Native Instruments Reaktor 5 Instrument Guide

REAKTOR 5

Instrument Guide

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not represent a commitment on the part of Native Instruments Software Synthesis
GmbH. The software described by this document is subject to a License Agreement
and may not be copied to other media. No part of this publication may be copied,
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and company names are trademarks of their respective owners.

Library credits

Concept + Production: Mate Galic
Technical Assistance: Cornelius Lejeune, Jeremiah Savage
Documentation: Cornelius Lejeune, James Walker-Hall,
Thomas Loop, Jace Clayton
Instrument Design: Mike Daliot, Lazyfish, James Walker-Hall,
Martijn Zwartjes, Programchild, Tim Exile
Sounddesign: Dennis DeSantis, Junkie XL, AME, Jörg Remmer-Müller,
Speedy J, Smyglyssna, Richard Devine, Jam El Mar,
Simon Pyke, Tim Exile, Frank Martiniq, Rob Acid,
Jake Mandell, Martijn Zwartjes, Jaap Wajer,
Telefon Tel Aviv, Mike Dalio, Programchildt
Interface Design: Pfadfinderei, Phillipp Granzin, Ian Warner,
Leonard Lass, Phillip Roller, Studiotonne,
Johannes Schardt

© Native Instruments Software Synthesis GmbH, 2005. All rights reserved.
First Edition, May 2005

REAKTOR is a trademark of Native Instruments Software Synthesis.

Germany USA

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Schlesische Str. 28 5631 A Hollywood Boulevard
D-10997 Berlin Los Angeles, CA 90028
Germany USA
[e-mail] [e-mail]
www.native-instruments.de www.native-instruments.com

Table of Contents

Synthesizer .................................................................................................5

Carbon 2 ........................................................................................ 5

Oki Computer 2 .............................................................................16

SteamPipe 2 ................................................................................ 23

SubHarmonic ................................................................................ 32

Grooveboxes .............................................................................................37

Aerobic .........................................................................................37

Massive ........................................................................................ 43

Newscool ..................................................................................... 53

Sinebeats 2 .................................................................................. 58

Sound Generators ......................................................................................66

Skrewell ....................................................................................... 66

SpaceDrone .................................................................................. 69

Sample Player ........................................................................................... 72

BeatSlicer 2 ..................................................................................72

Memory Drum 2 ............................................................................ 78

Sample Transformer ..................................................................................85

L3 ............................................................................................... 85

Random Step Shifter ..................................................................... 90

Splitter ........................................................................................ 94

Vectory ........................................................................................ 98

Effects .................................................................................................... 104

FlatBlaster 2 ................................................................................104

Lurker .........................................................................................107

Space Master 2 ...........................................................................114

Sequencer .............................................................................................. 116

SQ16 .......................................................................................... 116

SQ8 ...........................................................................................118

SQ 8x8 .......................................................................................120

SQP ............................................................................................122

Table of Contents – IIIREAKTOR 5

IV REAKTOR 5

Synthesizer

Carbon 2

Carbon2 is based on Reaktor 4’s well-known workhorse synthesizer, but it has
been completely rebuilt. In particular the oscillators and filters are now based
on Reaktor Core components developed particularly for this instrument. The
panel has been optimized for usability, with a clear structure providing fast
access to all parameters while hiding the technical complexity.
Basically, Carbon2 is a classical subtractive synthesizer. The signal of the
three oscillator section (left column of the panel) passes through a multi-mode
filter (middle column) and is then routed to the effect units (right column).
Several modulation sources such as envelope generators and LFOs (placed
in a second page in the right panel column) and the global parameters (a
third page in the right column) control the sound, adding additional liveliness
and movement.

Oscillators

The oscillator section produces the instrument’s basic signal. Three oscillator
slots provide several different waveforms; along with traditional analogue types
like sine and sawtooth there is a digital wavetable oscillator containing a wide
array of waveforms that can be crossfaded smoothly. A noise generator and

Carbon 2 – 5REAKTOR 5

a ring modulator based on the signal of the three main oscillators are added
for a total of five basic sound sources.

Each oscillator slot offers control over volume, pitch, and waveform synchroni­zation. The pitch and sync controls are placed in two pages at the bottom of
the panel, grouped with a third page controlling the waveform. This third page
is only active if the digital wavetable or the doubled sawtooth is selected.

Main Routing Sets the destination of the respective oscillator’s signal. On [F],

the sound is sent to the [Filter] section; switching to [D] bypasses
the filter and routes the signal directly to the effect units.

Noise Switches the white noise generator on or off.

Ring Selects which oscillator signals are fed into the ring modulator.

Switch off to save CPU power if the ring modulator is not used.

Osc1/2/3

Level Sets the slot’s volume level.

Level Modulation
Source

Level Modulation
Amount

Pitch A/B Modulation

Source
A/B Modulation

Amount

Osc1/2/3 Pitch
Shift

Osc1/2/3
Modulation
Switch A/B

Selects the waveform of each oscillator slot. Along with the stan­dard waveforms (sawtooth, pulse, triangular, sine and noise), you
will find a doubled sawtooth, a quantized sine, a buzz oscillator
based on a noise generator, and a digital wavetable. (See the
[Wave] page for additional information on the doubled sawtooth
and the digital wavetable.)

Selects the slot’s volume level modulation source.

Sets the amount and polarity of modulation applied to the slot’s
volume level. Clicking on the control’s title bar restores the value
to its default.

Selects sources to modulate the oscillators’ pitch. The two indi­vidual slots ([A] and [B]) can mix up to two sources.

Adjusts the amount and polarity of modulation applied to the
oscillators’ pitch. The left side of the control adjusts coarse values,
the right side is used for fine-tuning; clicking the control’s title
bar restores the value to its default.

Transposes the oscillators’ sound respectively. The left side of
the control adjusts coarse values, the right side is used for fine­tuning; by clicking on the controls title bar with the mouse the
value is reset to its default.

Turns modulation of the oscillator’s pitch by modulation slot [A]
or [B] on or off.

