, English Version 2.
Operation Manual by Synkron: Ludvig Carlson, Anders Nordmark and Roger Wiklander. The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. The software described herein is subject to a License Agreement and may not be copied to any other media except as specifically allowed in the License Agreement.
D Table of Contents
2 7 The Sequencer 53 MIDI and Keyboard Remote Control 8 12 14 15 18 21 31 32 34 Recording Copying REX loops and Patterns to Sequencer Tracks Editing - About Snap Editing in the Arrange View Using Groups The Edit View Quantizing The Change Events Dialog Importing and Exporting MIDI Files 54 54 57 58 Introduction MIDI Remote Mapping Keyboard Remote Saving Remote Setups 59 Synchronization 60 60 60 61 62 ReWire users – Read This! What is Synchronization and MIDI Clock? Slaving Reason to an External
81 The Mixer 119 Malström Synthesizer 82 82 84 84 84 84 85 86 Introduction The Channel Strip The Mixer signal flow About the EQ modes The Auxiliary Return Section The Master Fader Connections Chaining Mixers 120 121 123 124 128 130 132 133 87 Redrum 135 NN-19 Sampler 88 88 89 90 93 97 97 Introduction About File Formats Using Patches Programming Patterns Redrum Parameters Using Redrum as a Sound Module Connections 99 Subtractor Synthesizer 136 136 137 138 142 143 146 149 100 100 105 109 111 113
151 NN-XT Sampler 207 ReBirth Input Machine 152 152 153 154 156 157 158 160 161 163 164 167 168 169 172 173 174 175 184 208 Introduction 208 Preparations 208 Routing 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 Veloci
253 Menu and Dialog Reference 254 254 258 275 275 277 Reason Menu (Mac OS X) File Menu Edit Menu Create Menu Options Menu Windows Menu (Windows Version) 278 Windows Menu (Mac OS Version) 278 Help/Contacts Menu 281 About Audio on Computers 282 General Information 283 PC Specific Information 284 Macintosh Specific Information 287 MIDI Implementation 288 About This Chapter 288 How various MIDI messages are Implemented 289 Index TABLE OF CONTENTS 5
6 TABLE OF CONTENTS
1 D The Sequencer
Recording Recording Notes The Overdub/Replace switch Recording and Playback Basics The basic procedures for recording and playback are described in the Getting Started book. Here is a brief repetition: D To activate recording, click the Record button on the Transport panel or press [*] on the numeric keypad. If your computer keyboard lacks a numeric keypad, you can activate recording by holding down [Command] (Mac) or [Ctrl] (Windows) and pressing [Return]. D Recording starts at the current song position.
Recording automation of a device parameter Recording more for the same controller 1. Make sure there is a sequencer track for the device. For the instrument devices and the Matrix, sequencer tracks are automatically added when you create the device. For a mixer or effect device, you need to add tracks manually, by selecting “Create Sequencer Track for...” from the device context menu.
Background: How recorded controllers are handled Recording Pattern Changes Even though the recording procedures are practically the same, the sequencer handles controllers differently from notes. While each recorded note is a separate event, there are no “controller events” as such in the sequencer. Instead, it works like this: If your song contains pattern devices, you probably want to use more than a single pattern throughout the song.
D You can punch in on recorded pattern changes, to replace a section of the track. This works the same as punching in on controllers (see page 9). D After recording the pattern changes, you can use the function Convert Pattern Track to Notes, to transfer the notes in the patterns to the main sequencer. This allows you to create unlimited variations by later editing the notes in the Edit View. See below.
Copying REX loops and Patterns to Sequencer Tracks As described on page 188, you need to use the “To Track” function when using the Dr.Rex Loop Player device. This creates sequencer notes on the selected track, so that each slice in the REX loop gets a corresponding sequencer note. Playing back the sequencer track will then play all slices in the correct order, with the original timing of the loop. Similar functions are available for the pattern devices (Redrum and Matrix).
Redrum notes The “Convert Pattern Track to Notes” function When you use this function with the Redrum, you should note the following: If you have recorded or drawn pattern changes on a Redrum or Matrix track, you can have the whole track converted to notes, in the following way: • • The notes will have the pitch of the corresponding drum sound (see “Using Redrum as a Sound Module” on page 97) and the velocity depending on the Dynamic value.
Editing - About Snap When you select and edit material (both in the Arrange View and the Edit View), the Snap (Snap to Grid) function determines the result. By activating Snap, editing becomes “restricted” to the note values selected on the Snap pop-up menu (the Snap value). The Snap button and pop-up menu are located on the sequencer toolbar: D Moving and duplicating events. When you move one or several Events with Snap activated, they will keep their relative distance to the Snap value positions.
Editing in the Arrange View The Arrange View allows you to view several tracks at the same time, and provides a good overview of the song. This view is best suited for large-scale editing, such as rearranging blocks of music, adding or removing bars or applying quantizing and editing functions to events on different tracks at the same time. D To select the Arrange View, click the Arrange/Edit View button in the top left corner of the sequencer area.
Duplicating Events Using Cut, Copy and Paste with Tracks To duplicate the selected events, hold down [Option] (Mac) or [Ctrl] (Windows) and proceed as when moving events. You can select one or several tracks by clicking or [Shift]-clicking in the track list. This allows you to use Cut or Copy on the track, complete with contents. D You can also use the Duplicate Track function on the Edit menu or the track context menu. This creates a copy of the selected track, complete with all events.
Deleting events by single clicking Inserting and Removing Bars D Select the Eraser tool and click on the event you want to delete. When editing the overall structure of a song, you may need to rearrange the order and length of whole sections (e.g. make the “verse” two bars shorter, add a few bars to the intro, etc.).
Using Groups Sometimes it is practical to work with a section of events as one entity. This is done by Grouping the events. You may for example have a two-bar bass line that you want to move or repeat in the song - by Grouping the events, you can select, move and handle the bassline as a single object. ! This applies to the Arrange View only - you can still edit individual events in a Group in the Edit View. Appearance and Color In the Arrange View, Groups appear as colored boxes.
Selecting Groups Resizing Groups To select a Group, just click on it in the Arrange View. When a Group is selected, a handle appears on its right edge. You can click on this handle and drag to make the Group smaller or larger. The following rules apply: D If you drag to the left to make the Group smaller, any events that end up outside the Group boundary are no longer included in the Group.
Dividing Groups Find Identical Groups You can divide a Group into two by clicking with the Pencil tool at the desired position and dragging to the end of the Group. This command on the Edit menu helps you locate all Groups with the same contents: 1. Select a Group. 2. Select “Find Identical Groups” from the Edit menu. All Groups with the same contents are selected in the Arrange View. Ungrouping Actually, this is just a consequence of the fact that Groups cannot overlap.
The Edit View The Edit View allows you to perform detailed editing to the events on a single track. This is also where you create notes, pattern changes and controller values from scratch by drawing. D To select the Edit View, click the Edit/Arrange View button in the top left corner of the sequencer area. About the Lanes The Edit View is (or can be) divided vertically into lanes. There are six different lanes, suitable for editing different types of events. Any combination of lanes can be shown.
D The Hand tool can be used for scrolling the view. Just click, hold and drag in the desired direction. Just below the ruler is a narrow empty strip. This shows the Groups (if any) as colored bars, providing additional means of orientation in the Edit view. D For extensive editing, you may want to detach the sequencer area from the rack and use it in a separate window. This is done either by clicking the Detach Sequencer button in the rack or by selecting “Detach Sequencer Window” from the Windows menu.
background colors of the grid, making it easier to find the right pitch when drawing and moving notes! This is the lane to use when editing Synth or Sampler tracks. D If you just click, the note will get the length of the Snap value. This is true regardless of whether Snap is activated or not. D If you instead click and keep the mouse button pressed, you can drag to the right to set the length of the note.
Moving notes Resizing notes D To move a note, click and drag it to a new position. If several notes are selected, all will be moved. The individual distance between the moved notes will be kept. When you select a note, a handle appears on its right edge. You can click on this handle and drag to make the note shorter or longer. D If Snap is on, the moved events will keep their relative distance to the Snap value positions.
Deleting notes Editing velocity You can delete notes in two ways: The velocity values of notes are edited in the Velocity lane. D Select them and press [Backspace] or [Delete], or select Delete from the Edit menu. D Select the Eraser tool and click on the notes you want to delete. You can also drag a selection rectangle with the Eraser tool and delete all notes encompassed by the rectangle.
Creating velocity ramps and curves Editing Controllers You can also edit the velocity of several notes at once, in two ways: Controllers are shown and edited in the Controller lane. This lane in turn is divided into several “subtracks”, one for each automatable parameter for the corresponding device. D By dragging the Line tool across the bars, at the desired height. The Controller lane for a Subtractor track, with three controllers shown.
D By using the Controller pop-up menu on the sequencer toolbar, you can hide or show individual controllers from the sequencer. Shown controllers are indicated by a tick mark on the pop-up menu - select a controller to show it or hide it. Controllers for which there is data (automation) in the track are indicated with an asterisk next to the controller name.
Selecting sections of a controller track To select a section of the “subtrack” for a controller, click and drag a selection rectangle with the Arrow tool. If Snap is on, the selection will be magnetic to the Snap value positions, just as when selecting notes. D By making a selection (as described above) and pressing [Backspace] or [Delete] or by selecting Delete from the Edit menu. D By using the Eraser tool.
Inserting and Editing Pattern Changes Pattern changes are viewed and edited in the Pattern lane: 3. Pull down the Pattern pop-up menu to the left in the Pattern lane, and select the pattern you want to insert. The selected pattern is shown next to the pop-up menu. A pattern change is shown as a yellow “tab” with the Bank and Pattern number. From the tab, a bar stretches to the right, for as long as the selected pattern is “active”, i.e. to the next pattern change.
Selecting Pattern Changes The result is this: To select a section of Pattern lane, click and drag a selection rectangle with the Arrow tool. If Snap is on, the selection will be magnetic to the Snap value positions, just as when selecting notes. The selected section is shown as a shaded rectangle. D By holding down [Shift] and dragging, you can select multiple, discontinuous sections of the Pattern lane.
