11.3

ManualsBrandsPropellerhead Reason ManualsApplicationsReason

191

192

193

194

195

196

197

198

199

200

Table Of Contents

Table of Contents
Introduction
- Welcome!
- Introducing Reason Rack Plugin
- Conventions in the manual
- The Authorization system
- About Rack Extensions
  - The "Update Rack Extension Licenses" alert
  - The "Some licenses only available online" alert
- Getting all your content
- About automatic update checks
Overview
- Adding Reason Rack Plugin in your project
- The Reason Rack Plugin window
  - About different Themes
- Editing parameters
- Tool Tips
- Context menus
- Undo and Redo
Audio and MIDI Basics
- General audio and MIDI handling
  - Typical input/output configurations
- The I/O device
- Audio settings
  - Render audio using host buffer size setting
- About Plugin Delay Compensation
Using Reason Rack Plugin as an Instrument
- Creating an instrument
- Browsing for patches
- Adding effects
- Layering instruments
- Using separate audio outputs
- Adding Players
- Using Mixer devices
- Detailed control over MIDI note input
Using Reason Rack Plugin as an Effect
- Creating an effect
- Browsing for patches
- Creating effect chains
- Using sidechain inputs
Working in the Rack
- Creating devices
- Selecting devices
- Moving devices
- Re-routing devices
- Deleting devices
- Replacing devices
- Cut, Copy, Paste and Duplicate devices
- Naming devices
Routing Audio and CV
- Working on the back of the rack
  - Hiding cables
- Signal types
- Manual routing
- Auto-routing
Sounds, Patches and the Browser
- About patches
  - About the “Load Default Sound in New Devices” setting
- Loading patches
- Saving patches
- Opening the Browser and setting Browse Focus
  - Why can’t I see all files?
  - Browser settings
- About cross-browsing
  - Special instances of cross-browsing
- Browser details
- Browsing samples and loops
- Searching in the Browser
- Handling Missing Sounds
- About ReFills
The I/O device
- Introduction
- The back panel
- The front panel
Kong Drum Designer
- Introduction
- Overview
- About file formats
- Using patches
- Pad Settings
- The Drum and FX section
- The Drum modules
- The Support Generator modules
  - Noise Generator
  - Tone Generator
- The FX modules
- Connections
- Using Kong as an effect device
- Using external effects with Kong
Redrum Drum Computer
- Introduction
- About file formats
  - Redrum Patches
  - Drum Samples
- Using patches
- Programming patterns
- Redrum parameters
  - Drum sound settings
  - Global settings
- Using Redrum as a sound module
- Connections
  - For each drum sound channel:
  - Other
Dr. Octo Rex Loop Player
- Introduction
  - ReCycled Loops
- About REX file formats
- Loading and saving Dr. Octo Rex patches
  - About the Dr. Octo Rex patch format
- Playing Loops
  - Switching playback between Loop Slots
- Adding Loops
- Playing individual Loop Slices
- Slice handling
- Dr. Octo Rex panel parameters
- Dr. Octo Rex synth parameters
- Connections
Europa Shapeshifting Synthesizer
- Introduction
- Panel overview
- Signal flow
- Playing and using Europa
- Panel reference
- Connections
- Tips and Tricks
  - Creating an individual “pre amp envelope” for a Sound Engine
  - Recording display movements in the sequencer
Grain Sample Manipulator
- Introduction
  - A few words about granular synthesis
- Panel overview
- Playing and using Grain
- Panel reference
- Connections
- Tips and Tricks
  - Automating sample playback parameters from the sequencer
Thor Polysonic Synthesizer
- Introduction
  - About basic synthesizer terminology
  - Loading and Saving Patches
- Thor elements
- The Controller panel
- Using the Programmer
- Modulation bus routing section
- Step Sequencer
  - Basic operation
- Connections
Subtractor Synthesizer
- Introduction
  - Loading and Saving Patches
- The Oscillator Section
- The Filter Section