6 – Carbon 2 REAKTOR 5

Wave A/B Modulation

Source

A/B Modulation
Amount

Osc1/2/3
Waveform
Control

Osc1/2/3
Modulation
Switch A/B

Sync Gate Sync Switch

Gate Sync Phase Controls the phase to which all oscillators are set on MIDI gate

Osc2/3 Sync
Switch

Osc2/3 Sync
Phase

Osc2/3 Mode
Fade

Selects sources to modulate the waveform. The two individual
slots ( [A] and [B]) can mix up to two sources. This will show no
effect until the doubled sawtooth or the wavetable is selected
in [Osc1/2/3].

Adjusts the amount and polarity of modulation applied to the
waveform. Clicking on the control’s title bar resets the value to
its default. This will show no effect until the doubled sawtooth
or the wavetable is selected in [Osc1/2/3].

This either selects a digital waveform from the wavetable, or – if
the doubled sawtooth is activated in [Osc1/2/3] – this controls
the ratio between the phases of both sawtooth waves.

Turns modulation of the waveform selection by modulation slot
[A] or [B] on or off.

Turns synchronization of the oscillators’ waveforms to the MIDI
gate on or off. If on, all three oscillators are reset to the phase
adjusted in [Gate Sync Phase] when a note is pressed.

events. Clicking on the control’s title bar restores the default
value.

Switches on or off the synchronization of the oscillators 2 and 3
respectively to the signal of oscillator 1. If on, the oscillator is reset
to the phase adjusted in [Osc2/3 Sync Phase] when the signal of
oscillator 1 rises above zero. (See also [Osc2/3 Mode Fade].)

Controls the phase to which the oscillators 2 and 3 are reset
when the signal of oscillator 1 rises above zero. Clicking on the
control’s title bar restores the default value. (See also [Osc2/3
Mode Fade].)

Interpolates between hard synchronization (at low values) and
soft synchronization (at high values). In hard synchronization
mode the oscillator is always reset if the signal of oscillator 1
rises above zero; with soft synchronization this is not always
the case, producing a mix between the synced waveform and
the non-synced one. Clicking on the control’s title bar restores
the default value.

Carbon 2 – 7REAKTOR 5

Filter

The filter section is placed between the oscillators and the effects; it sculpts
the oscillators’ basic sounds. Before the signal is routed to the filter it passes
two effects that provide saturation and quantization, as well as additional low­and high-shelf equalizers. The filter itself contains several modes, optimized
for a warm yet crisp sound. You’ll find standard low-pass and high-pass, band­pass, and band-reject filters, a special feedback filter (called [Zwnl]), and a
peak EQ and comb filter. After the main filter comes another effect section,
similar to the previous one.

Pre-Filter
Effects

Main PreAmp

Effect A/B
Mode Select

Effect A/B
Amount

Mode

Cutoff Sets the frequency of the filter.

Resonance Sets the resonance of the filter.

Bandwidth

E2

Key

Selects the effect units applied to the signal before it passes to
the filter. There are low and high shelf EQs in the left [A] menu and
saturation and quantization in the subsequent right [B] menu.

Sets the parameter of the effect unit selected by [Effect A/B Mode
Select]. For the equalizers, this is the amount of damp or boost
applied to the signal. For the saturator it’s the amount of drive,
and for the quantizer it’s the amount of distortion.

Controls the level correction of the signal after it has passed the
[Pre-Filter Effects] section and before it enters the main filter.

Selects the filter mode. There are high-pass, bandpass and band­reject filters, several low-pass modes, a feedback lowpass, a
peak equalizer, and a comb filter.

Sets the width of the band for the bandpass and bandreject
filters. If the peak equalizer is selected, this parameter sets the
amount of boost applied.

Controls the amount and polarity of modulation applied to the
cutoff control by the second envelope generator. Turn to the left
for negative modulation, i.e. low cutoff values at high envelope
signals. Turn to the right for normal positive modulation.

Controls the amount and polarity of modulation applied to the
cutoff control by the current pitch. Turn to the left for negative
modulation, i.e. low cutoff values at high pitches. Turn to the right
for normal positive modulation. This modulation is independent
of the Key Scaler of the [Modulation] section.

8 – Carbon 2 REAKTOR 5

Post­Filter
Effects

Cutoff/
Resonance/
Bandwidth
Modulation
Source

Cutoff/
Resonance/
Bandwidth
Modulation
Amount

Effect A/B
Mode Select

Effect A/B
Amount

Selects the sources used to modulate the filter’s cutoff, resonance
and bandwidth. Up to two sources can be selected, and their
signals are summed together. In case of the cutoff modulation,
these signals are added to the hard-wired modulation by the
second envelope generator and the MIDI pitch.

Adjusts the amount and polarity of modulation applied to the
filter’s cutoff, resonance and bandwidth. Clicking on the control’s
title bar restores the default value. In case of the cut-off modula­tion, this amount doesn’t affect the hard-wired modulation by
the second envelope generator and the MIDI pitch.

Selects the effect units applied to the signal after the filter, before
it gets routed to the main effect units. You’ll find saturation and
quantization in the left [A] menu, and lowpass and highpass
filters in the right [B] menu.

Sets the parameter of the effect unit selected by [Effect A /B
Mode Select]. For the saturator this is the amount of drive; for
the quantizer the amount of distortion; and for both filters the
cut-off frequency.

Effects

The effects additionally enhance the instrument’s sound. There are five units:
a pitch shifter, a phaser, a chorus, an equalizer and a delay. These standard
effects are engineered for the finest of results.

Pitch
Shifter

Power & Mix

Shift L / R Determine the pitch shift of the left and right channel respec-

Grain Size L/ R Adjust the grain size of the pitch shifting algorithm for the left

Feedback Controls the amount of feedback.
Reverse Switches between forward and reverse grain playback.

Each effect unit provides a power switch and a mix button. The
mix button crossfades between the dry, unprocessed signal
(at the left) and the wet effect sound (at the right). To save
CPU power, turn the power switch off when the specific effect
is not in use.

tively in semitones.

and right channel respectively. Turn to the left for large chunks
and echoic sounds, to the right for tiny grains and an accurate
pitch shift.

