Native Instruments Reaktor 5 Instrument Reference
Instrument Reference
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Document authored by: Native Instruments
Product Version: 5.5 (05/2010)
Document version: 1.1 (07/2010)
Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs,
but in making this a better product.
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Table of Contents
Table of Contents
1 Classics
1.1 Effects 8
1.2 Grooveboxes 32
1.3 Sample Transformer 42
1.4 Sequenced Synthesizer 45
1.5 Synthesizer 58
1.1.1 Analogic Filter Box 8
1.1.2 Banaan Electrique 11
1.1.3 Classic Vocoder 12
1.1.4 Echomania 14
1.1.5 Flatblaster 16
1.1.6 Fusion Reflections 18
1.1.7 Grainstates FX 20
1.1.8 SpaceMaster 23
1.1.9 Spring Tank 28
1.1.10 Two Knees Compressor 30
1.2.1 GoBox 32
1.2.2 Scenario 36
1.3.1 Grainstates SP 42
1.3.2 Travelizer 42
1.4.1 BlueMatrix 45
1.4.2 Vierring 52
1.4.3 WaveWeaver 54
1.5.1 Carbon 58
1.5.2 Green Matrix 61
1.5.3 Junatik 64
8
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Table of Contents
1.5.4 Kaleidon 66
1.5.5 Nanowave 69
1.5.6 SoundSchool Analog 70
1.5.7 Steam Pipe 80
1.5.8 Sum Synth 83
2 Electronic Instruments Vol. 1
2.1 Anima 1.3 86
2.2 Atmotion 1.3 89
2.3 EnFX 1.3 94
2.4 Grobian 1.3 100
2.5 Longflow 1.3 104
2.6 Rhythmaker 1.3 107
2.7 Titan 1.3 114
2.3.1 EnFX Delay 1.3 96
2.3.2 EnFX Distortion 1.3 97
2.3.3 EnFX Filter 1.3 98
3 Electronic Instruments Vol. 2
3.1 Akkord 1.3 125
3.2 Cyan 1.3 132
3.3 Fast FX 1.3 135
3.4 Krypt 1.3 142
3.5 Limelite 1.3 149
3.6 Metaphysical Function 1.3 160
3.7 Photone 1.3 166
3.8 Resochord 1.3 186
4 New Additions
86
125
191
4.1 Effects 191
4.1.1 FlatBlaster 2 191
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Table of Contents
4.2 Grooveboxes 206
4.3 Sample Player 247
4.4 Sample Transformer 261
4.5 Sequencers 294
4.6 Sound Generators 317
4.7 Synthesizer 324
4.1.2 Lurker 195
4.1.3 Space Master 2 203
4.2.1 Aerobic 206
4.2.2 Massive 1.1 213
4.2.3 Newscool 232
4.2.4 Sinebeats 2 237
4.3.1 BeatSlicer 2 247
4.3.2 Memory Drum 2 253
4.4.1 L3 261
4.4.2 Random Step Shifter 266
4.4.3 Splitter 1.2 271
4.4.4 Vectory 277
4.4.5 Live Sampling Core Cells Demo 283
4.5.1 Snapper 294
4.5.2 Spiral 298
4.5.3 SQ16 302
4.5.4 SQ8 304
4.5.5 SQ 8x8 306
4.5.6 SQP 308
4.5.7 SQX 310
4.6.1 Skrewell 317
4.6.2 Space Drone 320
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Table of Contents
4.7.1 2-OSC 324
4.7.2 Carbon 2 331
4.7.3 Equinoxe Deluxe 343
4.7.4 FM4 346
4.7.5 Gaugear 353
4.7.6 Lazerbass 359
4.7.7 Oki Computer 2.1 373
4.7.8 Steam Pipe 2 381
4.7.9 SubHarmonic 389
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1 Classics
1.1 Effects
1.1.1 Analogic Filter Box
Classics
Fig. 1.1 Analogic FIlter Box user interface
1.1.1.1 Introduction
The Analogic Filter Box sandwiches a rich and meaty distortion unit between two hearty
analog-style filters to create a sound-shaping tool for every appetite. Juicy modulation is
also provided 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 every
thing from fat disco-loop tweaking to full-on mangling of any sound source imaginable.
1.1.1.2
Structure and Signal Flow
The signal is routed from input to Filter 1, to the Distortion, to Filter 2, and then out.
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Both filters offer multiple operation modes. For the first filter, you can choose between
Lowpass, 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 resonance 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
operation. While the clipper mode provides a relatively harsh distortion sound and the sat
urator mode results in warm overdrive, the several wrapping modes (marked by the name
of the waveform used for wrapping) produce unique sounds from subtle to extreme.