Quantizing 4. Click the Quantize button or select “Quantize Notes” from the Edit menu. The selected notes are quantized. The Quantize function moves recorded notes to (or closer to) exact note value positions. This can be used for correcting errors, “tightening up” recorded music or changing the rhythmic feel. The Quantize button Applying Quantizing In Reason, you use the Quantize function in the following way: 1. Select the notes you want to quantize.
Quantizing to Grooves The Quantize pop-up menu also contains three items named “Groove 1-3”. These are three different, slightly irregular rhythmic patterns. If you select one of these as Quantize value and apply Quantize, your notes will be moved towards the note positions in the Groove pattern, creating different rhythmic feels. The Change Events Dialog The Change Events dialog contains some special editing functions.
Transpose Alter Notes This function transposes the selected notes up or down, by the specified number of semitones. This function alters the properties pitch, length and velocity of the selected notes, in a random fashion. Velocity Adjusts the velocity of the selected notes. D The Add field lets you add a fixed amount to the velocity values. To subtract, enter a negative amount. Note that the possible velocity range is 1-127. Adding an amount to a note with velocity 127 will not make any difference.
Importing and Exporting MIDI Files Reason can import and export standard midi files (SMF). This allows you to transfer MIDI data between Reason and other applications. D All controller data in the MIDI file is included. This means that pitch bend, volume and modulation wheel data are preserved properly. However, some controllers may “mean” different things for the original MIDI instruments used when creating the MIDI file and the devices in Reason.
2 D Routing Audio and CV
About the various signals that can be routed MIDI Routing This chapter describes the various ways you can route signals in Reason. The following signal types are used: About Cables Audio Apart from the Matrix Pattern Sequencer, all devices have audio connectors on the back. The audio connectors carries audio signals to or from devices via virtual “cables”. D Audio connectors are shown as large “quarter inch” jacks.
Color Coding Routing Devices to the Mixer Cables are color coded in the following way, making it easier to discern between the various connections: D When an Instrument Device is created, it is auto-routed to the first available mixer channel(s). • • • Routing a Send Effect to the Mixer Audio connections are different shades of red. CV connections are different shades of yellow. Connections to and from Effects devices are different shades of green.
Bypassing Auto-Routing Using pop-up menus D If you wish to create a new device, without any auto-routing taking place, press [Shift] when creating the device. 1. Click (or right-click) on a connector. A pop-up menu appears, listing all devices in the rack. Manual Routing 2. Move the pointer to the desired device (the device to which you want to create a connection). A submenu appears, listing all suitable input/output connections.
Using CV and Gate CV/Gate is used for modulating and triggering device parameters. Each separate Device chapter lists the available CV/Gate connections, the parameters that can be modulated or be used for modulation outputs for the device. Routing CV and Gate There are not really any hard and fast “rules” applicable to CV/Gate routing.
40 ROUTING AUDIO AND CV
3 D Routing MIDI to Reason
About the Various MIDI Inputs This could be an external hardware sequencer or sequencer software that is installed on the same computer as Reason. You should preferably use a multiple port MIDI interface, so you can select separate ports for Reason and the other MIDI devices to use, although this isn’t strictly required. See “Sending MIDI Data to Reason” below for further information.
Sending MIDI Data to Reason Setting up MIDI Inputs under Mac OS 9 Under Mac OS 9, Reason requires OMS to receive MIDI. How to install OMS is described in the chapter “Installation” in the Getting Started book. OMS uses a concept of Devices, which basically means an external MIDI keyboard or sound module etc. D Each of Reasons’ seven MIDI inputs can receive data from one OMS device. Use OMS Setup to create the devices needed (for example one per input).
Sending MIDI Data from Other Applications 4. Save your OMS Studio Setup. Using ReWire 2 The preferred method for sending MIDI data into Reason from another application is by using ReWire (version 2 or later). In this way no additional system extension or utility is required, simply launch the applications and set them up so that MIDI is transmitted from the host (the “other” program) to the slave (Reason). More about this on page 47. Mac OS 9 - Using OMS The OMS IAC port naming dialog.
Mac OS X As of this writing, the only way to route MIDI between applications in any practical way is to use ReWire 2. See page 47. Controlling Devices directly via MIDI Windows If the application you want to use together with Reason is not ReWire compatible or if it only is compatible with ReWire version 1, you need to install some third part MIDI routing utility to be able to send MIDI from the application into Reason.
D You have sequencer software installed on the same computer as Reason. This requires the “OMS IAC Driver” under Mac OS 9, or a MIDI routing application under Windows, as explained previously in this chapter. D If you want to manually play (i.e not recorded MIDI data) Reason devices in real time from inside another sequencer program, MIDI thru must be activated. MIDI thru is when incoming MIDI is echoed out via the MIDI output. If you don’t know how to do this, refer to the program’s documentation.
4 D Using Reason as a ReWire Slave
About this Chapter This chapter describes how to use Reason as a ReWire slave, that is with Reason delivering audio to another ReWire compatible application. It does not deal with using ReBirth and Reason together; that is described on page 208. In ReWire 2 A number of features were added in Reason version 2.
Preparations for Using ReWire - Mac OS 9 only Launching and Quitting When you use ReWire, some of the system resources normally occupied by Reason are “transferred” to the other audio application: More specifically, the RAM required for loading samples in Reason, must now be provided by the host application instead.
Using the Transport and Tempo Controls Basic Transport Controls When you run ReWire, the transports in the two programs are completely linked. It doesn’t matter in which program you Play, Stop, Fast Forward or Rewind. Recording, however, is still completely separate in the two applications. Loop Settings The Loop in Reason and the corresponding feature (Loop, Cycle etc) in the host application are also linked.
3. If desired, double click on the labels in the right column, and type in another name. These labels will be used in the Cubase SX/SL Mixer to identify the ReWire channels. 4. Open the Cubase SX Mixer. You will find that new channels have been added - one for each activated ReWire channel. If the channels aren’t visible, you may need to scroll the Mixer window or check the Mixer View options (different channel types can be shown or hidden as desired in the Cubase SX Mixer).
Details About Various ReWire Hosts The Propellerhead Software website provides updated information on how to configure ReWire for most compatible host applications. Please go to: www.propellerheads.se/rewirehelp.
5 D MIDI and Keyboard Remote Control
Introduction MIDI Remote Mapping It is possible to assign computer keyboard commands and/or MIDI controller messages to most Reason device parameters or functions. Both methods allow you to use a “learn” function to instantly assign the parameter knob, slider or button to a keyboard command or a controller on an external device. If you want to control one or several Reason parameters in real time from an external MIDI device, you can use MIDI Remote Mapping.
Example MIDI Setups If you only have one MIDI Device There are several possible variables when it comes to what type of MIDI setup you are using. Please read on. If you only have one MIDI Device that you plan to use both for playing/recording and for remote control, there are severe restrictions. Actually there ‘s only one sensible way to avoid conflicts. “Ideal” Setup 1. Open the “MIDI Implementation Charts.pdf” document. This can be found in your program folder.
Editing MIDI Remote Mapping 1. To get an overview of which parameters are MIDI remote controllable select “Edit MIDI Remote Mapping” from the Options menu. When done, each device you select will show a green arrow symbol beside every parameter that can be assigned a MIDI remote. 4. Simply turn the knob (or slider etc.) that you wish to use to remote control the parameter.
Keyboard Remote Assigning keyboard remote commands is very similar to MIDI remote mapping. However, as there is no MIDI involved, there is no special setting up required. Keyboard commands can be assigned the same parameters as when using MIDI remote mapping, but the functionality differs in one central aspect: D If you click on a assignable parameter, a dialog appears allowing you to select a key command for that parameter.
Saving Remote Setups MIDI or Keyboard Remote setups are always stored with the song. But perhaps you wish to be able to recall this setup for use in a new song, or permanently use a specific remote setup. D This could be done by saving a song document containing all the devices that are affected by the remote setup together with the related Key or MIDI mapping, but without any sequencer data.
6 D Synchronization
ReWire users – Read This! Slaving Reason to an External Device This chapter is about synchronization via MIDI Clock, and does not apply to users of ReWire. If you are using Reason together with a ReWire compatible application, ReWire automatically handles all synchronization issues for you. See page 47 for details.
Under Windows, if you can’t find the MIDI Input you want to use, there is either something wrong with the installation of the interface, or some other program is holding on to it. Consult the documentation for the MIDI interface, the other program and Windows, for more information. Slaving Reason to Another Program on the Same Computer ! The preferred method for synchronizing two applications is by using ReWire, see page 47.
3. Pull down the MIDI Clock pop-up and select the corresponding MIDI routing utility port. Synchronization Considerations Adjusting for Latency Latency compensation. Because of the latency problem described on page 282, you might need to adjust Reason’s playback in relation to the sync master, so that they are in perfect time. The tempo will not differ between the two, but Reason might play ahead or behind the other application. You might need to adjust this.
If Latency Compensation isn’t enough About Tempo Changes There might be situations where you can’t compensate enough in Reason to make two software applications run in sync. This might especially be true if the other application is an audio sequencer, that is if it can record and playback both audio and MIDI. Again, due to the latency phenomenon, Reason needs a bit of time to adjust to changes in tempo.
64 SYNCHRONIZATION
7 D Optimizing Performance
Introduction Reason is a program of infinite possibilities. You can create as complex songs as you like, using endless racks of devices. While this is one of the most exciting properties of the program it does have a drawback – it means that you must be careful with how you manage your computer processing power. Optimization and Output Latency Each device you add to the rack uses up a bit of computer processing power – the more devices the faster the computer has to be.
1. Open a song and start playback. You want to choose a song that is reasonably demanding, i.e. with more than just a few tracks and devices. 2. Open the Preferences dialog. Under Mac OS X, this is found on the Reason menu; under all other operating systems it’s found on the Edit menu. 3. Select the Audio page and locate the buffer settings. If you are using an ASIO driver, you need to click the ASIO Control Panel button, for Mac OS X/CoreAudio, Windows/MME or DirectX you should use the Buffer Size slider.
