11.3
Table Of Contents
- Table of Contents
- Introduction
- Overview
- Audio and MIDI Basics
- Using Reason Rack Plugin as an Instrument
- Using Reason Rack Plugin as an Effect
- Working in the Rack
- Routing Audio and CV
- Sounds, Patches and the Browser
- The I/O device
- Kong Drum Designer
- Introduction
- Overview
- About file formats
- Using patches
- Pad Settings
- The Drum and FX section
- The Drum modules
- The Support Generator modules
- The FX modules
- Connections
- Using Kong as an effect device
- Using external effects with Kong
- Redrum Drum Computer
- Introduction
- About file formats
- Using patches
- Programming patterns
- Redrum parameters
- Using Redrum as a sound module
- Connections
- Dr. Octo Rex Loop Player
- Introduction
- About REX file formats
- Loading and saving Dr. Octo Rex patches
- Playing Loops
- 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
- Sound Engines On/Off and Edit Focus section
- The Oscillator section
- The Modifiers section
- The Spectral Filter
- The Harmonics section
- The Unison section
- The User Wave and Mixer section
- The Filter section
- The Amplifier section
- The Envelopes section
- Envelope 1, 2, 3 and 4
- Preset
- Adding a Sustain stage
- Adding and removing envelope points
- Changing the envelope curve shape
- Looping the envelope
- Editing levels only
- Creating “free form” envelope curves
- Using the Envelope 3 and Envelope 4 curves as Sound Engine waveforms
- Using the Envelope 4 curve as a Spectral Filter curve
- The LFO section
- The Effects section
- The Modulation Bus section
- Connections
- Tips and Tricks
- Grain Sample Manipulator
- Thor Polysonic Synthesizer
- Subtractor Synthesizer
- Malström Synthesizer
- Monotone Bass Synthesizer
- ID8 Instrument Device
- Rytmik Drum Machine
- Radical Piano
- Klang Tuned Percussion
- Pangea World Instruments
- Humana Vocal Ensemble
- NN-XT Sampler
- Introduction
- Panel overview
- Loading complete Patches and REX files
- Using the main panel
- Overview of the Remote Editor panel
- About Samples and Zones
- Selections and Edit Focus
- Adjusting parameters
- Managing Zones and Samples
- Working with Grouping
- Working with Key Ranges
- Setting Root Notes and Tuning
- Using Automap
- Layered, crossfaded and velocity switched sounds
- Using Alternate
- Sample parameters
- Group parameters
- Synth parameters
- Connections
- NN-19 Sampler
- Introduction
- General sampling principles
- About audio file formats
- About Key Zones and samples
- Loading a Sample into an empty NN-19
- Loading SoundFont samples
- Loading REX slices as samples
- Creating Key Zones
- Selecting Key Zones
- Setting the Key Zone Range
- Deleting a Key Zone
- About Key zones, assigned and unassigned samples
- Adding sample(s) to a Key Map
- Setting the Root Key
- Removing sample(s) from a Key Map
- Removing all unassigned samples
- Rearranging samples in a Key Map
- Setting Sample Level
- Tuning samples
- Looping Samples
- About the Solo Sample function
- Automap Samples
- NN-19 synth parameters
- Play Parameters
- Connections
- MIDI Out Device
- Quartet Chorus Ensemble
- Sweeper Modulation Effect
- Alligator Triple Filtered Gate
- Pulveriser
- The Echo
- Scream 4 Sound Destruction Unit
- BV512 Vocoder
- Introduction
- Setting up for vocoding
- Using the BV512 as an equalizer
- BV512 parameters
- Connections
- Tips and tricks
- RV7000 Mk II Advanced Reverb
- Neptune Pitch Adjuster and Voice Synth
- Introduction
- Overview and basic concepts
- Setting up for pitch processing
- Using pitch correction
- Using pitch shifting (Transpose)
- Using Formant control
- Using the Voice Synth
- Panel parameters
- Connections
- Softube Amps
- Audiomatic Retro Transformer
- Channel Dynamics Compressor & Gate
- Channel EQ Equalizer
- Master Bus Compressor
- Synchronous Timed Effect Modulator
- The MClass Effects
- Half-Rack Effects
- The Combinator
- Pulsar Dual LFO
- RPG-8 Arpeggiator
- Matrix Pattern Sequencer
- Mixer 14:2
- The Line Mixer 6:2
- Working with Players
- Settings
- The Reason Rack Plugin Settings dialog
- Index
PULSAR DUAL LFO722
Introduction
The Pulsar Rack Extension device is a very flexible and versatile dual LFO module. LFOs (Low Frequency Oscillator)
are used for generating cyclic modulation signals. A typical example is to have an LFO modulate the pitch of an os-
cillator to generate vibrato, but there are countless of other applications for LFOs.
Pulsar features two separate LFOs that can be used for modulating parameters in other rack devices. The two LFOs
can also modulate each other to generate complex modulation signals. The LFOs in Pulsar can reach way up in the
audible frequency range, which opens up for really interesting applications. As an additional feature the LFO rates
can also be tracked from a MIDI keyboard.
In Reason the Pulsar Rack Extension device can be found on the Utilities palette.
Panel parameters
LFO 1&2 common parameters
Rate
This controls the LFO rate. The Rate range in Pulsar is very wide and can reach way up in the audio frequency range.
The rate is indicated by the lamp to the left above the Rate knob. The rate can also be synced to the sequencer
tempo by clicking the Tempo Sync button below the Rate knob (see “Tempo Sync” below). In sync mode, the Rate
knob controls the sync resolution.
The LFO 1 Rate can be modulated and/or synced by LFO 2, see “Rate (LFO 2 to LFO 1 Rate)” and “Sync”. The Rates
can also be modulated from the Envelope, see “Envelope”. As a special feature, the Rates can also be controlled from
a MIDI keyboard, see “KBD Follow”.
Range: 0.06Hz-1.05kHz (synced: 32/4 to 1/64th)
! When the Rate is modulated, it can reach far beyond the default frequency range.
Waveform selectors
Here you can select one of nine different LFO waveforms. Besides the standard waveforms (sine, triangle, pulse, etc.)
there are random, slope and stepped waveforms. The shape of the waveforms are shown in the display.
! Note that all waveforms are bipolar, i.e., they generate both positive and negative levels.