Native Instruments Reaktor 5 Instrument Guide

REAKTOR 5

Instrument Guide

The information in this document is subject to change without notice and does 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, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments Software Synthesis GmbH. All product 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
Native Instruments GmbH	Native Instruments USA, Inc.
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

REAKTOR 5

Table of Contents – III

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

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Carbon 2 – 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	Selects the waveform of each oscillator slot. Along with the stan-
		dard 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.)
	Level	Sets the slot’s volume level.
	Level Modulation	Selects the slot’s volume level modulation source.
	Source
	Level Modulation	Sets the amount and polarity of modulation applied to the slot’s
	Amount	volume level. Clicking on the control’s title bar restores the value
		to its default.
Pitch	A/B Modulation	Selects sources to modulate the oscillators’ pitch. The two indi-
	Source	vidual slots ([A] and [B]) can mix up to two sources.
	A/B Modulation	Adjusts the amount and polarity of modulation applied to the
	Amount	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.
	Osc1/2/3 Pitch	Transposes the oscillators’ sound respectively. The left side of
	Shift	the control adjusts coarse values, the right side is used for fine-
		tuning; by clicking on the controls title bar with the mouse the
		value is reset to its default.
	Osc1/2/3	Turns modulation of the oscillator’s pitch by modulation slot [A]
	Modulation	or [B] on or off.
	Switch A/B

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Wave	A/B Modulation	Selects sources to modulate the waveform. The two individual
	Source	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].
	A/B Modulation	Adjusts the amount and polarity of modulation applied to the
	Amount	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].
	Osc1/2/3	This either selects a digital waveform from the wavetable, or – if
	Waveform	the doubled sawtooth is activated in [Osc1/2/3] – this controls
	Control	the ratio between the phases of both sawtooth waves.
	Osc1/2/3	Turns modulation of the waveform selection by modulation slot
	Modulation	[A] or [B] on or off.
	Switch A/B
Sync	Gate Sync Switch	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.
	Gate Sync Phase	Controls the phase to which all oscillators are set on MIDI gate
		events. Clicking on the control’s title bar restores the default
		value.
	Osc2/3 Sync	Switches on or off the synchronization of the oscillators 2 and 3
	Switch	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].)
	Osc2/3 Sync	Controls the phase to which the oscillators 2 and 3 are reset
	Phase	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].)
	Osc2/3 Mode	Interpolates between hard synchronization (at low values) and
	Fade	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.

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Carbon 2 – 7

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	Effect A/B	Selects the effect units applied to the signal before it passes to
Effects	Mode Select	the filter. There are low and high shelf EQs in the left [A] menu and
		saturation and quantization in the subsequent right [B] menu.
	Effect A/B	Sets the parameter of the effect unit selected by [Effect A/B Mode
	Amount	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.
Main	PreAmp	Controls the level correction of the signal after it has passed the
		[Pre-Filter Effects] section and before it enters the main filter.
	Mode	Selects the filter mode. There are high-pass, bandpass and band-
		reject filters, several low-pass modes, a feedback lowpass, a
		peak equalizer, and a comb filter.
	Cutoff	Sets the frequency of the filter.
	Resonance	Sets the resonance of the filter.
	Bandwidth	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.
	E2	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.
	Key	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.

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	Cutoff/	Selects the sources used to modulate the filter’s cutoff, resonance
	Resonance/	and bandwidth. Up to two sources can be selected, and their
	Bandwidth	signals are summed together. In case of the cutoff modulation,
	Modulation	these signals are added to the hard-wired modulation by the
	Source	second envelope generator and the MIDI pitch.
	Cutoff/	Adjusts the amount and polarity of modulation applied to the
	Resonance/	filter’s cutoff, resonance and bandwidth. Clicking on the control’s
	Bandwidth	title bar restores the default value. In case of the cut-off modula-
	Modulation	tion, this amount doesn’t affect the hard-wired modulation by
	Amount	the second envelope generator and the MIDI pitch.
Post-	Effect A/B	Selects the effect units applied to the signal after the filter, before
Filter	Mode Select	it gets routed to the main effect units. You’ll find saturation and
Effects		quantization in the left [A] menu, and lowpass and highpass
		filters in the right [B] menu.
	Effect A/B	Sets the parameter of the effect unit selected by [Effect A/B
	Amount	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.

