Operation Manual
Table Of Contents
- Table of Contents
- The Sequencer
- Routing Audio and CV
- Remote - Playing and controlling Reason devices
- Using Reason as a ReWire Slave
- Advanced MIDI - the External Control Bus inputs
- Synchronization
- Optimizing Performance
- Transport Panel
- Reason Hardware Interface
- The Combinator
- The Mixer
- The Line Mixer 6:2
- Redrum
- Subtractor Synthesizer
- Malström Synthesizer
- NN-19 Sampler
- 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
- Dr. Rex Loop Player
- Matrix Pattern Sequencer
- ReBirth Input Machine
- BV512 Vocoder
- The Effect Devices
- Common Device Features
- The MClass effects
- The MClass Equalizer
- The MClass Stereo Imager
- The MClass Compressor
- The MClass Maximizer
- Scream 4 Sound Destruction Unit
- RV7000 Advanced Reverb
- RV-7 Digital Reverb
- DDL-1 Digital Delay Line
- D-11 Foldback Distortion
- ECF-42 Envelope Controlled Filter
- CF-101 Chorus/Flanger
- PH-90 Phaser
- UN-16 Unison
- COMP-01 Auto Make-up Gain Compressor
- PEQ-2 Two Band Parametric EQ
- Spider Audio Merger & Splitter
- Spider CV Merger & Splitter
- Menu and Dialog Reference
- About Audio on Computers
- MIDI Implementation
- Index
NN-XT SAMPLER
180
The Modulation Envelope
The Modulation Envelope parameters let you control how certain parameters, or des-
tinations, should change over time - from the moment a note is struck to the moment
it is released again.
The destinations you can use are:
• Pitch
• Filter frequency
Parameters
The following are the available controlling parameters:
D Attack
When you press a key on your keyboard, the envelope is triggered. The attack pa-
rameter then controls how long it should take before the controlled parameter
(pitch or filter) reaches the maximum value, when you press a key. By setting at-
tack to a value of “0”, the destination parameter would reach the maximum value
instantly. By raising the attack parameter, the value will instead slowly “slide” up to
its maximum.
D Hold
This is used for deciding how long the controlled parameter should stay at its max-
imum value before starting to decrease again. This can be used in combination
with the Attack and Decay parameters to make a value reach its maximum level,
stay there for a while (hold) and then start dropping gradually down to the sustain
level.
D Decay
After the maximum value for a destination has been reached and the Hold time has
expired, the controlled parameter will start to gradually drop down to the sustain
level. How long it should take before it reaches the sustain level is controlled with
the Decay parameter. If Decay is set to “0”, the value will immediately drop down
to the sustain level.
D Sustain
The Sustain parameter determines the value the envelope should drop back to af-
ter the Decay. If you set Sustain to full level however, the Decay setting doesn’t
matter since the value will never decrease.
A combination of Decay and Sustain can be used for creating envelopes that rise
up to the maximum value, then gradually decrease to, and stay on a level some-
where in-between zero and maximum.
D Release
This works just like the Decay parameter, with the exception that it determines the
time it takes for the value to fall back to zero after the key is released.
D Delay
This is used for setting a delay between when a note is played and when the effect
of the envelope starts. That is, the sound will start unmodulated, and the envelope
will kick in after you have kept the key(s) pressed down for a while. Turn the knob
to the right to increase the delay time. If the knob is set all the way to the left, there
will be no delay.
D Key To Decay
By using this, you can cause the value of the Decay parameter (see above) to be
offset depending on where on your keyboard you play. If you turn the knob to the
right the decay value will be raised the higher up you play, and turning the knob to
the left will lower the decay value the higher up you play. With the knob in the cen-
ter position, this parameter is deactivated.
Destinations
The following are the available Mod Envelope destinations:
D Pitch
This will make the envelope modulate the pitch, as set in the Pitch section (see
page 178). Turn the knob to the right to raise the pitch and to the left to lower the
pitch. In the middle position, pitch will not be affected by the envelope.
D Filter
This will make the envelope modulate the cutoff frequency of the Filter (see page
179). Turn the knob to the right to increase the frequency and to the left to lower
the frequency. In the middle position, the envelope will have no effect on the cutoff
frequency.