Optimizing Songs Polyphonic Devices – Subtractor, Malström, NN19, NNXT, Dr. Rex and Redrum Below follows things you can check and change to make sure your song uses as little computer processing power as possible: D Try making the device play fewer voices. This can be done for example by lowering the release and setting the Polyphony setting to exactly the maximum number of notes played simultaneously by this device. Global D Delete unused devices.
Redrum D Do not use the Tone feature available on channel 1, 2 and 9. In other words, make sure the Tone controls and their accompanying Vel knobs are set to “0” (“twelve o’ clock”). Songs and Memory Requirements Mixer Songs not only use up system resources in terms of processing power, they also require RAM (memory) to load at all. D Avoid using stereo inputs when not required. For example, if your sampler or Dr. Rex player is playing mono material, only connect it to the Left input on a mixer channel.
70 OPTIMIZING PERFORMANCE
8 D Transport Panel
Overview The transport panel has standard controls for the sequencer transport, but also features controls for setting tempo, metronome click, locator points etc.
Tempo and Time Signature Left and Right Locator Positions The tempo and time signature settings can be adjusted on the transport panel. The left tempo field sets the tempo in bpm, and the tempo field to the right allows you to fine tune the tempo, in steps of 1/1000 bpm. The left and right locators are used for several things, like setting the boundaries of a loop or inserting/removing bars.
Additional Transport Panel Items Automation Override Click When this is activated, you will hear a click on each beat, with an accent on the downbeat of each bar. The click is played back during recording and playback. You can adjust the volume of the click by using the Level knob. Automation override is activated when you manually “grab” a parameter that is being automated.
D If the Audio Out Clipping indicator lights up, and the signals are being sent directly (not via a Mixer) to your Hardware Interface, you can check the meters in the Hardware Interface. If the red segment of any of these meters are momentarily lit, this indicates at which output(s) the clipping is occurring. Reduce the output level of all devices connected to outputs whose meters show red. CPU Meter This bar graph shows the current CPU (processor) load.
76 TRANSPORT PANEL
9 D Reason Hardware Interface
Introduction The Hardware Interface is where you connect Reason with the “outside world”. This is where MIDI is received, and where audio signals are routed to ReWire channels or to the physical outputs of your audio hardware. The Hardware Interface is always present at the top of the rack, and cannot be deleted. This chapter is meant to serve as a panel reference, describing the various sections of the device.
Audio Out Reason supports up to 64 audio output channels. D Each output features a meter and a green indicator which will be lit for each channel that is available. ! Remember that the Hardware Interface is where any possible audio clipping will occur in Reason. Keep an eye on the clipping indicator on the transport panel, and also on the individual meters in the Audio Out panel. If a channel pushes the meter into the red, the output level of the device should be reduced.
80 REASON HARDWARE INTERFACE
10 D The Mixer
Introduction The Channel Strip AUX Sends 1-4 Pre-fader switch for AUX Send 4 EQ On/Off button The Mixer 14:2 allows you to control the level, stereo placement (Pan), tone (EQ) and effect mix (AUX Sends) of each connected audio device. If you have ever used a conventional hardware audio mixer, you will most likely find the Mixer very straightforward to use. It is configured with 14 (stereo) input channels, which are combined and routed to the Left and Right Master outputs.
Channel Strip Controls: | Item | Description |Value Range Channel Fader The channel fader is used to control the output level of each corresponding channel. By adjusting the faders, you can set the desired mix (balance) between different devices connected to the Mixer. 0 - 127 Channel Label Each channel in the mixer that has a device connected to it, displays a read-only label with the name of the device to the left of the fader.
The Mixer signal flow The basic signal flow for a channel in the Mixer is as follows: The Auxiliary Return Section Aux 4 pre-fader mode Input EQ Pan AUX Returns Solo Mute Fader AUX Sends Effects Devices Master L/R Output Note that the Solo function is true “in-place” solo, meaning that if the channel uses Auxiliary sends routed to effect devices, the soloed output signal will also include the Aux Return signals (from the soloed channel(s) only).
Connections Auxiliary (AUX) Returns All input and output connectors are as usual located on the back panel of the Mixer 14:2. Special connectors are used for “chaining” two or more Mixers together. This is described on page 86. Mixer Channel Connections D Each mixer channel features stereo left/right inputs for connecting audio devices. Use the left input when manually connecting a mono signal source. D There are four stereo Return input connectors.
Chaining Mixers Partially or Non-Chained Mixers You can also have several Mixers that are only partially or not chained at all. D You may for example wish to have different Aux Send effects for one Mixer. Then simply disconnect one or more of the Send Out to Chaining Aux connectors, and assign new Send effects. D You could for example send the Master output of one Mixer to another Input pair on the Audio In Hardware interface, instead of the Chaining Master inputs.
11 D Redrum
Introduction About File Formats Redrum reads two basic types of files: Redrum Patches A Redrum patch (Windows extension “.drp”) contains all settings for all ten drum sound channels, including file references to the used drum samples (but not the actual drum samples themselves). Switching patches is the same as selecting a new drum kit.
Using Patches When you create a new Redrum device it is empty. Before it can play back any audio you must first load a Redrum patch (or create one from scratch, by loading individual drum samples). A Redrum patch contains settings for the ten drum sound channels, complete with file references to the drum samples used. ! Redrum patterns are not part of the patch! Loading a Patch D By playing the keys C1 to A1 on your MIDI keyboard. C1 plays drum sound channel 1 and so on. See also page 97.
Creating an Empty Patch To “initialize” the settings in the Redrum, select “Initialize Patch” from the Edit menu or the device context menu. This removes all samples for all drum sound channels, and sets all parameters to their default values. Programming Patterns About Pattern Selection As described in the Getting Started book, each pattern device (such as the Redrum) has 32 pattern memories, divided into four banks.
5. Select a Redrum channel, by clicking the “Select” button at the bottom of the channel. The button lights up, indicating that this channel and the drum sound it contains is selected. About the “Edit Steps” Switch If you set the pattern length to more than 16 steps, the pattern steps following after the 16th won’t be visible, although they will play back. To view and be able to edit the next 16 steps, you have to set the Edit Steps switch to 17-32.
D When you use different dynamics, the resulting difference in the sound (loudness, pitch, etc.), is governed by the “VEL” knob settings for each drum channel (see page 93). If no velocity amount is set for a drum channel, it will play back the same, regardless of the Dynamic setting. D To change the dynamics for an already programmed step, set the switch to the dynamic value you wish to change it to and click on the step.
Pattern Functions When a Redrum device is selected, you will find some specific pattern functions on the Edit menu (and on the device context menu): | Function | Description Shift Pattern Left/Right These functions move all notes in the pattern one step to the left or right. Shift Drum Left/Right The Shift Drum functions move all notes for the selected drum channel (the channel for which the Select button is lit) one step to the left or right. Randomize Pattern Creates a random pattern.
The Effect Sends (S1 & S2) On the back panel of Redrum you will note two audio connections labeled “Send Out” 1 and 2. When you create a Redrum device, these will by default be auto-routed to the first two “Chaining Aux” inputs on the Mixer device (provided that these inputs aren’t already in use). This feature allows you to add effects to independent drum sounds in the Redrum. D Raising the S1 knob for a drum sound channel will send the sound to the first send effect connected to the mixer.
D In Gate mode (switch up), the sound will play for the set Length, and then be cut off. Furthermore, if a sound set to Gate mode is played from the main sequencer, from a CV/Gate device or via MIDI, the sound will be cut off when the note ends or after the set Length, depending on which comes first. Or in other words, the sound plays for as long as you hold the note, but the Length setting serves as the maximum length for the sound.
D When Start Velocity is set to any other value than zero, the LED above the knob lights up. D A negative Start Velocity amount is only useful if you have set the Start parameter to a value higher than 0. By raising the Start value a bit and setting Start Velocity to a negative value, you can create rather realistic velocity control over some drum sounds. This is because the very first transients in the drum sound will only be heard when you play hard notes.
Using Redrum as a Sound Module Connections The drum sounds in Redrum can be played via MIDI notes. Each drum sound is triggered by a specific note number, starting at C1 (MIDI note number 36): C1 C2 2 4 7 9 On the back of the Redrum you will find the following connections: For each drum sound channel: 1 3 5 6 8 10 | Connection There are individual audio outputs for each drum sound channel, allowing you to route a drum sound to a separate channel in the mixer, possibly via insert effects, etc.
Others | Connection 98 | Description Send Out 1-2 Outputs for the send signals controlled with the S1 and S2 knobs, as described on page 94. Stereo Out This is the master stereo output, outputting a mix of all drum sounds (except those for which you use individual outputs).
12 D Subtractor Synthesizer
Introduction The Oscillator Section Subtractor is an analog-type polyphonic synthesizer based on subtractive synthesis, the method used in analog synthesizers. This chapter will go through all parameters of each section of Subtractor. In addition to the parameter descriptions, the chapter also includes a few tips and tricks to help you get the most out of the Subtractor synthesizer.
! Please note that the descriptions of the waveforms sound or timbre is merely meant to provide a basic guideline, and shouldn’t be taken too literally. Given the myriad ways you can modulate and distort a waveform in Subtractor, you can produce extremely different results from any given waveform. | Waveform | Description 15 This waveform is suitable for bowed string sounds, like violin or cello. 16 Similar to 15, but with a slightly different character.
D In Octave steps The range is 0 - 9. The default setting is 4 (where “A” above middle “C” on your keyboard generates 440 Hz). Using Oscillator 2 D In Semitone steps Allows you to raise the frequency in 12 semitone steps (1 octave). D In Cent steps (100th of a semitone) The range is -50 to 50 (down or up half a semitone). Oscillator Keyboard Tracking Oscillator 1 has a button named “Kbd. Track”.
