUENCER CONTROL CV Gate These connections are used to trigger Re Tron via another device such as the Matrix Pattern Sequencer or the RPG 8 Arpeggiator Sequencer see tet Control e LEVEI LAYER LAYER A MODULATION INPUT Here you can connect external CV modulation sources for modulating Modulation Input specific Re Tron parameters Ten Connect an external CV source to these inputs in order to independently modulate Re Tr
11. g the knob clockwise introduces progressively dynamic control over volume meaning the harder you play the louder the notes and the softer you play the quieter the notes will sound FILTER This determines the amount of dynamic control over filter cutoff When set to zero all velocities play at a fixed cutoff amount Turning the knob clockwise introduces progressively dynamic control over the filter meaning the harder you play the more the filter opens MASTER VOLUME sets the global volume of the instrument Amp Envelope amp DEC SUS REL ATT DEC SUS REL velocity o i o I D 1 VOLUME FILTER VOLUME Master veloci Master ID m Ia 10 VOLUME FILTER VOLUME velocity i Th In VOLUME FILTER VOLUME Re Tron s delay is global effect and can be used to add a little more depth or shimmer to overall patch LEFT DELAY LENGTH KNOB This knob allows you to adjust the delay time of the left channel This is variable between 0 and 2000 milliseconds when unsynchronized and 1 32nd of a beat and 1 Bar when synchronized via the Host Sync button LEFT DELAY FEEDBACK KNOB Determines how many delay repeats occur on the left channel RE TRON 1 DELAY CROSSFEEDBACK CF BUTTON This feeds the left delay into the right channel and vice versa in order to achieve a ping pong type delay effect HOSTSYNC BUTTON The Delay can be synchronized so that it repeats precis
12. ic and for a moment in the 1970s you weren t considered a proper prog rock band unless you owned one What made this instrument so special was that its sounds were real recordings of real players re played via the medium of magnetic tape long before the advent of samplers Under each note was a piece of tape containing a recording of an instrument When a note was pressed a motor pulled this tape across a tape head for up to 8 seconds and duly replayed the recording After 8 seconds the tape would reach its end whereupon the note would have to be released and the tape rewound ready to play again It was a simple yet highly effective idea and because this was magnetic tape in theory the sound of any instrument could be replayed Legendary Mellotron sounds consist of flutes brass woodwind violins cellos vibes choirs and orchestras but the library also encompassed full blown rhythmic motifs played in a variety of styles from jazz to foxtrots as well as recordings of sound effects and even monophonic synthesizers which could then be replayed polyphonically at a time when polyphonic synths were but a dream The 8 second note duration although a limitation forced the musician to develop a particular style when playing chords which was often described as a spider crawling up the keyboard However this limitation allowed the music to breathe and remains a vital part of the Mellotron character If anyone ever tells you a l
13. is button Whenever you move the mouse over the LFO Speed knob you will see the current setting The Sync ranges from 16 4 a four bar cycle to a 32nd note cycle with both dotted and triplet options see LFO Speed above for details of this range EL We have carefully modeled the Re Tron filter to suit the tape bank sound characteristics Given the organic nature of these sounds the last thing you want is a filter that self oscillates so the Re Tron filter does not self oscillate when the resonance is fully turned up This boosts the point at which the cutoff frequency is set See FILTER CUTOFF knob Cz TAPE REV Lu us HALF 10 SPEED SPEED SYNC CUTOFF PASS CUT OFF This determines the frequencies that the filter allows to pass through depending on which filter mode is selected For example selecting highpass mode allows you to filter the low frequencies while allowing the high frequencies to pass through See FILTER MODE FILTER MODE This selects the specific filter modes from the following Lowpass This mode allows the low frequencies to pass through while progressively filtering the higher frequencies as you rotate the cutoff knob anti clockwise selecting this mode allows the high frequencies to pass through while progressively filtering the lower frequencies as you rotate the cutoff knob anti clockwise This allows the selected band of frequencies to pass through while filtering out anything outside the select
14. l instrument such as Mike Pinder used half speed to get a deeper fuller sound from their tape collection This effectively drops the pitch by an octave and is useful in the context of Re Tron for helping create some fresh and distinctive tones REV 10 soU F HALF 5 DE TUNE MUTE addu ID 50 50 L h HALF ATT ST DETUNE SPEED LAYER M3008 Yiolins tO AMOUNT s0 7 50 79 ATT ST DETUNE LEVEL ATTACK START KNOB This sets the attack start time for the loaded tape bank from between 0 and 2 seconds You use this in a multitude of ways as follows 1 To remove the recorded attack ramp in of the tape bank Then adjusting the envelope s attack parameters will allow you to create your own attack ramp 2 10 widen the sound of the Patch when layering the same tape bank Offsetting the attack start of one Layer will open the sound of the Patch markedly 3 Use in conjunction with the Tape Reverse Button to create a more usable sound some tape banks have a decay that finishes with the sound almost inaudible When reversed it can take time for the note to become audible Turning the Attack Start Knob moves the start point within the audible signal DETUNE KNOB This sets the fine tune range for the selected layer from between 100 and 100 Cents Layer A and Layer B can have independent Detune settings Sets the Pan position for either lay
15. ncluded in Re Tron 50 special http www youtube com playlist listzPLO7F17FDEDODB765B NXNXNSSNIS SHS gt j a t B Engineering Svante Stadler Graphics Fredrik Hurtig lan Legge sound Designers Matt Black Dean Honer Mike Gorman Jarrod Gosling and Rob Puricelli The Propellerhead Beta Test Team special Thanks John Bradley and Martin Smith of Streetly Electronics Propellerhead for their fabulous support M Tron M Tron Pro Re Tron are all trademarks of GForce Software Ltd All other product names used in this product are trademarks of their respective owners and are in no way associated or affiliated with GForce Software Ltd These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied and or recorded during development of the Re Iron The Mellotron trademark is owned by David Kean www mellotron com GFORCE SOFTWARE www gforcesoftware com THIS MANUAL IS COPYRIGHT GFORCE SOFTWARE LTD 2012 ALL RIGHTS RESERVED NO PART MAY BE REPRODUCED WITHOUT PERMISSION ALL TRADEMARKS ARE ACKNOWLEDGED 9
16. notes and 8 seconds at a time THE LIBRARY described by Martin Smith of Streetly Electronics One of the saddest sounds in the Mellotronic canon Cellist Reg Kirby refused to detune his cello for the bottom 5 notes so a double bass was used giving a knee jerk change of timbre The definitive 8 Choir recording An absolute Mellotron classic with four males and four females battling it out at IBC studios Used extensively by Genesis The Strawbs and many more The monstrous sound of St John s Wood church organ in London Heaving and bellowing with a feeling of controlled dissonance Magnificent CLARINET This early recording originally made for the MKI in 1963 is fragile and melancholic It adds instant atmosphere in a gentle lo fi way This is a powerful mix of the Male Female and Boys Choirs in a huge sonic battle with ambulances and stretchers on standby The winners are you the listener ELECTRIC GUITAR A Duane Eddy style twangy guitar with a solid bottom end Think very early sixties basement clubs thick with the air of smoke and pubescent teenagers Get hip daddio Four ladies of a certain age singing in unison almost A classic M400 sound and one half of the fabled 8 Choir There were four males next door doing the same but there were no compromising liaisons FLUTE Strawberry Fields Forever forever There is nothing more to be said One of the earliest Mellotron recordings from the origin
17. on s Layer A parameters The adjacent sensitivity knob is used to attenuate the CV signal to tailor the amount of modulation affecting the selected parameter including Pan Level Filter Cutoff Resonance and Filter Envelope LAYER MODULATION INPUT Connect an external CV source to these inputs in order to independently modulate Re Tron s Layer parameters The adjacent sensitivity knob is used to attenuate the CV signal to tailor the amount of modulation affecting the selected parameter including Pan Level Filter Cutoff Resonance and Filter Envelope LAYER A MODULATION OUTPUT Use this output to modulate other device parameters according to Re Tron s Layer A Filter Envelope settings LAYER B MODULATION OUTPUT Use this output to modulate other device parameters according to Re 5 Layer B Filter Envelope settings LAYER A LAYER B svrercur o e c rerem LAYER B BI VITE LAYER B RE TRON 1 The original Tron people and home of the magnificent M4000 http www mellotronics com The Great British Tron Story The story behind the world s most iconic tape playing instrument http www youtube com playlist list PL5F5F7837DCD39F55 The Chamberlin Story The story behind the story behind world s most iconic tape playing instrument http www youtube com playlist list PLEE5B556ED15B3AEB otreetly Electronics Martin Smith talks about what makes the EMI tapes i