An additional quantize mode converts the incoming signal into a step waveform, for famili
ar bit-reduction effects to mimic the character of vintage samplers, for instance. A visual
display of the distortion function helps to see what's going on inside.
1.1.1.3 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
settings 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 also 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 modulation level, and at low levels it's low. The Interval knob controls
Classics
Effects
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the response time to fast 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 gener
ator, triggered by MIDI note on events. However, an additional auto-trigger feature allows it
to be triggered by the incoming audio, settable with the Tresh slider.
It's even possible to combine any two MIDI controllers to make one dependent on the oth
er - 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 Reaktor or Reaktor Session user's guide for helpful information.
Classics
Effects
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1.1.2 Banaan Electrique
Classics
Effects
Fig. 1.2 Banaan Electrique user interface
1.1.2.1 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 ad
vantages of not needing to cable anything together or risk electrocuting yourself by running
too much current through the amp. You can still get shocked by its lush sound, however.
Naturally, Banaan is happy to eat whatever types of sounds you feed it, whether they're vo
cals, drum loops, synths, or scallops.
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1.1.2.2 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
Banaan can achieve.
1.1.2.3 Structure and Signal Flow
The audio runs through Banaan Electrique linearly:
Input > mono gate > 3-band EQ > Compressor 1 > Amp Simulator > Phaser > Rotor > Du
al Delay > Reverb > Compressor 2
The incoming signal is converted to mono, amplified, gated, equalized and compressed to
control the input's amplitude level and to enhance those sounds wanted to be in the re
cording, 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-quality reverb enhances the spatial sound once more, feeding its out
put 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
respective 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 Reaktor or Reaktor Session user's guide for helpful information.
Classics
Effects
1.1.3 Classic Vocoder
Fig. 1.3 Classic Vocoder user interface
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1.1.3.1 Introduction
The Classic Vocoder was designed to faithfully emulate the well-known tones of singing ro
bots made popular in the seventies. The instrument combines a vocoding engine, a vin
tage-type synthesizer, and a four-band dynamics processor for a warm, smooth sound.
1.1.3.2 Quick Start
The audio input is vocoded with the built-in synthesizer. Play some audio into the vocod
er.* You don't have to sing into it - the Classic Vocoder also gives great results with drum
loops or other sounds.
1.1.3.3 Structure and Signal Flow
Audio input 1 is the modulator, and is vocoded with the Classic 2-VCO synth, which is the
carrier. The entire signal flow is mono. If you are using a stereo signal, only the left chan
nel will be used. The output of the vocoder is fed into the four-band normalizer to smoothout the sound and remove any uncomfortable signal peaks that could come with vocal sibi
lants or drum transients.
Classics
Effects
1.1.3.4
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 constant sound, such as a synth or string sound (the carrier). The frequency content
of the voice is split up into many different 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, provid
ing 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.
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* 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 Reaktor or Reaktor Session user's guide for helpful information.
1.1.4 Echomania
Fig. 1.4 Echomania user interface
1.1.4.1 Introduction
Echomania is an advanced and spectacular-sounding delay box that excels at tight, temposynced rhythms. It includes two LFOs to to modulate the delay time and built-in EQ. The
delay time is handily synced to the global MIDI clock, for creating stretchy rhythmic ef
fects. A drive and noise circuit combined with a feedback offset control recreate vintage
sounds. Get dubbing!
Classics
Effects
1.1.4.2
Quick Start
Play some audio through Echomania.* Flip through the snapshots and discover the gritty
(or crystalline) depths of Tapedelay.
1.1.4.3 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 divi
sion and create different rhythmic feels—to be precise, the enumerator divided by the de
nominator scales the delay time fraction.
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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 be
tween sine and pulse-like, or, if the Tri button is engaged, triangle and saw tooth wave
shapes. 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. 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 con
tains an LFO identical to the one in the Delay module. You can create synchronized filter
sweeps, fizzing hi-frequency delay tails, and all manner of dubby effects by boosting and
modulating select 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 > 1, which boosts and
shapes the feedbacl signal, making it seem to get louder and louder (but without degener
ating 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 satura
tion/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 Reaktor or Reaktor Session user's guide for helpful information.
Classics
Effects
REAKTOR 5.5 - Instrument Reference - 15
1.1.5 Flatblaster
Fig. 1.5 Flatblaster user interface
Classics
Effects
1.1.5.1 Introduction
Flatblaster is a high-end finalizing and multiband dynamic shaping tool. Flatblaster com
bines four frequency-specific compressors with a full-spectrum peak-limiter. It is an excel
lent final-step mastering plug-in, but it can also be used while mixing since it doesn't in
troduce any delay to the signal. Each of the compressors has a saturator, so you could sat
urate just the upper-mid frequencies, for instance, without muddying the bass. It also
makes an excellent de-esser and sibilant reducer.