Noise Generator The Noise Generator could be viewed as an oscillator that produces noise instead of a pitched waveform. Noise can be used to produce a variety of sounds, the classic example being “wind” or “rolling wave” sounds, where noise is passed through a filter while modulating the filter frequency. Other common applications include non-pitched sounds like drums and percussion, or simulating breath noises for wind instruments.
When phase offset modulation is activated, the oscillator creates a second waveform of the same shape and offsets it by the amount set with the Phase knob. Depending on the selected mode, Subtractor then either subtracts or multiplies the two waveforms with each other. The resulting waveforms can be seen in the illustration below. 1. The two offset waveforms: Ampl. t. 2.
✪ With the Noise Generators default settings, this will sound much like colored noise. But by changing (lowering) the Noise Generator Decay parameter, so that the noise modulates only the attack portion of the sound can produce more interesting results. You could also use a combination of noise and Osc 2. The Filter Section Ring Modulation Ring Modulators basically multiply two audio signals together.
106 D 24 dB Lowpass (LP 24) Lowpass filters lets low frequencies pass and cuts out the high frequencies. This filter type has a fairly steep roll-off curve (24dB/Octave). Many classic synthesizers (Minimoog/Prophet 5 etc.) use this filter type. D 12 dB Lowpass (LP 12) This type of lowpass filter is also widely used in analog synthesizers (Oberheim, early Korg synths etc.). It has a gentler slope (12 dB/Octave), leaving more of the harmonics in the filtered sound compared to the LP 24 filter.
D Bandpass (BP 12) A bandpass filter cuts both high and low frequencies, while midrange frequencies are not affected. Each slope in this filter type has a 12 dB/Octave roll-off. The darker curve illustrates the roll-off curve of the Bandpass Filter. The lighter curve in the middle represents the filter characteristic when the Resonance parameter is raised. D Highpass (HP12) A highpass filter is the opposite of a lowpass filter, cutting out the lower frequencies and letting the high frequencies pass.
D Notch A notch filter (or band reject filter) could be described as the opposite of a bandpass filter. It cuts off frequencies in a narrow midrange band, letting the frequencies below and above through. On it’s own, a notch filter doesn’t really alter the timbre in any dramatic way, simply because most frequencies are let through. However, by combining a notch filter with a lowpass filter (using Filter 2 - see page 109 in this chapter), more musically useful filter characteristics can be created.
Filter 2 A very useful and unusual feature of the Subtractor Synthesizer is the presence of an additional 12dB/Oct lowpass filter. Using two filters together can produce many interesting filter characteristics, that would be impossible to create using a single filter, for example formant effects. The parameters are identical to Filter 1, except in that the filter type is fixed, and it does not have filter keyboard tracking. D To activate Filter 2, click the button at the top of the Filter 2 section.
Decay Filter Envelope After the maximum value has been reached, the value starts to drop. How long this should take is governed by the Decay parameter. If you wanted to emulate the volume envelope of a note played on a piano for example, the Attack should be set to “0” and the Decay parameter should be set to a medium value, so that the volume gradually decreases down to silence, even if you keep holding the key down.
Mod Envelope The Mod Envelope allows you to select one of a number of parameters, or Destinations, to control with the envelope. By setting up a modulation envelope you control the how the selected Destination parameter should change over time with the four Mod Envelope parameters, Attack, Decay, Sustain and Release. LFO Section The available Mod Envelope Destinations are as follows: LFO stands for Low Frequency Oscillator.
Destination LFO 2 Parameters The available LFO 1 Destinations are as follows: LFO 2 is polyphonic. This means that for every note you play, an independent LFO cycle is generated, whereas LFO 1 always modulates the destination parameter using the same “cycle”. This can be used to produce subtle cross-modulation effects, with several LFO cycles that “beat” against each other. This also enables LFO 2 to produce modulation rates that vary across the keyboard (see the “Keyboard Tracking” parameter below).
Rate The Rate knob controls the LFO’s frequency. Turn clockwise for a faster modulation rate. Amount This parameter determines to what degree the selected parameter destination will be affected by LFO 2. Raising this knob’s value creates more drastic results. Play Parameters This section deals with two things: Parameters that are affected by how you play, and modulation that can be applied manually with standard MIDI keyboard controls.
The following parameters can be velocity controlled: Pitch Bend and Modulation Wheels | Destination | Description 114 Amp This let’s you velocity control the overall volume of the sound. If a positive value is set, the volume will increase the harder you strike a key. A negative value inverts this relationship, so that the volume decreases if you play harder, and increases if you play softer. If set to zero, the sound will play at a constant volume, regardless of how hard or soft you play.
Modulation Wheel Retrig The Modulation wheel can be set to simultaneously control a number of parameters. You can set positive or negative values, just like in the Velocity Control section. The following parameters can be affected by the modulation wheel: This is the “normal” setting for playing polyphonic patches. That is, when you press a key without releasing the previous, the envelopes are retriggered, like when you release all keys and then press a new one.
External Modulation Connections Subtractor can receive common MIDI controller messages, and route these to various parameters. The following MIDI messages can be received: Flipping the Subtractor around reveals a plethora of connection possibilities, most of which are CV/Gate related. Using CV/Gate is described in the chapter “Routing Audio and CV”.
Modulation Inputs ! Remember that CV connections will not be stored in the Subtractor patch, even if the connections are to/from the same Subtractor device! These control voltage (CV) inputs (with associated voltage trim pots), can modulate various Subtractor parameters from other devices, or from the modulation outputs of the same Subtractor device. These inputs can control the following parameters: • • • • • • • • Oscillator Pitch (both Osc 1 & 2). Oscillator Phase Offset (both Osc 1 & 2).
118 SUBTRACTOR SYNTHESIZER
13 D Malström Synthesizer
Introduction The Malström is a polyphonic synthesizer with a great number of different routing possibilities. It is based on the concept of what we call “Graintable Synthesis” (see below), and is ideally suited for producing swirling, sharp, distorted, abstract special effect types of synthesizer sounds. In fact, you could go so far as to say that the Malström can produce sounds quite unlike anything you’ve ever heard from a synthesizer.
The Oscillator section The two oscillators (osc:A and osc:B) of the Malström are the actual sound generators, and the rest of the controls are used for modulating and shaping the sound. The oscillators actually do two things; they play a graintable and generate the pitch: • • A graintable is several short, contiguous segments of audio (see above). Pitch is the frequency at which the segments are played back.
Controlling playback of the graintable About motion patterns Each oscillator features three controls that determine how the loaded graintables are played back. These are: The “Index” slider, the “Motion” knob and the “Shift” knob. Each graintable has a predefined motion pattern and a default motion speed. When a graintable is looped (i.e.
The Modulator section Rate This knob controls the frequency of the Modulator. For a faster modulation rate, turn the knob to the right. The Rate knob is also used for setting the time division when synchronizing the Modulator to the song tempo (see below). One Shot The Malström features two Modulators (mod:A and mod:B) These are in fact another type of oscillators, called LFOs (Low Frequency Oscillators). They each generate a waveform and a frequency, much like osc:A and osc:B.
D Note that these knobs are bi-polar, which means that if a knob is in the middle position, no modulation is applied. If you turn a knob either to the left or to the right, an increasing amount of modulation is applied to the parameter. The difference is that if you turn a knob to the left, the waveform of the modulator is inverted.
D To activate/deactivate a filter, click the On/Off button in the top left corner. When a filter is activated, the button is lit. An activated filter Filter types D Comb + & Comb – Comb filters are basically delays with very short delay times with adjustable feedback (in Reason controlled with the Resonance knob). A comb filter causes resonating peaks at certain frequencies. The difference between “+” and “–” is in the position of the peaks, in the spectrum.
Filter controls The Filter Envelope Each filter contains the following four controls: D Kbd (keyboard tracking) By clicking this button so that it is lit, you activate keyboard tracking. If keyboard tracking is activated, the frequency of the filter will change according to the notes you play on your keyboard. That is, if you play notes higher up on the keyboard, the filter frequency will increase and vice versa.
The Shaper D Quant This lets you truncate the signal by bit-reduction, thus making it possible to achieve that noisy, characteristic 8 bit sound for example. D Noise This is actually not strictly a shaper function. Instead it multiplies the sound with noise. Before filter:A is an optional waveshaper. Waveshaping is a synthesis method for transforming sounds by altering the waveform shape, thereby creating a complex, rich sound.
Routing Routing examples One or both oscillators without filters The Malström puts you in total control of how the signal should be routed from the oscillators, through the filters and on to the outputs. Below is first a general description of the routing options, followed by examples of how to route the signal in order to achieve a certain result. D Click on a button so that it is lit, to route the signal correspondingly. See below for descriptions.
Both oscillators with one filter each With this configuration, the signals from osc:A and osc:B will go to filter:A and filter:B respectively, and then to the outputs. One or both oscillators with both filters in series Osc:A routed through both filters in series. Osc:B routed through both filters in series. Again, this configuration allows you to work in true stereo.
The output controls Polyphony - setting the number of voices This lets you set the polyphony for the Malström. Polyphony is the number of voices it can play simultaneously. The maximum number is 16 and the minimum is 1, in which case the Malström will be monophonic. These two parameters control the output from the Malström in the following way: Volume This knob controls the master volume out from the Malström.
The Pitch Bend and Modulation wheels The Velocity controls • Velocity is used for controlling various parameters according to how hard or soft you play notes on your keyboard. A typical use of velocity control is to make sounds brighter and louder if you strike a key harder. By using the knobs in this section, you can control how much the various parameters will be affected by velocity.
The Modulation wheel controls Connections The Modulation wheel can be set to control a number of parameters. You can set positive or negative values, just like in the Velocity Control section (see above). The following parameters can be affected by the modulation wheel: D Index This sets modulation wheel control of the currently active graintable’s index (see page 122) for osc:A and/or osc:B. Positive values will move the index position forwards if the modulation wheel is pushed forward.
Sequencer Control The Sequencer Control CV and Gate inputs allow you to play the Malström from another CV/Gate device (typically a Matrix or a Redrum). The signal to the CV input controls the note pitch, while the signal to the Gate input delivers note on/off along with velocity. ! Routing external audio to the filters For best results, you should use the Sequencer Control inputs with monophonic sounds.