	Power & Mix	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.
Pitch	Shift L / R	Determine the pitch shift of the left and right channel respec-
Shifter		tively in semitones.
	Grain Size L/ R	Adjust the grain size of the pitch shifting algorithm for the left
		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.
	Feedback	Controls the amount of feedback.
	Reverse	Switches between forward and reverse grain playback.

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Carbon 2 – 9

Phaser	Center Frequency	Sets the center frequency of the filters that produce the phaser
		signal.
	Modulation Rate	Sets the speed at which the [Center Frequency] is modulated.
	Phase	Sets the phase of the LFO modulating the [Center Frequency].
		(See also [Modulation Rate].)
	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	Controls the boost (or damping) applied to the bass frequencies
		below 300 Hz.
	Mid Frequency	Adjusts the frequency of the peak equalizer applied to the middle
		frequency spectrum.
	Mid Boost	Controls the boost (or damping) applied to the middle frequen-
		cies around the [Mid Frequency].
	Mid Resonance	Sets the resonance of the mid equalizer.
	High Frequency	Adjusts the frequency of the high shelf equalizer.
	High Boost	Controls the boost (or damping) applied to the frequencies above
		the [High Frequency].
Delay	Delay L / R	Sets the delay times of the left and right channel respectively.
		The time is controlled in increments selected by the [Quantize]
		control.
	Fine L / R	Adds an offset to the values controlled by [Delay L / R] in mil-
		liseconds.
	Quantize	Selects the unit by which the delay times are quantized. Sixteenth
		notes and eighth triplets are available.
	Feedback	Sets the amount of feedback.
	Wrap	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.
	Resonance	Sets the amount of resonance applied to the low-pass and high-
		pass filters within the feedback circuit.
	Lowpass	Controls the frequency of the low-pass filter within the feedback
		circuit.
	Highpass	Controls the frequency of the high-pass filter within the feed-
		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	Trigger	Selects the events that re-trigger the envelope generator. [Gate]
Generators		only activates the MIDI gate signal. [Clock Gate] re-triggers the
1/2		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].)
	Quantization	Selects the metrical unit used to re-trigger the envelope if
		[Trigger] is set to [Clock Gate] or [SP Clock Gate].
	Key	Controls the amount and polarity of modulation applied to the
		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 modu-
		lation, i.e. longer times at low pitches.
	Velocity	Controls the current velocity’s influence on the envelope am-
		plitude. At low values the envelope triggers with the same am-
		plitude; at high values the MIDI velocity determines its peak
		value.
	Transition Time	Selects the additional modulation applied to the envelope gen-
	Modulation	erator’s transition times. The attack phase can be modulated by
	Select	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].
	Transition Time	Controls the amount and polarity of modulation applied to the
	Modulation	destination selected by [Transition Time Modulations Select].
	Amount	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.
	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.

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Carbon 2 – 11

Release	Sets the release time of the envelope generator.
Hold	Sets the duration of an additional hold phase between attack
	and decay.
Delay	Adds an initial delay period before the trigger signal restarts
	the envelope
R=D	Links the release time to the decay time. If on, the value adjusted
	by [Decay] is also used to control the release phase.
Envelope Record	Arms the recordable envelope. The recording is
Generator	started when a MIDI gate is received and ends

3when the gate closes. All movements of the [Value] knob are stored and can be played back as envelope (see [Play]).