1.1.5.2
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 au
dio through Flatblaster* and step throught the presets. Try experimenting with muting, so
loing, and bypassing each individual band so you can carefully hear what the 'blaster's do
REAKTOR 5.5 - Instrument Reference - 16
ing. 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).
1.1.5.3 Structure and Signal Flow
The input signal is divided into four bands - the three crossover frequencies are adjustable
independently. Each frequency band is processed by an independent, identical compres
sor. Each band can be muted, soloed, and bypassed (no compression). The signal is sum
med before going through a full-band peak limiter, which can also be independently by
passed. The master bypass for the effect is located to the right of the input meters, above
the crossover settings.
Classics
Effects
1.1.5.4
Frequency-Specific Compressor
Each of the four compressors are absolutely identical. In fact, they have to be! If they
weren't, then unwanted phase shifts could creep in. Each compressor gives control over
saturation, saturation makeup gain, threshold, compression ratio, adjustable knee, attack,
release, and output makeup gain. Note that the Ratio has to be higher than 0 for the com
pressor 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.
1.1.5.5
Full-Band Peak Limiter
The peak limiter affects the full frequency range of the audio, after each of the four fre
quency bands has been compressed separately. The Threshold slider controls when the
peak limiter will start working. With Threshold at 0, 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 0 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.
REAKTOR 5.5 - Instrument Reference - 17
* 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 Reaktor or Reaktor Session user's guide for helpful information.
1.1.6 Fusion Reflections
Classics
Effects
Fig. 1.6 Fusion Reflections user interface
1.1.6.1 Introduction
Fusion Reflections is a delay-based effect that can create early reflections, shimmering
choruses, fluttering delays, and even ambient reverbs. Two distinct diffusion engines are
chained together 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 delay time for each delay. Just five controls control the core parameters
of each diffusion engine.
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1.1.6.2 Quick Start
Play some audio through the effect* and select Preset 1 Long Decay Echo. This preset on
ly uses the Chor Fusion diffusion engine. Play with the Diff Dly knob - note how the graph
ic display constantly updates to show you the current delay times. Stop the incoming au
dio to listen to the sound's decay. Play with Dly 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!
Classics
Effects
1.1.6.3
Structure and Signal Flow
The sound passes through two diffusion engines serially. It's important to note that the two
engines 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 reflec
tions, choruses, and atmosphere. If offers a high and low shelf EQ, with a graphical dis
play 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 identi
cal. Echo Fusion is perfectly 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 Fu
sion 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> and Echo Fusion are combined and mixed
with the dry signal. Each section can also be switched on or off to save CPU.
1.1.6.4 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 opera
tion of the diffusion delay section is identical per effect. Each diffusion delay consists of
four stereo 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 con
trols the speed of the LFO. Stereo sets the stereo spread of the delays, and Diffusion sets
REAKTOR 5.5 - Instrument Reference - 19
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.
* 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 Reaktor or Reaktor Session user's guide for helpful information.
1.1.7 Grainstates FX
Classics
Effects
Fig. 1.7 Grainstates FX user interface
1.1.7.1 Introduction
Grainstates is a granular texture maker that works wonders for creating dense, breathing
atmospheres. Taking advantage of Reaktor 4's 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.
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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 cen
tered around the grain cloud sampler module. The FX ensemble has the advantages that
you can 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, however, there's no way to save the sound data with the preset. GrainSta
tesSP 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.
Classics
Effects
1.1.7.2
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 granular 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.
1.1.7.3
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, settable 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 semi
tones), pitch shift (PS: in semitones), transposition (TP: in semitones), volume (Lvl), and
an XY panel lets you set two parameters graphically at once: The horizontal axis sets the
REAKTOR 5.5 - Instrument Reference - 21
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).
GrainStatesFX only: The sound is filtered by the Filtor macro with independently adjusta
bly 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 independent
ly adjustable per scene with the FB slider to the right of the XY control. The feedback is
only active 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-modu
lating 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, sim
ply set D/W to zero.
1.1.7.4 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 randomization). 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 oscillator does not change the delay time.
Classics
Effects
1.1.7.5
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 acti
vated, then MIDI notes will pitch the sound, like in a conventional sampler. In Grain
States, however, all notes are the same length, regardless of pitch. When "mSel" is active,
each scene is mapped onto a note pitch between 48 and 59 (only the white keys of a key
board); by pressing one of the notes the respective scene is selected. With the Split knob
REAKTOR 5.5 - Instrument Reference - 22
you can specify another keyrange 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.