Connecting the signal from the Malström itself If you connect one or both oscillator outputs to the audio input(s), the internal signal path from the oscillators to the filters is broken. In other words, no signals will pass internally from the oscillators to the filters, and the three routing buttons for the oscillators are ignored.
14 D NN-19 Sampler
Introduction A sampler could be described as a device capable of recording and reproducing audio material, like a tape recorder. Unlike a tape or hard disk based recorder, samplers allows you to “play” the recorded sound via MIDI, using a keyboard for example. This way, any reproducible sound can be integrated into the MIDI environment, and be controlled from sequencers etc. like synthesizers. The NN-19 is a sample player, capable of reproducing, but not recording or editing sound files.
About Audio File Formats The NN-19 can read audio files in the following formats: • • • • • Wave (.wav) AIFF (.aif) SoundFonts (.sf2) REX file slices (.rex2, .rex, .rcy) Any sample rate and practically any bit depth. ! If you want the files to play back with their original bit depth - if higher than 16-bits - make sure to activate “Use High Resolution Samples” on the General page in the Preferences dialog.
About Key Zones and Samples Loading a Sample into an empty NN-19 1. Create a new sampler device. 2. Click on the sample browser button. This is located above the keyboard display to the left. The inverted note on the keyboard indicates the “root key” of the sample. All samples contain a root key, tuning and level setting. If NN-19 is empty, a sample will have its root key placed on the middle “C” (C3) key. 4. If desired, click on the keyboard to change the root key.
Creating Key Zones Setting the Key Zone Range A “key zone” is a range of keys, that plays a sample. All key zones together make up a “key map”. ! To create a new key zone, the following methods can be used: D Select “Split Key Zone” from the Edit or context menus. This splits the currently selected key zone in the middle. The new zone is the upper half of the split, and is empty. The dividing point has a “handle” above it, see “Setting the Key Zone Range” below for a description.
About Key zones, Assigned and Unassigned Samples When you load samples and rearrange your key mapping, you will often end up with samples that are not assigned to any key zone. In the following texts we refer to the samples as follows: • • Assigned samples are samples that are currently assigned to one ore more key zones. Unassigned samples are samples that reside in the sample memory, but that are currently not assigned to any key zone.
✪ If all samples originate from different sources, and all or most of them are pitched slightly different (a not uncommon sampling scenario), you could first tune them so that they all match each other, and then, if necessary, use the Sample Pitch controls in the Osc section to tune them globally to the “song” you wish to use the samples in.
Automap Samples 4. Select “Automap Samples” from the edit menu. The samples will be automatically mapped according to their set root key positions! If you have a number of samples that belong together, but haven’t mapped them to key zones you can use the “Automap Samples” function on the Edit menu. This is used in the following way: How Mapping Information is Saved 1. Select all samples that belong together and load them in one go, using the sample browser.
NN-19 Synth Parameters The NN-19 synth parameters are used to shape and modulate samples. These are mostly similar to the parameters used to shape the oscillators in Subtractor you have envelope generators, a filter, velocity control etc. Again, it is important to remember that these parameters do not alter the audio files in any way, only the way they will play back. ! These parameters are global, in the sense that they will affect all samples in a sample patch.
The Filter Section Filter Frequency The Filter Frequency parameter (often referred to as “cutoff”) determines which area of the frequency spectrum the filter will operate in. For a lowpass filter, the frequency parameter could be described as governing the “opening” and “closing” of the filter. If the Filter Freq is set to zero, none or only the very lowest frequencies are heard, if set to maximum, all frequencies in the waveform are heard.
Envelope Section Filter Envelope Amount Envelope generators are used to control several important sound parameters in analog synthesizers, such as pitch, volume, filter frequency etc. Envelopes govern how these parameters should respond over time - from the moment a note is struck to the moment it is released. This parameter determines to what degree the filter will be affected by the Filter Envelope. Raising this knob’s value creates more drastic results.
Waveform Sync LFO 1 allows you to select different waveforms for modulating parameters. These are (from the top down): By clicking this button you activate/deactivate LFO sync. The frequency of the LFO will then be synchronized to the song tempo, in one of 16 possible timedivisions. When sync is activated, the Rate knob (see below) is used for setting the desired timedivision. Turn the knob and check the tooltip for an indication of the timedivision.
Velocity Control Pitch Bend Range The Range parameter sets the amount of pitch bend when the wheel is turned fully up or down. The maximum range is “24” (=up/down 2 Octaves). Modulation Wheel Velocity is used to control various parameters according to how hard or soft you play notes on your keyboard. A common application of velocity is to make sounds brighter and louder if you strike the key harder.
Retrig Low Bandwidth This is the “normal” setting for playing polyphonic patches. That is, when you press a key without releasing the previous, the envelopes are retriggered, like when you release all keys and then press a new one. In monophonic mode, Retrig has an additional function; if you press a key, hold it, press a new key and then release that, the first note is also retriggered.
Connections On the back panel of the NN-19 you will find the connectors, which are mostly CV/Gate related. Modulation Outputs The Modulation outputs can be used to voltage control other devices, or other parameters in the same NN-19 device. The Modulation Outputs are: • • Filter Envelope LFO Gate Inputs These inputs can receive a CV signal to trigger the envelopes. Note that connecting to these inputs will override the “normal” triggering of the envelopes.
150 NN-19 SAMPLER
15 D NN-XT Sampler
Introduction Panel Overview Features The Main Panel The basic functions of the NN-XT are very similar to those of its sampler companion in the Reason rack - the NN-19. Just like the NN-19, NN-XT lets you load samples and create multi-sample patches by mapping samples across the keyboard. The sound can then be modified by a comprehensive set of synth-type parameters. There are however some major differences between the two.
Loading Complete Patches and REX Files As previously alluded, you can load complete sample patches as well as individual samples into the NN-XT. • A patch is a complete “sound package”. It contains information about all the samples used, assigned key zones, associated panel settings etc. Loading a sample patch is done by using the patch browser on the main panel, and works in the same way as with any other Reason device.
Using the Main Panel External control All of the controls on the main panel are used for globally modifying certain parameters for all of the samples in a patch, by the same amount. ! Movements of the parameters on the main panel can be recorded as automation. However, controls on the remote editor panel (described later) can not! The following is a description of the controls and parameters on the main panel.
High Quality Interpolation Filter These two knobs each control a parameter of the filter (see page 179). Note that the filter must be on for these to have any effect. D Frequency This changes the cutoff frequency of the filter. D Resonance This changes the resonance parameter of the filter, meaning - the filter characteristic, or quality. This switch turns High Quality Interpolation on and off. When it is activated, the sample pitch is calculated using a more advanced interpolation algorithm.
Overview of the Remote Editor panel The Keyboard area It is in the Remote Editor Panel that the main NN-XT action is going on, especially if you’re creating your own patches. The remote editor is dominated by the key map display, and this is also the part on which we will concentrate to begin with. The Tab Bar area The Key Map display The key map display consists of a number of separate areas that let you do different things. To help you navigate the key map display, these areas are described below.
Sample Parameters This area shows the current values of basic parameters you can set for each separate zone, such as root key, play mode, output etc. The parameters are changed by using the knobs directly below the key map display. Group Parameters These parameters are adjusted on a per group basis (see page 174 for more information on groups). Most of them relate to performance or playing style.
Selections and Edit Focus Almost all operations in the remote editor are performed on one or more selected zones or on the zone with edit focus. Several zones can be selected at once, but only one zone at a time can have edit focus. This is important since: D Editing operations that can be performed on several zones (like deleting), always apply to the selected zones. D Editing operations that can be performed on one zone only (like adjusting the “Lo key”), always apply to the zone with edit focus.
Selecting zones via MIDI Moving Edit Focus You can also select zones via your MIDI keyboard. By clicking the button marked “Select zones via MIDI” above the key map display so that it lights up, you enable selection via MIDI. Moving Edit Focus A zone can be given edit focus independently of selection: D When you click on an unselected zone, it both gets selected and gets edit focus.
Adjusting Parameters Adjusting Synth Parameters The synth parameters are the ones that occupy the bulk of the remote editor panel (see page 157). Changes you make to synth parameters always apply to all selected zones. D The panel “only” shows the settings for the zone with edit focus. More about this below. About “Conflicting” Parameters Often you will find yourself in a situation where you select multiple zones and parameter settings differ between them. This is quite normal.
Managing Zones and Samples This example assumes that the samples you load is a set of multisamples for a pitched instrument (like guitar, piano, flute etc.). Creating a Key Map 3. Use “Set Root Notes from Pitch Detection” to automatically set up the root notes (pitches) for the samples. When you add an NN-XT sampler to the rack, its key map display is always empty. That is, it contains no samples. 4. Select “Automap Zones” from the Edit menu. To create a new key map, proceed as follows: 1.
Adding More Samples to the Key Map Auditioning samples You can add additional samples to an existing key map in the same way as described above. You can audition the loaded samples in two ways: 1. Make sure that no already loaded sample has edit focus. If you don’t, there’s a risk that the selected sample will be replaced, see below. To remove the edit focus, click in an unoccupied area in the Sample column or the key map area. 2. Open the Sample Browser. 3.
Duplicating Zones You can duplicate any number of already existing zones (containing samples or empty). 1. Select the zone(s) you want to copy. 2. Pull down the edit menu or the NN-XT context menu and select “Duplicate Zones”. The selected zones will now be copied and automatically inserted below the last one in the key map display. The duplicated zones will contain references to the same samples as the original zones. They will also have the exact same key ranges and parameter settings.
Moving a Group to another Position in the List D Click on the group in the Groups column and drag up or down with the mouse button pressed. An outline of the group you move is superimposed upon the display to help you navigate to the desired position. Dragging a group to a new position. 3. Release the mouse button at the desired position. The group and all its zones appear at the new position.