Carbon 2 – 9REAKTOR 5

Phaser Center Frequency

Modulation Rate Sets the speed at which the [Center Frequency] is modulated.
Phase Sets the phase of the LFO modulating the [Center Frequency].

Depth Sets the amount of modulation.
Resonance Sets the resonance of the internal filters.
Feedback Sets the amount of feedback.

Chorus Delay Sets the main delay of the chorus.

Depth Sets the amount of modulation applied to the [Delay] time.
Rate Sets the speed at which the [Delay] time is modulated.

Equalizer Bass Boost

Mid Frequency

Mid Boost

Mid Resonance Sets the resonance of the mid equalizer.
High Frequency Adjusts the frequency of the high shelf equalizer.
High Boost

Delay Delay L / R Sets the delay times of the left and right channel respectively.

Fine L / R Adds an offset to the values controlled by [Delay L / R] in mil-

Quantize

Feedback Sets the amount of feedback.
Wrap

Resonance

Lowpass

Highpass Controls the frequency of the high-pass filter within the feed-

Sets the center frequency of the filters that produce the phaser
signal.

(See also [Modulation Rate].)

Controls the boost (or damping) applied to the bass frequencies
below 300 Hz.

Adjusts the frequency of the peak equalizer applied to the middle
frequency spectrum.

Controls the boost (or damping) applied to the middle frequen­cies around the [Mid Frequency].

Controls the boost (or damping) applied to the frequencies above
the [High Frequency].

The time is controlled in increments selected by the [Quantize]
control.

liseconds.
Selects the unit by which the delay times are quantized. Sixteenth

notes and eighth triplets are available.

Controls the amount of cross-feedback. Turn to the left to route
the every channel’s feedback to itself; turn to the right to route
it to the other channel.

Sets the amount of resonance applied to the low-pass and high­pass filters within the feedback circuit.

Controls the frequency of the low-pass filter within the feedback
circuit.

back circuit.

10 – Carbon 2 REAKTOR 5

Modulation Sources

Several modulation sources are available: two ADSR envelope generators, a
recordable envelope, and two LFOs combined with a key-scaler that provides
four independent control points and four freely assignable MIDI controllers.
The envelope generators and LFOs offer several types of MIDI clock interac­tion for rhythm-based modulation effects.

Envelope
Generators
1/2

Trigger

Quantization

Key Controls the amount and polarity of modulation applied to the

Velocity

Transition Time
Modulation
Select

Transition Time
Modulation
Amount

Attack Sets the attack time of the envelope generator.

Decay Sets the decay time of the envelope generator.

Sustain Sets the sustain level of the envelope generator.

Selects the events that re-trigger the envelope generator. [Gate]
only activates the MIDI gate signal. [Clock Gate] re-triggers the
envelope at each unit selected by [Quantization] as long as the
MIDI gate is open. [SP Clock Gate] is similar, but synchronizes
the quantization to the global MIDI song position; therefore, the
MIDI clock has to be running. (See also [Globals][EG Mode].)

Selects the metrical unit used to re-trigger the envelope if
[Trigger] is set to [Clock Gate] or [SP Clock Gate].

envelope’s transition times by the current pitch. Turn to the left
for negative modulation, i.e. shorter attack, decay and release
times at low pitches. Turn to the right for normal positive modu­lation, i.e. longer times at low pitches.

Controls the current velocity’s influence on the envelope am­plitude. At low values the envelope triggers with the same am­plitude; at high values the MIDI velocity determines its peak
value.

Selects the additional modulation applied to the envelope gen­erator’s transition times. The attack phase can be modulated by
the MIDI velocity while the decay time can be modulated by the
velocity and the four MIDI controllers (see [MIDI Controllers]). The
amount and polarity of modulation is controlled by [Transition
Time Modulation Amount].

Controls the amount and polarity of modulation applied to the
destination selected by [Transition Time Modulations Select].
Turn to the left for negative modulation, i.e. shorter attack or
decay times at low modulation source values. Turn to the right for
normal positive modulation, i.e. longer times at low values.

Carbon 2 – 11REAKTOR 5

Release Sets the release time of the envelope generator.

Hold

Delay

R=D

Envelope
Generator
3

LFO 1/2 Waveform

Record

Play

Loop

Value

Amplitude
Modulation
Source

Amplitude
Modulation
Amount

Trigger Mode

Sets the duration of an additional hold phase between attack
and decay.

Adds an initial delay period before the trigger signal restarts
the envelope

Links the release time to the decay time. If on, the value adjusted
by [Decay] is also used to control the release phase.

Arms the recordable envelope. The recording is
started when a MIDI gate is received and ends
when the gate closes. All movements of the [Value]
knob are stored and can be played back as envelope
(see [Play]).

Enables playback of the recorded movements, trig­gered like an envelope by MIDI gate signals.

Loops the recorded movement on playback.

When recording (see [Record]), every movement of this knob is
stored to the memory. During playback (see [Play]), the knob
displays the recorded movements.

Selects the waveform of the Low Frequency Oscillator. There
are the standard waveforms [Sine], [Triangular], [Pulse], and
[Random Steps], and several derivations: [Pulse+] is a pulse
waveform with all negative values clipped to 0; [Saw Up+] and
[Saw Down+] are triangular forms with only rising resp.falling
ramp and only positive values; [Hsin+] is a multiplication of
[Pulse+] and [Sine] etc.

Selects the source used to modulate the LFO’s amplitude. Clicking
the control’s title bar restores the value to its default.

Adjusts the amount and polarity of modulation applied to the
LFO’s amplitude.

Selects the events that re-trigger the LFO. In [Freerun] mode no
reset occurs; in [Gate] mode the LFO is set to the phase adjusted
by [Reset Phase] on a MIDI gate event. [Clock Gate] is similar
to [Gate] mode but also activates a grid for the LFO’s frequency
(see [Rate]). [SP Clock Gate] additionally synchronizes the reset
to the global MIDI song position.