- Envelopes - General
- LFO Section
  - LFO 1 Parameters
  - LFO 2 Parameters
- Play Parameters
- External Modulation
- Connections
Malström Synthesizer
- Introduction
- The Oscillator section
- The Modulator section
  - Modulator parameters
  - Destinations
    - Mod:A
    - Mod:B
- The Filter section
- Routing
  - Routing examples
  - The output controls
    - Volume
    - Spread
- The play controls
- Connections
- Routing external audio to the filters
  - Connecting an external signal source
  - Connecting the signals from the Malström itself
Monotone Bass Synthesizer
- Introduction
- Panel overview
- Signal flow
- Playing and using Monotone
- Panel reference
- Connections
ID8 Instrument Device
- Introduction
  - The Sounds
- Using the ID8
Rytmik Drum Machine
- Introduction
- Panel overview
- Signal flow
- Global controls
  - Loading and saving patches
- The Drum Channel sections
- The Sample Playback section
- The Insert Effects section
  - Distortion
  - Low Cut and Hi Cut Filter
- The Master FX section
- Connections
Radical Piano
- Introduction
  - The pianos
    - The microphone configurations
- Using Radical Piano
- Connections
- Additional external control
Klang Tuned Percussion
- Introduction
- Panel overview
- Using Klang
  - Loading and saving patches
- Global performance and “play” controls
  - Note
  - Range
  - Pitch
  - Mod
- Panel controls
- Connections
Pangea World Instruments
- Introduction
- Panel overview
- Using Pangea
  - Loading and saving patches
- Global performance and “play” controls
  - Note
  - Range
  - Pitch
  - Mod
- Panel controls
- Connections
Humana Vocal Ensemble
- Introduction
- Panel overview
- Using Humana
  - Loading and saving patches
- Global performance and “play” controls
  - Note
  - Range
  - Pitch
  - Mod
- Panel controls
- Connections
NN-XT Sampler
- Introduction
- Panel overview
  - The main panel
  - The Remote Editor panel
- Loading complete Patches and REX files
- Using the main panel
- Overview of the Remote Editor panel
- About Samples and Zones
- Selections and Edit Focus
  - Selecting Zones
    - Selecting zones via MIDI
    - Selecting All Zones in a Group
  - Moving Edit Focus
    - Moving Edit Focus
- Adjusting parameters
- Managing Zones and Samples
- Working with Grouping
- Working with Key Ranges
- Setting Root Notes and Tuning
- Using Automap
  - Automapping zones chromatically
- Layered, crossfaded and velocity switched sounds
- Using Alternate
  - About the Alternate function
- Sample parameters
- Group parameters
- Synth parameters
- Connections
NN-19 Sampler
- Introduction
- General sampling principles
  - Background
  - Multisampling vs. single samples
- About audio file formats
- About Key Zones and samples
- Automap Samples
  - Mapping samples without Root Key or Tuning information
  - How Mapping Information is saved
- NN-19 synth parameters
- Play Parameters
- Connections
MIDI Out Device
- Introduction
- Using the MIDI Out Device
  - Setting up for MIDI controlling an external track/plugin
    - About recording the Player MIDI from the MIDI Out Device
  - Modulating MIDI Controllers from CV signals
- Connections
  - Sequencer Control
  - CV In to MIDI CC Out
Quartet Chorus Ensemble
- Introduction
- Panel reference
- Connections
Sweeper Modulation Effect
- Introduction
- Panel reference
- Connections
Alligator Triple Filtered Gate
- Introduction
  - About the Patch format
- Overview and signal flow
- Parameters
- Audio connections
  - Main Inputs and Outputs
  - Separate Outputs
- CV connections
- The built-in patterns
- Methods and Tips
Pulveriser
- Introduction
  - About the Patch format
- Parameters
- Modulation inputs and outputs
- Demolition tips and tricks
  - Beef up your sounds
  - Make your pads tremble
The Echo
- Introduction
  - About the Patch format
- Parameters
- CV/Gate inputs
- The Breakout Jacks
- Tips and Tricks