18. on 6 Velocity 10 Legal notices 16 3 Tape Reverse button 6 ils 10 A Half Speed button 6 10 Attack Start knob M Detune knob 7 Master Volume 10 Pan knob 7 Delay 11 Level knob 7 Left Delay Length knob 11 Left Delay Feedback knob 11 LFO Delay Crossfeedback CF button 11 LFO Mode Host Sync button 11 LFO Amount Right Delay Length knob 11 LFO speed Right Delay Feedback knob 11 LFO Sync 9 Delay Dry Wet Mix knob 11 Lh 8 Ensemble 12 Ensemble Dry Wet Mix knob 12 Cut off Ensemble Voice Detune knob 12 Filter Mode Ensemble Voice Selection Switch 12 Lowpass 9 Highpass 9 Keyboard Controls 12 Bandpass 9 Master Tune knob 12 Filter Envelope 9 DT E Filter Amount 9 gt GFORCE RE TRON elcome to the GForce Re Tron This Rack Extension for Propellerhead s Reason is based on our M Tron Pro itself inspired by the legendary Mellotron tape replay keyboard The chances are you ll need no introduction to the sounds of the Mellotron because this iconic instrument brought the world such delights as the flutes on Strawberry Fields Forever the choirs on Nights In White Satin the brass on Cirkus the violins on well on countless tracks throughout the 1960s and 1970s via artists including The Beatles The Rolling otones The Moody Blues Genesis Yes Barclay James Harvest Gentle Giant David Bowie King Crimson and many many more In its 40 year reign it has unquestionably helped shape the face of mus
19. ooped Mellotron sound is acceptable question their sanity until they acknowledge the error of their ways Because the Mellotron was mechanical and tape based there were inherent problems Despite a succession of models each attempting to improve on the portability and reliability issues of the previous many of the problems were never cured The 35 note M400 model on which the Re Tron is loosely based probably remains the most robust but even with this Rick Wakeman tells a story whereby his frustration boiled over to the point where he deliberately set his alight at the end of a tour They were expensive too A standard M400 came with 3 sounds that played across 35 notes and cost around 800 in 1971 about 9500 at 2012 prices and with the advent of string machines and polyphonic synthesis in the mid to late 70s sales declined to the point where the original manufacturer Streetly Electronics was forced into liquidation However while the Tron s sounds temporarily vanished from the mainstream after a brief period of digital sterility ruling the world via DX s and 15 a resurgence in the love of that sound started thanks to three main factors 1 Records such as Radiohead s OK Computer amp Oasis What s The Story Morning Glory 2 The renovation and repair work to original Mellotrons carried out by original Streetly Electronics experts John Bradley and Martin Smith which made sure that those sounds were always
20. reate Orchestra mixes on the fly This one is the most popular featuring Violins Brass Cello and probably something else we can t quite determine Marvelous stuff and BIG This sounds very like John Lennon s Imagine piano Slightly warbly and hesitant Bill Fransen recorded this one night to prove it could be done after a frustrating and non productive session A wheezing old American bible thumping organ You can hear the bellows and foot pedals working away Pick up thy tambourines and walk TENOR SAK Either a Take Five or take cover moment Breathy jazzy and great for pads TRUMPET The strain of reaching the top notes and blowing them for 8 seconds is wonderfully obvious as the takes get shorter The player had to have replacement testicles at the end of the session THE legendary 3 Violins sound Originally recorded by Harry Chamberlin this is the only sound to make it into the Mellotron library Used by The Rolling Stones Moody Blues Yes Genesis and countless others The definitive version of a truly classic sound A delicate and haunting sound that adds a unique timbre A rare recording of Shakespeare s first band Well it sounds like it Very reedy very medieval RE TRON 1 RE IRON OPERATION MANUAL A Patch consists of a combination of up to two sound layers Layer A and Layer B A tape bank can be loaded into each and then sculpted using a set of independent synth type parameters such as

GForce`s Re-Tron - GForce Software

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