12 – Carbon 2 REAKTOR 5

Reset Phase

Rate
Modulation
Source

Rate
Modulation
Amount

Rate

Rate
Quantization

KeyScaler Sliders

MIDI
Controllers

Faders

Adjust the phase to which the LFO is set on re-triggering
events.

Selects the source used to modulate the LFO’s frequency. If
[Trigger Mode] is set to [Clock Gate] or [SP Clock Gate], fre­quency modulation is not available.

Adjusts the amount and polarity of modulation applied to the
LFO’s frequency. Clicking the control’s title bar restores the value
to its default. If [Trigger Mode] is set to [Clock Gate] or [SP Clock
Gate], frequency modulation is not available.

Sets the frequency of the LFO. If [Trigger Mode] is set to [Clock
Gate] or [SP Clock Gate], a grid is applied to this control, quan­tizing the LFO’s rate to the metrical units selected in [Rate
Quantization].

Selects the metrical unit used as quantization grid for [Rate]
when [Trigger Mode] is set to [Clock Gate] or [SP Clock Gate].

Provides a signal derived from the current pitch that can be used
as modulation source. The four sliders define the function used
to map the MIDI pitch onto the modulation signal: At low pitches,
the value of the leftmost slider is used as modulation signal;
at high pitches the value of the rightmost slider is selected.
In between, interpolation occurs, using the two middle sliders
as control points. In addition to the normal signal, there is a
modulation source that multiplies the key-scalers value by the
current MIDI velocity.

The leftmost fader is hard-wired to the MIDI modulation wheel.
All others can easily be assigned to any MIDI Continues Controller
via MIDI Learn. They are available as modulations sources,
named C1, x1, x2 and x3.

Carbon 2 – 13REAKTOR 5

Global Controls

The global controls access several different functions. First – and most im­portant – the voice allocation of the synthesizer can be controlled, providing
polyphonic and monophonic modes; by selecting the unison mode all available
voices are set to the same pitch (as in a monophonic synth), but each one is
slightly detuned. This results in waveform interference and a thick, chorus-like
sound. Monophonic modes also provide portamento.

Parameters determine the master pitch shift and MIDI pitchbend range, and
adjust global tremolo and vibrato. Voices’ position within the stereo field can
also be adjusted.

Gate Mode

Envelope Mode

Unisono

Unisemi Sets the amount of pitch shifting applied to each voice when [Uni Mono]

Drift Enables a drift mode that slightly detunes higher pitches. This results in

Key

Velocity

Selects the global operation mode. [Poly] selects the only polyphonic mode;
portamento does not work in this mode (see [Glide Speed]). [Mono] results
in a monophonic gate signal that is triggered on every MIDI note. [Legato]
is similar but generates a new gate trigger signal only when the gate has
been closed before, i.e. no note is already pressed. [Uni Mono] and [Uni
Legato] activate the unison modes: A monophonic gate signal is used for
all voices, but all available voices are used and detuned by the [Unisono]
and [Unisemi] controls.

Selects the envelopes’ behavior during the release period if a new attack is
triggered. [Re-trigger] starts the attack phase beginning with the current
envelope amplitude; [Reset] starts the attack with a value of zero. Thus,
[Reset] might lead to unwanted clicks if used without care.

Sets the amount of detuning applied to each voice when [Uni Mono] or
[Uni Legato] is selected as [Gate Mode]. Slight detuning results in thick,
chorus-like sounds.

or [Uni Legato] is selected as [Gate Mode]. This acts like the [Unisono]
control but detunes the voices in semitones, e. g. a value of 12 will set all
voices one octave apart.

a more analogue like sound.
Activates key-scaling for the unisono control. If pressed, the [Unisono]

value is lowered automatically at high pitches for a more constant sound
over the complete pitch range of the instrument.

Selects the mapping applied to the MIDI velocity. While [Linear] doesn’t
change the velocity, [Log] results in a compressor like effect while [Expo]
produces the opposite effect.

14 – Carbon 2 REAKTOR 5

Coarse

Fine

Glide Speed

Pitchbend Range

Vibrato Mode

Vibrato Amount

Vibrato Style Selects between three different vibrato modes.
Key

Tremolo Mode

Tremolo Amount

Vibrato & Tremolo
Frequency

Voice Panning
Switch

Voice Panning
Amount

Master 1/2 Defines the instrument’s output level. Use the large middle knob to adjust

Key Amp

Sets the global tuning of the instrument in semitones, ranging from -63
to +64.

Sets the global tuning of the instrument in semitones, ranging from -0.5
to +0.5

Adjusts the speed at which new pitches are reached if they are slurred,
i.e. if the previous note was still held when the new one was pressed. This
portamento effect only works in monophonic modes (see [gate Mode]).

Sets the range in semitones by which the MIDI pitchbend wheel transposes
the global pitch.

Selects whether vibrato is off, on, or faded in by the MIDI modulation
wheel.

Sets the amount of vibrato. Clicking the control’s title bar restores the
value to its default.

Adjusts the amount of key scaling applied to the vibrato. Turn to the left
for no scaling, to the right for less vibrato at low pitches, producing a
more musical effect.

Selects whether tremolo is off, on, or faded in by the MIDI modulation
wheel.

Sets the amount of tremolo. Clicking the control’s title bar restores the
value to its default.

Sets the speed of both vibrato and tremolo.

Selects whether the instrument’s voices are placed at different positions
within the stereo field. Especially in combination with the [Unisono] control
this can produce impressing spatial effects.

Sets the amount of voice panning. Clicking the control’s title bar restores
the value to its default.

the preset’s maximum level; the smaller knob to the right controls the
instrument’s output amplitude in all patches.

Adjusts the amount of automated amplitude correction in respect to the
synthesizer’s pitch. Turn to the left for no influence of the pitch onto the
output level, to the right to damp high pitches. This can be used to simulate
the sound of analogue synthesizers.

Carbon 2 – 15REAKTOR 5

Oki Computer 2

If you get excited by words such as analog and vintage, look away now. Oki
Computer 2 is a compact wavetable synthesizer, a specialist in digital lo-fi
sounds that hails back to the era of 8-bit beeps and bleeps… It is also rather
capable at creating buzzing leads, rhythmic sequences, and odd tasty bass
tones.

Oki Computer 2’s panel is compact but packed with features. Thankfully, most
sections should be fairly straightforward to the average synth user. However,

16 – Oki Computer 2 REAKTOR 5

the [Oscillator] section is somewhat unique and users are strongly encour­aged to read this part of the manual. Oki Computer 2 features a bank of 50
waves. For every patch you can load any 16 of these waves into the oscillator
in any order. This flexibility represents a major improvement over the original
ensemble (where the oscillator was permanently ‘hardwired’ to the same 16
waves). What’s more, each wave loaded into the oscillator can be processed
in a variety of ways.

MIDI In

The drop-down list at the panel’s top-left switches between polyphonic and
monophonic operation modes. In polyphonic mode, Oki Computer operates as a
standard poly-synth. Monophonic mode does not restrict the number of voices
to 1; it enables some very musical features – legato, glide, and unison.

Gate Mode

Unison

Spread

Glide Sets the amount of portamento, i.e. the time used to reach a new MIDI pitch.

Octave Transposes the pitch of the entire oscillator in octave steps.
Semitone Transposes the pitch of the entire oscillator in semitone steps.
Fine Fine-tunes the entire oscillator’s pitch.
Pitchbend Defines the MIDI pitch bend wheel range in semitones.

Selects whether the instrument is used as polyphonic or monophonic syn­thesizer.

Determines the number of simultaneous voices. This is only active if [Gate
Mode] is set to [mono].

Defines the amount of voice detuning in semitones. This is only active if [Gate
Mode] is set to [mono].

This is only active if [Gate Mode] is set to [mono].

Oscillator

The [Wavetable Position Bar], located beneath the main oscillator window, is
perhaps the most difficult part of the synthesizer to understand. This bar has
two purposes. Firstly, the square box indicates the current wave slot selected
for editing (there are 16 slots). Secondly, the bright green line indicates
the current wavetable position. The current wavetable position is set by the
[Wavetable Position Knob] (to the left of the drive knob), plus any modulation
routed to the wave table position (see [Modulation Matrix]).

The best way to explain how the [Wavetable Position Bar] works is by ex­ample: Click on the snapshot menu and recall preset number 1 - ‘Default’.

Oki Computer 2 – 17REAKTOR 5

In this preset, the oscillator is loaded with 16 sine waves (needless to say,
this doesn’t sound particularly interesting). Click the leftmost box on the
Wavetable Position Bar - this will select the first slot for editing. Note that in
the box labeled [Wave] (beneath the [Wavetable Position Bar]) a picture of a
sine wave is displayed, with a number zero next to it. This indicates that the
sine wave (wave number zero from the master bank) is loaded into the current
slot. To load a different wave, click and drag vertically on the Wave Selector.
Now click on the second wave slot (i.e. the adjacent dark gray box). The Wave
Selector will display a sine wave (remember this patch had 16 identical sine
waves loaded). Now try loading a different wave to slot 2, again by clicking
and dragging on the Wave Selector.

In the ‘Default’ snapshot, the [Wavetable Position Knob] is set to 1.00. This
means that when you play a note, you will hear (and see) the wave loaded
into slot 1. Press a note on your keyboard, and slowly move the knob from

1.00 to 2.00. You will hear and see the wave loaded into slot 1 morph into
the wave loaded into slot 2. Notice how the wave position indicator moves
correspondingly. This is the key to how Oki Computer 2 produces dynamic
sounds: by morphing between adjacent waves in the wavetable. While this
can be done manually with the wave position knob, things get much more
interesting when the various modulators (e.g. envelope, sequencer, LFO) are
used to mix between waves.

Apart from the Wave Selector, all the controls underneath the wavetable
position bar are used to modify wave shape. When using these controls, it
is important to remember that they only affect the wave in the selected slot
(i.e. the green box), which is not necessarily the wave shape currently being
played (i.e. the green line).

Ratio

Phase
Shape

Digitize
Amp
Copy

18 – Oki Computer 2 REAKTOR 5

Sets the number of times the wave shape will repeat in a
single oscillator cycle. Note that the integer and decimal
values can be set independently, also note that adjusting
the ratio will cause pitch shifting.

Rotates the wave start position within the oscillator cycle.
Skews the wave shape to either the left or right (on the pulse

wave this is identical to a pulse width control).
Reduces the wave’s bit depth.
Attenuates the wave volume.

Stores the current settings into an edit buffer that can be read out again
by the [Paste] button.

Paste Recalls the data from the edit buffer (see [Copy]).
Distortion Amount Controls the amount of distortion. (See also [Distortion Mode].)
Distortion Mode

Selects the way the signal is distorted. [Saturate] applies a ‘standard’
saturation curve to the signal. [Triangle] and [Sine] both involve wrap­ping their respective shapes around the input signal. When used on a
sine wave, these two functions can sound somewhat reminiscent of FM.
[Noise] enables a noise generator.

Filter / Out

This section controls the shaping applied to the sound’s frequency spectrum
(filter) and amplitude.

Amplitude
Envelope Mode

Damp Controls the amount of high-frequency damping.
Volume Sets the main output volume in decibels.
Cut-off Sets the filter’s cut-off frequency.
Resonance Adjusts the filter’s resonance amount.
Track

Low-pass,
Band-pass,
High-pass

Selects the main output envelope. In most cases, [E1] will be the preferred
choice. Sometimes however, you may want to use Envelope 1 for modula­tion purposes only. In this case, select either [G] (MIDI gate, ignoring
velocity) or [Vel] (MIDI gate, including velocity).

Defines the amount of cut-off pitch tracking. At 100%, cut-off is in­creased by one semitone for each increment in MIDI pitch. At -100%,
cut-off is decreased by one semitone for each increment in MIDI pitch.
At +/- 200%, cut-off changes by two semitones for every one semitone
change in pitch.