Scream 4 Sound Destruction Unit
- Scream 4 Sound Destruction Unit
BV512 Vocoder
- Introduction
  - How does a vocoder work?
- Setting up for vocoding
- Using the BV512 as an equalizer
  - Setting up
  - In use
- BV512 parameters
- Connections
- Tips and tricks
RV7000 Mk II Advanced Reverb
- Overview
- Reverb algorithms and parameters
- The EQ section
- The Gate section
- CV Inputs
Neptune Pitch Adjuster and Voice Synth
- Introduction
  - Typical use cases
- Overview and basic concepts
  - Sections overview
  - The display
- Setting up for pitch processing
- Using pitch correction
- Using pitch shifting (Transpose)
- Using Formant control
  - What are formants?
  - Using the Formant function
- Using the Voice Synth
- Panel parameters
- Connections
Softube Amps
- Introduction
  - Basic usage
  - Front panel
    - Common effect device parameters
- Using the Softube Amps
Audiomatic Retro Transformer
- Introduction
- Using Audiomatic Retro Transformer
- Connections
Channel Dynamics Compressor & Gate
- Introduction
- Panel reference
- Connections
Channel EQ Equalizer
- Introduction
- Panel reference
- Connections
Master Bus Compressor
- Introduction
- Panel reference
- Connections
Synchronous Timed Effect Modulator
- Introduction
- Panel overview
- Using Synchronous
- Panel reference
- About automation of display section parameters
- Connections
The MClass Effects
- The MClass effects
  - Common effect device parameters
- The MClass Equalizer
- The MClass Stereo Imager
  - Parameters
  - Connections
- The MClass Compressor
- The MClass Maximizer
  - Parameters
Half-Rack Effects
- Common effect device features
- DDL-1 Digital Delay Line
- CF-101 Chorus/Flanger
- Spider Audio Merger & Splitter
- Spider CV Merger & Splitter
- RV-7 Digital Reverb
  - Parameters
  - CV Inputs
- D-11 Foldback Distortion
  - Parameters
  - CV Inputs
- ECF-42 Envelope Controlled Filter
- PH-90 Phaser
- UN-16 Unison
  - Parameters
  - CV Input
- COMP-01 Auto Make-up Gain Compressor
  - Parameters
- PEQ-2 Two Band Parametric EQ
The Combinator
- Introduction
  - About the Combi patch format
- Creating Combinator devices
- Combinator elements
- About internal and external connections
- Adding devices to a Combi
- Combi handling
- The Controller panel
- Using the Programmer
Pulsar Dual LFO
- Introduction
- Panel parameters
- Modulation inputs and outputs
- Tips and Tricks
  - Patch between LFO 1 and LFO 2 on the back for more flexibility
  - Using Pulsar as a monophonic synth
RPG-8 Arpeggiator
- Introduction
- Using the RPG-8
  - Setting up
- RPG-8 Parameters
- CV connections
  - CV Inputs
  - CV Outputs
- Tips and tricks
Matrix Pattern Sequencer
- Introduction
  - About the three Output types
- Programming patterns
- Example usage
Mixer 14:2
- Introduction
- The Channel Strip
  - Channel Strip Controls
- The Mixer signal flow
- About the EQ modes
- The Auxiliary Return Section
- The Master Fader
- Connections
- Chaining several Mixer 14:2 devices
  - Partially or Non-Chained Mixers
The Line Mixer 6:2
- Introduction
- Channel parameters
- The Auxiliary Return section
- Master level
- Connections
Working with Players
- About this chapter
- Overview
  - General recording principle
- Using Players
- Dual Arpeggio
- Note Echo
- Scales & Chords
- Beat Map
- Tips & Tricks
Settings
- The Reason Rack Plugin Settings dialog
Index

EUROPA SHAPESHIFTING SYNTHESIZER193

Using the Envelope 3 and Envelope 4 curves as Sound Engine waveforms

As a special feature you can use the Envelope 3 and Envelope 4 curves as waveforms for the Sound Engines:

1. Select Envelope 3 and create/modify a curve in the envelope display:

2. Select Envelope 4 and create/modify another curve:

3. In the Waveform selector for a Sound Engine, select the “Envelope 3-4” waveform:

4. Turn the Shape knob to crossfade between the curves/waveforms of Envelopes 3 and 4: