Specifications

Digidesign Plug-Ins Guide92
All Adds all of the harmonic overtones gener-
ated by the resonator. In synthesizer parlance,
this produces a somewhat buzzier, sawtooth
wave-like timbre.
Odd Adds only the odd-numbered harmonic
overtones generated by the resonator. In syn-
thesizer parlance, this produces a somewhat
more hollow, square wave-like timbre.
Toggle
Reso can automatically toggle between the All
and Odd harmonics settings, producing a rhyth-
mic pulse in the timbre.
Harmonic toggling can be controlled either by
triggering (using the dynamics of the source au-
dio itself, or those of an external key input) or
by MIDI clock.
External Key Toggles the harmonics from a sepa-
rate reference track or an external audio source.
The source used for toggling is referred to as the
key input and is selected using the Side-chain In-
put pop-up. You can assign either an audio in-
put channel or a TDM bus channel.
Typically, a drum track is used as a key input so
that toggling occurs according to a definite
rhythmic pattern.
Key Listen When enabled, monitors the source
of the key input. It is useful to do this to fine
tune Reso’s settings to the key input.
Threshold Sets the level in decibels above which
toggling occurs. When the audio input level
rises above the Threshold level, Reso will toggle
its harmonics setting. The range of this control
is from a low of –48 dB (maximum toggling) to a
high of 0.0 dB (no toggling). If no key input is
used, the dynamics of the source audio will trig-
ger toggling. If a key input is used, the dynamics
of the key input signal will trigger toggling.
Threshold-based switching can be used at the
same time as Key Input-based switching.
MIDI Clock Triggers toggling in sync with a
MIDI beat clock signal. This creates a very regu-
lar, highly rhythmic wave sequencing effect
that is ideal for sessions arranged around MIDI
beat clock. This parameter can be set to quarter,
eighth, or sixteenth notes, or dotted triplet val-
ues of the same.
Amplitude Parameters
Gain Amount
Gain Amount attenuates output level gain.
Since resonation can cause extreme changes in
signal level, this is particularly useful for pre-
venting clipping and achieving unity gain with
the original signal level. This parameter is ad-
justable from a low of –96 dB (no gain) to a high
of 0.0 dB (maximum gain).
See “Using a Key Input for Side-chain Pro-
cessing” on page 84.
For quick numeric entry of MIDI beat clock
values, type “4,” “8,” or “16” for quarter
notes, eight notes, or sixteenth notes. Add
“t” for triplets, or “d” for dotted note values.
Typing “4t” for example, enters a quarter
note triplet value. Typing “16d” enters a
dotted sixteenth note value.
Amplitude parameters