Determines the mix ratio of the high-pass, band-pass and low-pass
components of the filter output signal.

Oki Computer 2 – 19REAKTOR 5

Envelope, CC1, Sequencer and LFO

Oki Computer 2 features two envelope generators. Both can be used for
general modulation via the Modulation Matrix, but envelope 1 can also be
routed directly to output volume in the [Filter / Out] section. Otherwise, the
envelope generators are identical.

The CC1 section allows you to record modulation wheel movements. To record
a sequence, click the [Record] button. The button will flash, indicating that
it is armed and waiting. Recording will begin when a MIDI note is pressed,
and finish when the note is released (or when all recording memory is used
up). You can record movements with the mouse, or the CC1 knob on a MIDI
controller. As long as the [Play] button is depressed, recordings will play back
each time a note is triggered. The recording is sent to MIDI CC1. Therefore,
to use the recording as a modulation source, select CC1 in the Modulation
Matrix. Note that even though sequences are recorded monophonically, play­back operates in full polyphony.

The sequencer is a highly flexible modulation source. It can operate as an
arpegiator, a custom shape LFO or an additional envelope. You can draw its
steps with the mouse.

You’ll find a standard LFO next to the sequencer.

Enve lo p e
1/2

CC1 Record

20 – Oki Computer 2 REAKTOR 5

Attack Controls the attack time of the envelope generator.

Hold Controls the hold time of the envelope generator.
Decay Controls the decay time of the envelope generator.
Sustain Controls the sustain level of the envelope generator.
Release Controls the release time of the envelope generator.
Speed
Velocity

Clock Sync

Loop

Play

Loop

Multiplies the overall envelope time.
Determines the extent to which envelope amplitude is

linked to velocity.
Synchronizes the envelope times to the global MIDI

tempo.
Activating this button results in the attack, hold and de-

cay stages looping when MIDI notes are depressed.
Arms the CC1 recorder.
Enables playback of the recorded movements, triggered

like an envelope by MIDI gate signals.
Loops the recorded movement on playback.

Sequencer Clock Sync

Phase Lock

Loop

Snap

Frequency
Length Sets the sequencer length in steps.
Smooth

Variation

LFO Clock Sync

Phase Lock

Frequency
Phase

Fade

Shape
FM / AM

Synchronize the sequencer to the MIDI clock. Note
that when both [Clock Sync] and [Phase Lock] are
activated, the sequencer becomes locked to the MIDI
song position.

Locks the phase of the sequencer. When this is active,
MIDI note events will not re-trigger the sequencer.
Note that when both [Clock Sync] and [Phase Lock]
are activated, the sequencer becomes locked to the
MIDI song position.

When enabled, the sequencer will loop indefinitely,
otherwise it will play back only once when triggered.

Activates a vertical grid with a step size of 1/12 of the complete
height.

Determines the sequencer speed.

Determines the amount of interpolation between ad­jacent steps (at hard-right, the sequencer produces
smooth envelope-type output).

Imparts a kind of swing onto the sequencer movement,
so steps play alternately faster and slower. Center this
control for equal length steps.

Synchronize the LFO to the MIDI clock. Note that when
both [Clock Sync] and [Phase Lock] are activated, the
LFO becomes locked to the MIDI song position.

Locks the phase of the LFO. When this is active, MIDI
note events will not re-trigger the LFO. Note that when
both [Clock Sync] and [Phase Lock] are activated, the
LFO becomes locked to the MIDI song position.

Sets the LFO speed.
Determines the point in the LFO wave where oscilla-

tion begins when a note is triggered. This only function
when [Phase Lock] is off.

Sets the fade-in time of the LFO (i.e. the time taken
to reach full amplitude).

Skews the LFO shape to either the left or right.
Determine the amount which the modulation wheel

(including recorded movements) modulatea frequency
and amplitude respectively.

Oki Computer 2 – 21REAKTOR 5

Modulation Matrix

The modulation matrix enables any four modulation sources to be routed to
any four destinations. You can select modulation sources using the upper
drop-down menus. Destinations are selected with the lower menus. The sliders
in-between these menu set the modulation amount. The full list of modulation
sources and destinations is summarized in the following table:

Sources Vel MIDI note on velocity (0 to 1)

PB MIDI pitchbend wheel (-1 to 1)
CC1

E2 Envelope generator 2 (0 to 1)
Seq The sequencer (-1 to 1)
LFO The LFO (-1 to 1)

Destinations Amp Output volume (-100% to +100%)

Pitch Oscillator pitch (-12 to +12 semitones)
Wave Oscillator wave position (-16 to +16)
Cutoff Filter cutoff (-60 to +60 semitones)
Chorus Chorus frequency (-100% to 100%)

MIDI CC1 - the modulation wheel. Note that
recorded CC1 movements (in the record­able envelope section) are routed to this
parameter.

(0 to 1)

22 – Oki Computer 2 REAKTOR 5

SteamPipe 2

SteamPipe 2 is a physical-modeling synthesizer that effectively models air
being blown through a tunable pipe. It uses a tuned resonator to create bowed,
blown, and plucked sounds, as well as strange new hybrid sounds. In addition
to a tuned all-pass filter and many controls for the “shape” of the pipe, there
is a mod wheel-controlled filter to achieve damping and breath noise effects.
The excellent-sounding SpaceMaster Deluxe reverb unit adds dimension to
the overall signal. You can find it on panel B.

SteamPipe 2 simulates air passing through a pipe of variable size and reso­nance. It’s physical-modeling techniques use contoured noise signals passing
through tuned and filtered feedback delays. The ensemble is basically split
into two parts: Steam and Pipe. The Steam module generates shaped and
filtered noise. Think of the Steam module as SteamPipe 2’s oscillator. Steam
provides the sound energy that will be pitch-formed by the Pipe. The Pipe
module gives the “wind” pitch and resonance. The patch also has an ADSR
volume envelope and a low pass filter. Both can be modulated by key- and
velocity-tracking.

Steam Pipe 2 can be a very expressive synthesizer, so make sure that you
plug in your MIDI keyboard and check out the presets with the mod wheel
in action.