	Play	Enables playback of the recorded movements, trig-
		gered like an envelope by MIDI gate signals.
	Loop	Loops the recorded movement on playback.
	Value	When recording (see [Record]), every movement of this knob is
		stored to the memory. During playback (see [Play]), the knob
		displays the recorded movements.
LFO 1/2	Waveform	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.
	Amplitude	Selects the source used to modulate the LFO’s amplitude. Clicking
	Modulation	the control’s title bar restores the value to its default.
	Source
	Amplitude	Adjusts the amount and polarity of modulation applied to the
	Modulation	LFO’s amplitude.
	Amount
	Trigger Mode	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.

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	Reset Phase	Adjust the phase to which the LFO is set on re-triggering
		events.
	Rate	Selects the source used to modulate the LFO’s frequency. If
	Modulation	[Trigger Mode] is set to [Clock Gate] or [SP Clock Gate], fre-
	Source	quency modulation is not available.
	Rate	Adjusts the amount and polarity of modulation applied to the
	Modulation	LFO’s frequency. Clicking the control’s title bar restores the value
	Amount	to its default. If [Trigger Mode] is set to [Clock Gate] or [SP Clock
		Gate], frequency modulation is not available.
	Rate	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, quan-
		tizing the LFO’s rate to the metrical units selected in [Rate
		Quantization].
	Rate	Selects the metrical unit used as quantization grid for [Rate]
	Quantization	when [Trigger Mode] is set to [Clock Gate] or [SP Clock Gate].
KeyScaler	Sliders	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.
MIDI	Faders	The leftmost fader is hard-wired to the MIDI modulation wheel.
Controllers		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.

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Carbon 2 – 13

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	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.
Envelope Mode	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.
Unisono	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.
Unisemi	Sets the amount of pitch shifting applied to each voice when [Uni Mono]
	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.
Drift	Enables a drift mode that slightly detunes higher pitches. This results in
	a more analogue like sound.
Key	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.
Velocity	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.

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Coarse	Sets the global tuning of the instrument in semitones, ranging from -63
	to +64.
Fine	Sets the global tuning of the instrument in semitones, ranging from -0.5
	to +0.5
Glide Speed	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]).
Pitchbend Range	Sets the range in semitones by which the MIDI pitchbend wheel transposes
	the global pitch.
Vibrato Mode	Selects whether vibrato is off, on, or faded in by the MIDI modulation
	wheel.
Vibrato Amount	Sets the amount of vibrato. Clicking the control’s title bar restores the
	value to its default.
Vibrato Style	Selects between three different vibrato modes.
Key	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.
Tremolo Mode	Selects whether tremolo is off, on, or faded in by the MIDI modulation
	wheel.
Tremolo Amount	Sets the amount of tremolo. Clicking the control’s title bar restores the
	value to its default.

Vibrato & Tremolo Sets the speed of both vibrato and tremolo.

Frequency

Voice Panning	Selects whether the instrument’s voices are placed at different positions
Switch	within the stereo field. Especially in combination with the [Unisono] control
	this can produce impressing spatial effects.
Voice Panning	Sets the amount of voice panning. Clicking the control’s title bar restores
Amount	the value to its default.
Master 1/2	Defines the instrument’s output level. Use the large middle knob to adjust
	the preset’s maximum level; the smaller knob to the right controls the
	instrument’s output amplitude in all patches.
Key Amp	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.

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Carbon 2 – 15

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,

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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	Selects whether the instrument is used as polyphonic or monophonic syn-
	thesizer.
Unison	Determines the number of simultaneous voices. This is only active if [Gate
	Mode] is set to [mono].
Spread	Defines the amount of voice detuning in semitones. This is only active if [Gate
	Mode] is set to [mono].
Glide	Sets the amount of portamento, i.e. the time used to reach a new MIDI pitch.
	This is only active if [Gate Mode] is set to [mono].
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.

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’.