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 set
tings 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 effect plugin. Please check
your Reaktor or Reaktor Session user's guide for helpful information.
1.1.8 SpaceMaster
Classics
Effects
Fig. 1.8 Space Master 1 user interface
1.1.8.1 Introduction
The SpaceMaster series of reverbs breaks new ground in reverb modelers for Reaktor.
Spacemaster uses two different Diffusion modules to achieve stunningly convincing room
sounds. And to fully exploit SpaceMaster's lushness, there are three versions - SpaceMas
ter 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
REAKTOR 5.5 - Instrument Reference - 23
good impression of the kinds of real and imaginary spaces SpaceMaster can emulate. Ad
justing 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 - especially since they can be arranged in serial or parallel signal paths.
Structure and Signal Flow
This guide will use the Stereo SpaceMaster ensemble to outline the various controls for
shaping 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 fla
vors of SpaceMaster reverb.
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1.1.8.2 SpaceMaster 5.1 Surround
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Fig. 1.9 Space Master 5.1 Surround
The Surround version of SpaceMaster is effectively the same as the Quad version
(
↑1.1.8.3, 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 sec
tion that allows you to use precise metering to control the relative volumes of the Center,
Sub, Front, and Surround reverb signals. The balance of Early/Late signal can also be ad
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justed for each channel using the Mix module, which has familiar controls for wet/dry lev
els. Finally, SpaceMaster Surround does not include the EQ module found in the Stereo
and Quad versions.
1.1.8.3 SpaceMaster Quad
Fig. 1.10 Space Master Quad user interface
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The SpaceMaster Quad ensemble works in the same way as the stereo version (↑1.1.8.4,
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 sources reaches each signal chain.
The PreDelay section is simplified from its stereo brother by use of an XY pad to finely ad
just Front and Surround L/R offset. The overall PreDelay time can be controlled by the
Time fader.
The Early Diffusion section is also simplified, offering only Size and high frequency Cut
controls for both Front and Surround diffusion signals.
The Late Diffusion module is effectively the same as the one found in SpaceMaster Ster
eo. Refer 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.
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1.1.8.4 SpaceMaster Stereo
SpaceMaster Stereo is composed of a PreDelay module, an Early Diffusion module, a Late
Diffusion module, and a post EQ. The Diffusion modules can be combined together to cre
ate a complex impression of space. By adjusting the balance of the Early and Late diffu
sion modules, 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
audio 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 PreDe
lay with the Byps button.
Next in the signal path, the Early Diffusion module, which is actually a series of up to 12
diffusion delays, provides the near reverb processing. The Size control allows you to deter
mine the range of space that the close reflections will be generated by. It changes delay
time in milliseconds. 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 frequen
cies. 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 deter
mine 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 mod
ule. The Par switch engages Parallel mode, allowing the Early and Late modules to main
tain 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 perception of location within a space, by shifting between the early and late
reverb sounds (to make it seem like a sound is moving around inside of the "room").
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The Late Diffusion module provides the capabilities for creating a larger and more richly
defined space. The Size and Diffusion knobs work the same way as those in the Early sec
tion, 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 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 modu
lation controls. The Spin knob adjusts 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 bypassed 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
attenuation or boost of the low frequency set with the Frq immediately above. The Mid
knob controls the parametric EQ band. The Frq and Q knobs above it let you adjust the
frequency and bandwidth of the parametric. The Hi 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.
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1.1.9
Fig. 1.11 Spring Tank user interface
Spring Tank
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1.1.9.1 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 non
linear resonating decay.
1.1.9.2 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" morphology, so you can design your own spring.
1.1.9.3 Structure and Signal Flow
The input source is amplified or attenuated with the Level knob at the far left of the in
strument. High levels here can introduce transducer saturation (which is not such a bad
thing). The signal is then fed into the spring tank. Here, you can adjust the spring's physi
cal characteristics. The Damp knob sets high frequency damping for the spring. Turning
the knob clockwise increases the damping. Stiffness, which mimics the flexibility of the
spring, gives brighter, 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 there
fore 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 feed
back 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 ad
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justing the cutoff of a high pass filter in the feedback loop. Suspension will therefore also
have an effect on the sound of the Transducer saturation. The Color knob lets you adjust a
global tone control. Turning 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 Reaktor or Reaktor Session user's guide for helpful information.
1.1.10 Two Knees Compressor
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Fig. 1.12 Two Knees Compressor user interface
1.1.10.1 Introduction
Two Knees Compressor is a simple compressor with an important quirk it has two separate
adjustable 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. It includes a compression curve display to show the relationship between the
amplitude of the input signal and the amplitude of the processed signal.
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