Steam

The timbral shaping of the DC/Noise source occurs in the Steam section. The

SteamPipe 2 – 23REAKTOR 5

low pass filter works in 1-pole or 2-pole mode, though the resonance control
only applies to the 2-pole filter. After the noise is filtered, the signal is fed
into the Pipe module.

Attack

Envelope

Decay

Sustain

Release

Velocity Controls the velocity sensitivity of the envelope. The higher this value is,

Scaling

Legato Toggles legato mode on or off. If on, the envelope restarts only when the

DC / Noise

Cutoff The cutoff frequency of the low-pass filter.

Generator

Reso

Poles Toggles between 1-pole and 2-pole low-pass.
Key-track Controls the key-tracking of the filter. This will scale the cutoff frequency

Vel-Track

Env-Amt Sets the amount of envelope to the cutoff frequency.

Sets the attack time of an ADSR envelope triggered by MIDI gate events
and used to generate a short initial steam signal; logarithmic control.

Sets the decay time of an ADSR envelope triggered by MIDI gate events and
used to generate a short initial steam signal; logarithmic control.

Sets the maximum level the envelope will reach. This gets modulated by
velocity if [VelSns] is on.

Sets the time that passes until the envelope is completely faded out after
the note-off signal.

the higher the peak value of the envelope will be.
This scales the envelope times depending on the pitch of the incoming

MIDI notes. Turn to the left for no keyboard scaling, to the right for shorter
envelope times on higher notes.

gate changes from zero to positive.

Crossfades between the DC component at the left and filtered noise at the
right. The mixed signal is used as steam input of the resonating pipe.

Sets the level of resonance of the filter. Only works when the filter is in
2-pole mode.

according to keyboard position. The lower the note pitch, the lower the
cutoff frequency will be.

Controls the velocity scaling of the filter. Turn to the right for higher cutoff
frequencies at higher MIDI velocities.

24 – SteamPipe 2 REAKTOR 5

Pipe

The Pipe module is made up of a number of sub-modules for creating pitch
and resonance. The noise signal is fed from a single tuned delay providing
pitch, into the [Allpass] module for generating resonance. Next, a [Saturator]
receives the signal and applies edge and break-up. The [MW Filter] com­pletes the signal chain with an overall tone shaping stage. The [Feedback]
and [Push-Pull] sections act on signals diverted from the main signal chain
and passed back into it via feedback loops. Unlike the [Feedback] section,
which simulates the pipe itself, the Push-Pull section controls the air and its
oscillations within the pipe.

The [Delay Tune] module contains the tuned delay that provides pitch to the
Steam. The [Tune] and [Fine tune] knobs allow you to set the signal’s funda­mental pitch. The A440 oscillator at the bottom of the ensemble provides a
reference pitch for tuning purposes. The Delay pitch can be swept negatively
or positively by the mod wheel, with the amount of modulation set by the
[MW] knob.

The Allpass filter receives the tuned signal from the resonant delay. It can
be turned on and off with the [Power] button in the [Allpass] section. This
allpass can be tuned to create resonance effects. You can produce glassy,
metallic and bell-like sounds by detuning the allpass filter against the delay. By
adjusting the [Diffusion] knob, you can also create a variety of reverb sounds

- the simulation of air echoing along a pipe’s hard surface.

The Saturation module morphs between saturation and clipping, overdriving
or breaking up the signal before it hits the MW Filter.

The [MW Filter], controlled by the mod wheel, features a 1-pole high pass
followed by a 1-pole low pass filter. Each filter allows you to set a wheel-down
and a wheel-up setting, making it possible to set up complex timbre changes
and damping effects. Each filter can have its own [key track] setting.

The [Polarity] switch inverts the pipe polarity, changing the timbre of the sound.
This often transforms high frequency tones to deep ones and vice versa.

The [Feedback] module processes the feedback in the signal chain. The
[Rev-Time] knob extends or shortens the reverb generated by this feedback
signal. The reverb signal can be muffled with the [Damp] control. Damping
can be modified by [Key-Track] amount. High [Key-Track] values result in
more damping on higher pitches. This allows SteamPipe 2 to emulate struck
or plucked instruments like pianos, harps, and acoustic guitars.

SteamPipe 2 – 25REAKTOR 5

Tune Sets the fundamental pitch of the signal. For standard musical tunings set

it to the [A440] oscillator at the bottom of the patch.

Fine Tune Fine control of signal pitch.

Delay Tune

SREC

Mod-Whl

Rev-Time

Feedback

Damp Sets the amount of high frequency damping of the pipe at key-up.
Key-track

Tune Controls the pitch of the allpass resonance. If the allpass filter is switched

Fine Tune Fine tunes the allpass resonance pitch. If the allpass filter is switched off,

Allpass Tune

SREC

Mod-Whl

Sample rate error correction. Adjusts the tuning correction of the pipe. When
the signal modifications in this patch and Reaktor’s sampling rate interfere
with the physical model of SteamPipe, this extra-fine pitch tuning becomes
necessary. Tune against the A440 section.

Sets the amount of pitch modification by the MIDI modulation wheel. This
simulates pitch changes of pipes getting blown softer or harder.

Adjusts the time of the pipe’s reverberation, i.e. the amount of damping ap­plied to the feedback’s signal before it is mixed again with the new incoming
signal. The longer the reverb time, the more the incoming noise steam signal
becomes a tone with recognizable pitch.

Controls the feedback’s key-tracking. Turn to the right for longer reverb
times at high MIDI pitches.

off, this control shows no effect.

this control shows no effect.
Sample rate error correction. Adjusts the tuning correction of the pipe. When

the signal modifications in this patch and Reaktor’s sampling rate interfere
with the physical model of SteamPipe, this extra fine-tuning of pitch becomes
necessary. Tune against the A440 section. If the allpass filter is switched
off, this control shows no effect.

Sets the amount of pitch modification by the MIDI modulation wheel. This
simulates pitch changes of pipes getting blown softer or harder.