4. Repeat the procedure with as many zones as you wish, to create a complete key map. D The other zones are adjacent to the zone with edit focus. ! By using the Lo Key and Hi Key controls Note that it doesn’t matter whether the other zones are selected or not. They will be affected anyway. Directly below the key map area is a row of knobs. These are the sample parameters. As the name implies, they are used for changing various parameters that affect how the zones are played back.
Moving Zones by Dragging the Zone Boxes You can also move entire zones horizontally, thereby changing their key ranges. Moving zones without changing their root notes can be used for some interesting effects, since it will completely change the timbre of the sample(s) as they are played back. 1. Select all the zones you want to move. You can move several zones simultaneously. About the Solo Sample function 2. Point on any of the selected zones, and press the mouse button. 3.
The Edit menu and the NN-XT context menu contains an item called “Sort Zones by Note”. This option lets you automatically sort the selected zones in descending order according to their key ranges. Setting Root Notes and Tuning When you invoke this option, the selected zones will be sorted from top to bottom in the display starting with the one with the lowest range. About the Root Key Sorting Zones by Note Note however, that the sorting is done strictly on a group basis.
Tuning Samples Manually In addition to setting the root note, you may need to fine tune your samples, in order for them to match other instruments and/or each other: Using Automap D Make sure the zone has edit focus (for example by clicking on it). The automap function can be used as a quick way of creating a key map, or as a good starting point for further adjustments of a key map. D Use the knob marked “Tune” in the sample parameter area.
Layered, Crossfaded and Velocity Switched Sounds About Velocity Ranges Creating Layered Sounds This is done by setting up velocity ranges, with or without crossfading. You can set things up so that two or more zones have overlapping key ranges either completely or partially. This way you can create layered sounds, i.e. different samples that are played simultaneously when you press a key on your keyboard. Each time you press a key on your MIDI keyboard, a velocity value between 1127 is sent to Reason.
Overlapping Velocity Ranges Note however, that the sorting is done strictly on a group basis. That is, only zones that belong to the same group can be sorted in relation to each other. Let’s change the values above slightly: If two zones have the same velocity range, they are sorted by key range. D Zone 1 has a velocity range from 1-60. D Zone 2 has a velocity range of 41-100. Setting Velocity Range for a Zone D Zone 3 has a velocity range of 81-127.
About Crossfading Between Zones At the bottom right in the sample parameter area are two knobs marked “Fade In” and “Fade Out”. These are primarily used for setting up velocity crossfades for smooth transitions between overlapping zones. In order to set up crossfades you adjust the fade out and fade in values for the overlapping zones. Crossfading Between two Sounds An example: Another example: Crossfading can be used to only fade in or fade out a certain sound.
Setting Crossfading for a Zone Using Alternate Manually To set up a crossfade for a zone, proceed as follows: About the Alternate function 1. Select one or more zones that you want to adjust. 2. Use the knobs marked “Fade In” and “Fade Out” in the sample parameter area, to set the desired values. At the bottom right in the sample parameters area is a knob marked “Alt”. It only has two states - On and Off. This is used for semi-randomly alternating between zones during playback.
Sample Parameters • • The Sample parameter area is found below the screen. For details on how to adjust them (depending on whether one or more zones are selected) see page 160. Below follows a run-down of the various parameters: Root Note and Tune These parameters are described on page 167. Sample Start and End By turning the knobs you offset the start and end positions, so that they will play back more or less of a samples’ waveform.
Alt This parameter is described on page 172. Group Parameters Out The NN-XT features eight separate stereo output pairs (see page 184). For each zone, you can decide which of these output pairs to use. Thus, if you have created a key map consisting of eight zones, each of these can have a separate stereo output from NN-XT, and can then be routed to a separate mixer channel if you so wish.
Legato and Retrig Synth parameters Legato Legato works best with monophonic sounds. Set Key Poly (see above) to 1 and try the following: The Modulation controls D Hold down a key and then press another key without releasing the previous. Notice that the pitch changes, but the envelopes do not start over. That is, there will be no new “attack”. D If Key Poly is set to more voices than 1, Legato will only be applied when all the assigned keys are “used up”.
The following parameters can be modulated: F.Res F.Freq This sets modulation control of the Resonance parameter in the Filter (see page 179). This sets modulation control of the Filter’s cutoff frequency (see page 179). Level Mod Dec This sets modulation control of the Decay parameter in the Modulation Envelope (see page 180). This sets the amount of amplitude envelope modulation of each zone’s level. The level set here will be the level of the highest point of the Amp Envelope.
The Velocity controls S. Start This sets velocity control of the Sample Start parameter (see page 173), so that it will be offset forwards or backwards, according to how hard or soft you play. This allows you to control how much of the attack portion of the sample you hear when playing harder or softer. To be able to make use of negative values for this parameter, you must increase the sample parameter Sample Start.
The Pitch section • • • This section contains various parameters related to controlling the pitch, or frequency, of the zones. Pitch Bend Range This lets you set the amount of pitch bend, i.e. how much the pitch changes when your turn the pitch bend wheel fully up or down. The maximum range is +/ - 24 semitones (2 Octaves). Setting the pitch Use the three knobs marked “Octave”, “Semi” and “Fine” to change the pitch of the sample(s): D Octave This changes the pitch in steps of one full octave.
The Filter Section D LP 24 This is a lowpass filter with a fairly steep roll-off slope of 24 dB/Octave. Filter controls The following filter controls are available: D Freq This is used for setting the filter cutoff frequency. The cutoff frequency determines the limit above or below which frequencies will be cut off depending on the selected filter type.
The Modulation Envelope 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 after the Decay.
The Amplitude Envelope D Spread and Pan modes These two parameters are used for controlling the stereo (pan) position of the sound. The Spread knob determines the sound’s width in the stereo image (how far left – right the notes will be spread out). If this is set to “0”, no spread will take place.
The LFOs Delay (LFO 1 and 2) This can be used for setting a delay between when a note is played and when the LFO modulation starts kicking in (gradually). This way, you can make the sound start unmodulated, and then have the LFO modulation start after you have kept the key(s) pressed down for a while. Turn the knob to the right to increase the delay time. Mode (LFO 1 only) This lets you set the “operation mode” for the LFO.
Waveform (LFO 1 only) Here, you select which type of waveform should be used for modulating the destination parameters. Click the button to switch between the following waveforms: | Waveform Triangle D Filter This will make the LFO modulate the cutoff frequency of the Filter, for autowah effects, etc. The positive/negative effect is the same as for pitch. D Level This will make the LFO modulate NN-XT’s output level, for tremolo effects, etc. The positive/negative effect is the same as for pitch.
Connections On the back panel of NN-XT are a number of connectors. Many of these are CV/ Gate related. Using CV/Gate is described in the chapter “Routing Audio and CV”. Audio Output There are 16 audio output jacks on the NN-XT’s back panel - eight separate stereo pairs. When you create a new NN-XT device, the first output pair (1L & 2R) is auto-routed to the first available channel on the audio mixer. The other output pairs are never automatically routed.
16 D Dr.
Introduction About File Formats Dr.Rex can read files in the following formats: D REX (.rex) This is the file format generated by previous versions of ReCycle (Mac platform). D RCY (.rcy) This is the file format generated by previous versions of ReCycle (PC platform). The Dr.Rex Loop Player is capable of playing back and editing files created in ReCycle, another product created by Propellerhead Software. ReCycle is a program designed especially for working with sampled loops.
Adding a Loop 1. Activate Preview on the Dr.Rex and start sequencer playback. The REX loop and the sequencer are synced. To add a loop into the Dr.Rex Loop Player, proceed as follows: 2. Now load a new REX file by using the Browser in one of the usual ways. After a brief silence, the new file is loaded, and sync is maintained. 1. Open the browser by selecting “Browse ReCycle/REX Files” from the Edit menu or the device context menu, or click on the folder button beside the Loop name display. 3.
Creating Sequencer Notes Activating playback in the sequencer will now play back the notes on the sequencer track. These in turn will play back the slices in the Dr.Rex device, in the correct order and with the original timing maintained. Now the fun begins! To be able to make your REX loop start at the same time as other sequencer or pattern data, you first have to create sequencer notes from the slices: • • • 1. Select a sequencer track connected to the Dr.Rex device. 2.
Slice Handling Selecting Slices D In the Sequencer. Here you can edit the notes that play the slices. There is a special REX lane for editing REX slice notes, with the notes indicated by the slice numbers instead of by pitches. Editing in the sequencer is described in the Sequencer chapter. Editing in the Waveform Display A selected slice is indicated by being highlighted in the waveform display. To select a slice, use one of the following methods: D By clicking in the waveform display.
Dr.Rex Synth Parameters The Filter Section The Dr.Rex synth parameters are used for shaping and modulating the sound of the REX loops. These parameters are familiar synth parameters, similar to the ones in the synthesizers; The Subtractor and the Malström, and in the samplers; the NN-19 and the NN-XT. It is important to remember that these parameters do not alter the REX files in any way, only the way they will play back.
Filter Frequency Amplitude Envelope The Filter Frequency parameter (often referred to as “cutoff”) determines which area of the frequency spectrum the filter will operate in. For a lowpass filter, the frequency parameter could be described as governing the “opening” and “closing” of the filter. If the Filter Freq is set to zero, none or only the very lowest frequencies are heard, if set to maximum, all frequencies in the waveform are heard.
LFO Section Destination The available LFO Destinations are as follows: | Destination Osc LFOs only generate waveforms with low frequencies. The output of the two LFOs are never actually heard. Instead they are used for modulating various parameters. The most typical application of an LFO is to modulate the pitch of a (sound generating) oscillator or sample, to produce vibrato. In the Dr.Rex device, you can also use the LFO to modulate the filter frequency or panning.
Velocity Control Velocity is usually used to control various parameters according to how hard or soft you play notes on your keyboard. A REX file does not contain velocity values on its own. And when you create sequencer track data by applying the “To Track” function, all velocities are set to a default value of “64”. As velocity information is meant to reflect variation, having them all set to the same value is not meaningful if you wish to velocity control Dr.Rex parameters.