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Oki Computer 2 – 17

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	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.
Phase	Rotates the wave start position within the oscillator cycle.
Shape	Skews the wave shape to either the left or right (on the pulse
	wave this is identical to a pulse width control).
Digitize	Reduces the wave’s bit depth.
Amp	Attenuates the wave volume.
Copy	Stores the current settings into an edit buffer that can be read out again
	by the [Paste] button.

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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 wrap-
	ping 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	Selects the main output envelope. In most cases, [E1] will be the preferred
Envelope Mode	choice. Sometimes however, you may want to use Envelope 1 for modula-
	tion purposes only. In this case, select either [G] (MIDI gate, ignoring
	velocity) or [Vel] (MIDI gate, including velocity).
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	Defines the amount of cut-off pitch tracking. At 100%, cut-off is in-
	creased 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.
Low-pass,	Determines the mix ratio of the high-pass, band-pass and low-pass
Band-pass,	components of the filter output signal.
High-pass

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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.

Envelope	Attack	Controls the attack time of the envelope generator.
1/2
	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	Multiplies the overall envelope time.
	Velocity	Determines the extent to which envelope amplitude is
		linked to velocity.
	Clock Sync	Synchronizes the envelope times to the global MIDI
		tempo.
	Loop	Activating this button results in the attack, hold and de-
		cay stages looping when MIDI notes are depressed.
CC1	Record	Arms the CC1 recorder.
	Play	Enables playback of the recorded movements, triggered
		like an envelope by MIDI gate signals.
	Loop	Loops the recorded movement on playback.

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Sequencer	Clock Sync	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.
	Phase Lock	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.
	Loop	When enabled, the sequencer will loop indefinitely,
		otherwise it will play back only once when triggered.
	Snap	Activates a vertical grid with a step size of 1/12 of the complete
		height.
	Frequency	Determines the sequencer speed.
	Length	Sets the sequencer length in steps.
	Smooth	Determines the amount of interpolation between ad-
		jacent steps (at hard-right, the sequencer produces
		smooth envelope-type output).
	Variation	Imparts a kind of swing onto the sequencer movement,
		so steps play alternately faster and slower. Center this
		control for equal length steps.
LFO	Clock Sync	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.
	Phase Lock	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.
	Frequency	Sets the LFO speed.
	Phase	Determines the point in the LFO wave where oscilla-
		tion begins when a note is triggered. This only function
		when [Phase Lock] is off.
	Fade	Sets the fade-in time of the LFO (i.e. the time taken
		to reach full amplitude).
	Shape	Skews the LFO shape to either the left or right.
	FM / AM	Determine the amount which the modulation wheel
		(including recorded movements) modulatea frequency
		and amplitude respectively.

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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	MIDI CC1 - the modulation wheel. Note that	(0 to 1)
		recorded CC1 movements (in the record-
		able envelope section) are routed to this
		parameter.
	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%)

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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 keyand 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

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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.

Envelope

Generator

Attack	Sets the attack time of an ADSR envelope triggered by MIDI gate events
	and used to generate a short initial steam signal; logarithmic control.
Decay	Sets the decay time of an ADSR envelope triggered by MIDI gate events and
	used to generate a short initial steam signal; logarithmic control.
Sustain	Sets the maximum level the envelope will reach. This gets modulated by
	velocity if [VelSns] is on.
Release	Sets the time that passes until the envelope is completely faded out after
	the note-off signal.
Velocity	Controls the velocity sensitivity of the envelope. The higher this value is,
	the higher the peak value of the envelope will be.
Scaling	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.
Legato	Toggles legato mode on or off. If on, the envelope restarts only when the
	gate changes from zero to positive.
DC / Noise	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.
Cutoff	The cutoff frequency of the low-pass filter.
Reso	Sets the level of resonance of the filter. Only works when the filter is in
	2-pole mode.
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
	according to keyboard position. The lower the note pitch, the lower the
	cutoff frequency will be.
Vel-Track	Controls the velocity scaling of the filter. Turn to the right for higher cutoff
	frequencies at higher MIDI velocities.
Env-Amt	Sets the amount of envelope to the cutoff frequency.