26 – SteamPipe 2 REAKTOR 5

On / Off Turns the allpass module on or off. Switch on for additional attack effects

Allpass

of the pipe’s sound.

Diffusion

Offset

Push-Pull

Push Sets the amount of reverberating steam.

Soft /
Hard

Saturation

Symmetry

Polarity This control inverts the polarity of the pipe, thereby changing the timbre of

Polarity

Sets the diffusion of the resonances generated by the allpass module. Turn
to the left for additional attack effects of the pipe’s sound. It also enhances
the sound of harmonic frequencies which are not multiples of the main
pitch, like e.g. in bells.

Sets the offset amount added to the reverberating steam signal. This pa­rameter influences the incoming steam and its reverberation in the pipe. It
interacts tonally with the Polarity button.

Controls the balance between soft saturation and hard clipping.

This parameter introduces level asymmetry into the signal. With increasing
asymmetry the positive part of the signal is reduced.

the sound. It interacts tonally with the [Push-Pull] section.

SteamPipe 2 – 27REAKTOR 5

Hi Pass 0 Sets the cutoff frequency of an additional highpass filter within the pipe to

enhance formant frequencies. The formants are modified by the pressure
in the pipe (not by the pipe’s pitch). The pressure can be controlled by the
mod wheel. At low modulation wheel values this knob is used to determine

Mod-Wheel to filter

Hi Pass 1 Sets the cutoff frequency of an additional highpass filter within the pipe to

Key- t rack
High

Lo Pass 0 Sets the cutoff frequency of an additional lowpass filter within the pipe to

Lo Pass 1 Sets the cutoff frequency of an additional lowpass filter within the pipe to

Key-Track
Low

the formant frequency.

enhance formant frequencies. The formants are modified by the pressure
in the pipe (not by the pipe’s pitch). The pressure can be controlled by the
mod wheel. At high modulation wheel values this knob is used to determine
the formant frequency.

Controls the amount of key-tracking applied to the highpass filter’s cut­off frequency. Turn to the right for higher cutoff frequencies at high MIDI
pitches.

enhance formant frequencies. The formants are modified by the pressure
in the pipe (not by the pipe’s pitch). The pressure can be controlled by the
MOD wheel. At low modulation wheel values this knob is used to determine
the formant frequency.

enhance formant frequencies. The formants are modified by the pressure
in the pipe (not by the pipe’s pitch). The pressure can be controlled by the
mod wheel. At low modulation wheel values this knob is used to determine
the formant frequency.

Controls the amount of key-tracking applied to the lowpass filter’s cut­off frequency. Turn to the right for higher cutoff frequencies at high MIDI
pitches.

Global Controls

The last section of SteamPipe 2 consists of global controls over pitch, po­lyphony, glide, and an output stage. You also get an Arpeggiator and a test
tone generator.

28 – SteamPipe 2 REAKTOR 5

Pitch Bend Sets the range of the pitch bend wheel.
Detune Introduces a slight detune into the signal for a livelier sound.
Mode

Voice Mode

Glide on / off Toggles glide on or off.
Glide Time This sets the time the pitch of SteamPipe takes to follow incoming

Mod-Whl

Arp Mode

Arp Speed

Spread Introduces a stereo spread into the main output.

Output

Gain Main output volume control.
A440 Tuning tone

A440

on / off
Gain Controls the volume of the 440Hz tuning tone.

Menu for the different polyphony modes. Choose between poly, mono,
unison, and three arpeggiator modes.

MIDI pitches, when [Glide] is on.
This knob follows an incoming mod wheel signal. Use it when you

have no hardware controller available.
This menu offers different arpeggiation modes. Choose between up

(>>), down (<<), up and down (>><<), and random.
Menu for choice between different speeds relative to the global

tempo.

If on, a sine oscillator’s signal is mixed into the main output. Use it
to tune the pipe. The frequency is 440Hz.

Space Master Deluxe

You can find this remarkable reverb module on panel B of the SteamPipe 2.
Based on several diffusion delays, Space Master can produce a wide array
of high-quality natural or experimental ambiences. The patch’s useful set of
reverb parameters include an early reflections section, a late reflections module,
and a post EQ. Dials for main reverb time, control of balance between the two
reflection stages, and between dry and wet signal round off the controls.

Input and output stage

You can put an initial delay into the reverb signal with the predelay [Time]
dial and control the predelay’s stereo position with the [Symmetry] knob. The
[Early / Late Balance] slider can be used to move the source in space – more
early reflections bring the signal to the front and more late reflections make

SteamPipe 2 – 29REAKTOR 5

it appear further back in space. At the end of the signal chain the [Dry / Wet]
slider crossfades between original signal and reverb.

Time Sets an initial delay for the wet signal.
Symmetry

Predelay

Early/Late
Balance

Mixing

Dry / Wet This controls the balance between dry and wet signal.

Power button Switches the reverb on or off.

Introduces a difference into the delay times for the right and left predelay
channels. Use this to position the signal around in the stereo field.

With this parameter you can set how much of the early and late reflec­tions, respectively, can be heard in the output.

Reflections

Use the two [Size] and [Diffusion] parameters to control two stages of variable
density diffused reflections. The early stage commonly represents the direct
response of the virtual space, whereas the late reflections define the sound
when the early reflections have died away.

For dynamic reverb effects you can use the Modulation section. It offers an
LFO routed to the delay times with [Rate] and [Depth] control. The LFO can
enhance your reverb signal by adding liveliness.

Size Determines the amount of space generated by the early or late reflec-

tions modules by adjusting delay time of the underlying diffusion delays.

Higher values give the impression of larger spaces.
Symmetry Introduces a stereo shift into the generated reflections.
Diffusion

Early / Late Reflections

Reverberation
Time RT60

Rate Control of LFO frequency modulating the delay times.
Depth Control for the LFO’s modulation depth. Higher values yield increased

Modulation

30 – SteamPipe 2 REAKTOR 5

Adjusts the perceived density of the reflections generated. Use for a

sparser or fuller reverb sound.

This control alters the decay time of the reverb response.

amplitude modulation.