Setting Number of Voices - Polyphony Audio Quality Settings These two parameters provide ways of balancing audio quality vs. conservation of computer power. This determines the polyphony, i.e. the number of voices, or slices, Dr.Rex can play simultaneously. For normal loop playback, it is worth noting that slices sometimes “overlap”. Therefore, it is recommended that you use a polyphony setting of about 3-4 voices when playing REX files.
Connections On the back panel of Dr.Rex you will find the connectors, which are mostly CV/ Gate related. Using CV/Gate is described in the chapter “Routing Audio and CV”. Audio Outputs These are the main left and right audio outputs. When you create a new Dr.Rex device, these are auto-routed to the first available channel on the audio mixer. Slice Gate Output This outputs a gate signal for each triggered slice in the loop.
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17 D Matrix Pattern Sequencer
Introduction About the Three Output Types Note values are entered here The Matrix is a pattern-based device. Matrix doesn’t generate sound on its own, but has to be connected to another instrument device. It basically works by sending pattern data in the form of Note CV (pitch) and Gate CV (note on/off plus velocity) or Curve CV (for general CV parameter control) signals to a device or device parameter. The patterns can be up to 32 steps, and there are 32 memory locations for storing pattern data.
Programming Patterns ! Pattern programming basics is covered in “Programming Pattern Devices”. 3. Make sure that the switch to the left of the pattern window is set to “Keys” position. As you can see, there is a horizontal row of red rectangles at the bottom of the upper field in the pattern window. These rectangles represent note pitch, for each step in a pattern. At the moment they are all set to the same note pitch.
D If you now click or drag in the upper grid section with the pattern playing, you can hear how the note pitches change. The note pitch corresponds to the keyboard printed to the left of the pattern window, in a one octave range, and as previously mentioned, an orientation line is visible when clicking or dragging, making it easy to find the note pitch on the keyboard. D If you now click or drag in the lower gate section while the pattern is playing, you can hear how the timbre and volume changes.
About Unipolar and Bipolar Curves Setting Pattern Length On the back panel of the Matrix you will find a switch, allowing you to select between “Unipolar” or “Bipolar” Curves. The difference is as follows: You may want to make settings for Pattern length, i.e. the number of steps the pattern should play before repeating: D A unipolar curve has values starting from “0” and up. “0” is the value produced by all steps when they are “empty” (not visible).
Setting Pattern Resolution Pattern Functions Matrix always follows the tempo setting on the transport panel, but you can also make Matrix play in different tempo “resolutions” in relation to the tempo setting. This is explained in the chapter “Programming Pattern Devices”. When a pattern device is selected, you will find some specific pattern functions on the Edit menu (and on the device context menu).
4. More on recording pattern changes on page 10. Converting Pattern Data to Notes D An alternative way to do this is editing directly in the Pattern Edit lane in the sequencer. Editing in the Pattern lane is described in the Sequencer chapter. ! Curve patterns cannot be converted to sequencer data! Only the note pattern and the gate values will be converted. You can convert Matrix Pattern data to note data, that can be edited and played back from the main sequencer. Proceed as follows: 1.
Example Usage As mentioned previously, the Matrix is a very flexible device. Here follows a few examples of how you can use the Matrix Pattern Sequencer. Using the Matrix for Modulation 9. While still in play mode, you can use the Resolution knob to change the modulation “rate” in relation to the tempo. For each clockwise resolution step the modulation speed is doubled and vice versa, but it will always stay in sync with the tempo.
Triggering Samples The Gate CV output can be used to trigger samples, either in Redrum or in the NN-19 or NN-XT Sampler. D Connect the Matrix Gate CV out to the Gate (Sequencer Control) in on the NN-19/NN-XT or to one of the individual Gate Channel inputs of Redrum. The Matrix gate values will now trigger the sample on each step that has a Gate value above “0”.
206 MATRIX PATTERN SEQUENCER
18 D ReBirth Input Machine
Introduction D If only the “Active” indicator is lit, either the launch order was wrong, or ReBirth is not installed properly. 5. Activate playback on Reason’s transport panel. ReBirth and Reason are locked in perfect sync, and will follow any transport commands in either of the programs. ! The ReBirth Input Machine is a device dedicated to receiving audio from the Propellerhead program “ReBirth RB-338” (version 2.01 and later).
19 D BV512 Vocoder
Introduction The BV512 is an advanced vocoder device with a variable number of filter bands. It also has a unique 1024-point FFT vocoding mode (equivalent of 512band vocoding) for very precise and high quality vocoded speech. By connecting the BV512 to two instrument devices, you can produce anything from vocoded speech, singing or drums to weird special effects. In this way, the carrier is filtered to have roughly the same frequency characteristics as the modulator.
Setting up for basic vocoding This tutorial describes how to connect and use a typical vocoder setup. We assume here that you have a MIDI keyboard connected. For details on the parameters, see page 214. 1. Make sure there’s a MIxer device in the rack (with at least one free channel). 5. Press [Shift] and create the instrument device you want to use for the modulator signal.
10. Route MIDI to the carrier device by clicking in the MIDI symbol column for its track in the sequencer. 11. Play a chord or a note on your MIDI keyboard. What you hear now is the vocoded sound, e.g. the carrier sound processed to have the same tonal characteristics as the modulator. 12. Try the different filter band options and note the difference in sound. Vocoded vocals The most common usage for a vocoder is probably the typical “singing” or “talking synth” sound, using vocals or speech as modulator.
Using the BV512 as an equalizer The BV512 has a unique equalizer mode, in which the device works purely as an insert effect (the modulator input isn’t used). This allows you to use the processing filters of the vocoder as a kind of graphic equalizer. Setting up 1. Select the device that you want to process through the BV512. 2. Create a BV512 device. It is automatically connected as an insert effect, using the Carrier Input jacks. 3. Set the switch to the left of the displays to “Equalizer”.
BV512 parameters | Parameter This is a global attack time control, affecting all envelope followers (see page 210). Normally you probably want this set to zero, to make the vocoder react as quick as possible. Raising the Attack time can be useful for “smearing” sounds, creating pads, etc. Not available in Equalizer mode.
Connections Other CV connections | Connection | Description Shift (CV in) This allows you to control the Shift parameter from an external CV source. A sensitivity knob determines how much the Shift setting is affected by the CV signal. Hold (Gate in) When a gate signal is sent to this input, the Hold function is activated (see page 214). Hold remains on until the gate signal “goes low” (falls to zero). By connecting e.g.
Automation Tips and tricks Choosing a carrier sound As always, which carrier sound to choose is a matter of taste and musical context. However, here are a few guidelines to help you get a good result: • • • • All parameters on the front panel can be automated in the standard manner. The individual band levels (the bars in the lower display) will be edited on separate lanes in the sequencer. Note: D As with the other effect devices, you have to manually create a sequencer track for the BV512.
D For a more distinct and precise sound, try using a narrow pulse waveform. You get this by selecting e.g. a sawtooth wave on the Subtractor, setting the Phase Mode selector to “–” and turning the Phase knob to the left until you get the desired sound. This type of carrier sound lends itself well to monophonic vocoder lines in the lower registers. D Use noise as a carrier. Try using pure noise (possibly filtered down a bit) for robotic voices, whispering and special effects.
Controlling the Hold function • As described see page 214, pressing the Hold button on the front panel “freezes” the current filter spectrum until you deactivate it again. This can be used for creating sample & hold-like effects, stuttering or garbled vocoder sounds: • • • Connect e.g. the Gate output on a Matrix device to the Hold input on the back of the BV512.
D Connect the gate outputs on a Redrum device to individual band level inputs. With this connection (and no device connected to the Modulator input), the Redrum will serve as a pattern sequencer, opening and closing different filter bands. To adjust the gate times, set the drum sounds to Gate mode and use the Length parameter. The result is totally different from using the audio signal of the Redrum as modulator.
Using the BV512 as a reverb This is a very special trick which can be quite cool. Proceed as follows: 1. Create a Redrum device. The “vocoder-reverb” is best suited for drums, even though nothing stops you from using it on other sounds. 2. Create a Subtractor and a vocoder. The Subtractor will automatically be routed to the carrier input. We don’t need a dedicated modulator device in this setup. 3. Flip the rack around and connect Aux send 1 on the Mixer to the modulator input on the vocoder. 4.
Creating a stereo reverb What you’ve got above is a mono reverb. Here’s how to make it stereo: 1. Select the Subtractor and create a Spider Audio Merger & Splitter device. 2. Create a DDL-1 delay. 3. Connect the devices in the following way: The Subtractor output should be routed to a Splitter input on the Spider. One split output should be routed to one of the carrier inputs on the vocoder, the other split output should be routed to the delay.
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20 D The Effect Devices
Common Device Features While the specific parameters for each device are described below, some features and procedures are common to all effect devices: The Input meter About Connections D All effect devices have stereo inputs and outputs, and can be connected as send effects or as insert effects. However, some effects are best used as one of these only. This is stated for each effect on the following pages. See also the section about the signal flow graphs below.
Scream 4 Sound Destruction Unit Parameters Scream 4 contains three main sections; Damage (distortion and other types of sound destruction), Cut (EQ) and Body (places the sound in a resonant environment - can serve as anything from a cabinet emulator to a wah-wah to completely new special effects) which can be switched on or off independently.
Description of the various Damage Type algorithms Here follows a basic description of the ten Damage Types available, and what parameters the P1/P2 knobs control for each type: | Type This produces an analog-type overdrive effect. Overdrive is quite responsive to varying dynamics. Use lower Damage Control settings for more subtle “crunch” effects. - The P1 knob controls the basic tone of the effect. Turn clockwise for a brighter sound. - The P2 knob controls Presence.
Cut section (EQ) About the envelope follower The Body section features an envelope follower for dynamic control of the Scale parameter. The envelope follower analyzes the amplitude of the incoming signal and changes the Scale setting accordingly - the louder the incoming signal the higher the value of the Scale parameter. The operating frequency (or size) range is set with the Scale parameter, and the envelope follower amount is set with the Auto parameter.