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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.

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Delay Tune

Feedback

Allpass Tune

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.
SREC	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.
Mod-Whl	Sets the amount of pitch modification by the MIDI modulation wheel. This
	simulates pitch changes of pipes getting blown softer or harder.
Rev-Time	Adjusts the time of the pipe’s reverberation, i.e. the amount of damping ap-
	plied 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.
Damp	Sets the amount of high frequency damping of the pipe at key-up.
Key-track	Controls the feedback’s key-tracking. Turn to the right for longer reverb
	times at high MIDI pitches.
Tune	Controls the pitch of the allpass resonance. If the allpass filter is switched
	off, this control shows no effect.
Fine Tune	Fine tunes the allpass resonance pitch. If the allpass filter is switched off,
	this control shows no effect.
SREC	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.
Mod-Whl	Sets the amount of pitch modification by the MIDI modulation wheel. This
	simulates pitch changes of pipes getting blown softer or harder.

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Allpass

Push-Pull

Saturation

Polarity

On / Off	Turns the allpass module on or off. Switch on for additional attack effects
	of the pipe’s sound.
Diffusion	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.
Offset	Sets the offset amount added to the reverberating steam signal. This pa-
	rameter influences the incoming steam and its reverberation in the pipe. It
	interacts tonally with the Polarity button.
Push	Sets the amount of reverberating steam.
Soft /	Controls the balance between soft saturation and hard clipping.
Hard
Symmetry	This parameter introduces level asymmetry into the signal. With increasing
	asymmetry the positive part of the signal is reduced.
Polarity	This control inverts the polarity of the pipe, thereby changing the timbre of
	the sound. It interacts tonally with the [Push-Pull] section.

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Mod-Wheel to filter

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 the formant frequency.

Hi Pass 1 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 high modulation wheel values this knob is used to determine the formant frequency.

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

pitches.

Lo Pass 0 Sets the cutoff frequency of an additional lowpass 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 the formant frequency.

Lo Pass 1 Sets the cutoff frequency of an additional lowpass 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 the formant frequency.

Key-Track Controls the amount of key-tracking applied to the lowpass filter’s cutLow off 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.

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Voice Mode

A440 Output

Pitch Bend	Sets the range of the pitch bend wheel.
Detune	Introduces a slight detune into the signal for a livelier sound.
Mode	Menu for the different polyphony modes. Choose between poly, mono,
	unison, and three arpeggiator modes.
Glide on / off	Toggles glide on or off.
Glide Time	This sets the time the pitch of SteamPipe takes to follow incoming
	MIDI pitches, when [Glide] is on.
Mod-Whl	This knob follows an incoming mod wheel signal. Use it when you
	have no hardware controller available.
Arp Mode	This menu offers different arpeggiation modes. Choose between up
	(>>), down (<<), up and down (>><<), and random.
Arp Speed	Menu for choice between different speeds relative to the global
	tempo.
Spread	Introduces a stereo spread into the main output.
Gain	Main output volume control.
A440 Tuning tone	If on, a sine oscillator’s signal is mixed into the main output. Use it
on / off	to tune the pipe. The frequency is 440Hz.
Gain	Controls the volume of the 440Hz tuning tone.

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

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

Mixing Predelay

Time	Sets an initial delay for the wet signal.
Symmetry	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.
Early/Late	With this parameter you can set how much of the early and late reflec-
Balance	tions, respectively, can be heard in the output.
Dry / Wet	This controls the balance between dry and wet signal.
Power button	Switches the reverb on or off.

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.

Modulation Early / Late Reflections

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	Adjusts the perceived density of the reflections generated. Use for a
	sparser or fuller reverb sound.

Reverberation This control alters the decay time of the reverb response. Time RT60

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

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