CV inputs and outputs Tips and tricks Don’t restrict yourself to using Scream 4 as a basic distortion stompbox, but try it in as many ways as possible - you may be surprised to find how often Scream 4 can add power, warmth and color to your sounds. Here are some examples: Creating a heavy drum sound Scream 4 is ideal for processing drums. Try connecting it as an insert effect to a Redrum device and experiment with the Damage Types and settings.
Using the Body section as a sound enhancer/phaser/wah Nothing stops you from using the Body section on its own, without Damage. Try this: 1. Create a sampler device (e.g. an NN-19) and select an electric piano patch. 2. Select the sampler and create a Scream 4. It is added as an insert effect. 3. Turn off the Damage section and instead activate the Body section. You will find that this adds a resonant character to the sound, which will make it more “alive” and help it stand out in a mix.
RV7000 Advanced Reverb D If you want to use RV7000’s Reverse reverb effect, you should consider connecting it as an insert effect or using Send 4 on the Mixer, with Pre-fader mode selected (and the channel fader lowered). This is because you typically don’t want to hear the dry sound when using the Reverse effect. See page 237. The main panel The RV7000 main panel. The RV7000 is a high quality reverb processor.
• • • Settings are made with the eight dials around the graphic display. The functions of the dials differ depending on the selected Edit Mode and the selected reverb algorithm. Next to each dial, the display shows the name and value of the corresponding parameter. Not all modes and algorithms use all eight dials. If a dial isn’t used in the selected mode, nothing will be shown next to it in the display.
Selecting an algorithm Small Space You select a reverb algorithm in the remote programmer panel: This algorithm places the sound in a small enclosed space, ranging from a tiny resonant body to a room. The parameters are: 1. Click the remote programmer arrow button on the main panel to display the remote programmer panel. 2. Make sure the Edit Mode button is set to Reverb. 3. Use the top left dial to select a reverb algorithm. The selected algorithm is shown in the display next to the dial.
Room Arena Emulates a medium-sized room, with the following parameters: Emulates the ambience in an arena or concert hall, with long pre-delay times (separate for left, right and center): | Parameter Size Diffusion | Description The size of the emulated room. At low Diffusion settings, you will hear the individual reverb “bounces” more clearly, while higher settings produce a more “smeared”, dense and even reverb. | Parameter | Description Size The size of the emulated arena or hall.
Spring Echo An emulation of a spring reverb as can be found in guitar amplifiers, organs, etc. The spring reverb has the following parameters: This is an advanced echo effect, with diffusion controls and tempo sync. When Echo is selected, the Decay control on the main panel controls the echo feedback (the number of echo repeats). The parameters are: | Parameter Length Sets the length of the simulated spring. | Parameter | Description Echo Time Sets the time between each echo.
Multi Tap The Multi Tap delay produces up to four different delays with separate delay times, panning and level. The whole set of four delay taps can then be repeated at a given rate. Again, the Decay control on the main panel controls the feedback (the number of repeats for the whole multi tap set). All delay times can be tempo synced.
With this algorithm, raising the Decay setting on the main panel will make the reverse reverb start earlier and build up under a longer time. Similarly, the HF Damp parameter affects how fast the high frequencies are built up in the reverse reverb. In the remote panel, the Reverse algorithm has the following parameters: | Parameter 236 | Description Length This sets the time from when the source signal is fed into the reverb until it is played back again.
The EQ section The Gate section The equalizer in RV7000 affects the wet reverb sound only and is used for shaping the character of the reverb. There are two EQ bands, one for low frequencies (shelving) and one full-range parametric EQ. The Gate section allows you to create gated reverb effects with a lot of options and possibilities. You can either trigger the gate from the source audio signal or via MIDI or CV.
The parameters for the Gate section are: | Parameter 238 CV Inputs | Description Threshold When Trig Source is set to “Audio”, this determines the audio signal level at which the gate opens. If you raise this setting, only very loud sounds will open the gate. Decay Mod This modulates the reverb Decay parameter so that the decay time is lowered when the gate closes.
RV-7 Digital Reverb The selected reverb algorithm can be tweaked using the parameters on the device panel: | Parameter Adjusts the emulated room size. Middle position (value 0) is the default size for the selected algorithm. Lowering this parameter results in a closer and gradually more “canned” sound. Raising this parameter results in a more spacey sound, with longer pre-delay. For the “Stereo Echoes” and “Pan Room” algorithms, the Size parameter adjusts the delay time.
DDL-1 Digital Delay Line | Parameter This is a mono delay (where the output can be panned in stereo) that can be synchronized to the song tempo. The delay can be used as a send effect or an insert effect. CV Inputs Wet/Dry | Description If you are using the delay as an insert effect, you use this parameter to adjust the balance between the unprocessed audio signal (dry) and the delay effect (wet).
D-11 Foldback Distortion The D-11 is a simple but effective distortion effect, capable of producing anything from just a whisper soft touch of distortion, to complete thrashing. This effect is most often used as an insert effect. Parameters The distortion has the following parameters: | Parameter | Description Amount This controls the amount of distortion. The higher the value, the more distortion.
The Filter Parameters The Envelope Parameters The ECF-42 filter section has the following parameters: This is a standard envelope generator with Attack, Decay, Sustain and Release parameters. It is triggered by a gate signal connected to the Env Gate input on the back panel, or by MIDI notes on a sequencer track connected to the ECF42. The parameters have the following functionality: | Parameter Mode Freq | Description This button sets the desired filter mode.
Pattern Controlled Filter - An Example This example shows how to use the ECF-42 and the Matrix to create pattern controlled filter effects. Proceed as follows: 1. Start with an empty Song. 2. Create a Mixer. 3. Create a Subtractor Synthesizer. An Init Patch will work fine for these examples. 4. Create an ECF-42. 5. Create a Matrix Pattern Sequencer. If you flip the rack around, you can see that the audio out from the Subtractor is passed through the ECF-42 and then on to the Mixer.
CF-101 Chorus/Flanger CV Inputs The following CV inputs are available on the back panel of the device: D Delay CV. Allows you to control the delay time from another device. This may give best results if you turn off the LFO modulation in the device (turn LFO Mod Amount to zero). For example, by controlling the delay parameter from a Matrix, you can create “stepped flanger” effects, in sync with the tempo. The CF-101 is a combined chorus and flanger effect.
PH-90 Phaser The PH-90 Phaser is a classic phaser effect with some special features for finetuning the sound. It can create the classic sweeping phaser sounds suitable for pads or guitars, but also more extreme effects if you like. The phaser is best used as an insert effect. | Parameter This button lets you activate/deactivate LFO sync. When it is activated, the frequency of the LFO is synchronized to the song tempo, in one of 16 possible time divisions.
UN-16 Unison The UN-16 simulates the sound of several detuned voices playing the same notes simultaneously. The voices are individually slightly delayed and also pitch modulated by low frequency noise. This produces a rich chorus effect with the voices spread across the stereo field (given that stereo outputs are used). The UN-16 can be used as an insert effect or a send effect.
PEQ-2 Two Band Parametric EQ About the graphic display The graphic display to the left in the device panel shows the frequency response curve as set by the EQ parameters. This gives a visual feedback and helps you tailor the EQ settings. CV Inputs The following CV inputs are available on the back panel of the device: While there is a simple two-band shelving equalizer available for each channel in the mixer, the PEQ-2 gives you much more precise control over the tone color.
Spider Audio Merger & Splitter Practical uses of merging audio There are many practical uses of merging audio signals together, for example: D Process several audio signals with the same insert effect(s). Perhaps you want to process certain channels in a mix with the same compressor, or use one ECF-42 to filter a group of instruments in a mix. You can also set up a chain of insert effects and process the merged signals. D Sub-grouping signals.
Spider CV Merger & Splitter A few things to note: • • Gate CV signals typically trigger notes or envelope cycles and are normally routed to a Gate input. CV signals typically control note pitch or for modulating parameters and are typically routed to CV Note or Modulation inputs. There are no strict rules involved, but the facts mentioned above means that it is generally better to stick to using either Gate CV signals or CV signals but not a mixture when merging.
D Create an “arpeggiator” using two Matrix devices and the Spider CV Merger & Splitter. By merging the Note CV output from one Matrix with a Curve CV output of another Matrix, you can transpose the Matrix pattern in real-time, a bit like an arpeggiator. 1. Create a Subtractor and a Matrix device. Connect the Matrix Note and Gate CV outputs to the Subtractor Sequencer CV and Gate inputs, respectively. 4. On the Spider CV, turn the trimpot for the input connected to the Note CV output fully to the right.
8. Adjust the Matrix 2 curve for step 1 (the only step used) so that it is in the middle of the bipolar curve as the picture shows. Practical uses of splitting CV There are many practical uses of splitting CV signals - here are a few examples: D Connecting the CV Note and CV Gate outputs from a Matrix to Split Input A and B, allows you to connect the Matrix to several instrument devices. Simply route the CV and Gate outputs to the corresponding Sequencer Control CV/Gate inputs on the instrument devices.
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21 D Menu and Dialog Reference
Reason Menu (Mac OS X) Close About Reason If the window is a song document and it has unsaved changes, you will be asked whether you want to save those changes. This menu item opens up a dialog that informs you about the version of the program and the people behind it. Preferences This menu item opens up the Preferences dialog. See page 268 for detailed descriptions of the options in this dialog. In addition, the Reason menu contains the standard Mac OS X services and Hide/Show options.
Song Information... Song Splash Allows you to add a picture to the song. If the “Show splash on song open” checkbox is ticked, the picture will be displayed when the song is opened. To add a splash picture, click the folder button at the upper right corner, and locate and open the picture file in the file dialog that appears. ! Splash pictures must be JPEG files (Windows extension “.jpg”) with a size of 256 x 256 pixels. To remove the splash picture from the song, click the cross button.
Song Self-contain Settings... 2. When you have selected the desired sounds, click OK. The dialog is closed. The next time you save, the specified sounds will be included in the song file. ! Note that a self-contained song file will be considerably larger than the original song file. However, samples included in a self-contained song are automatically compressed by approximately 50%, meaning that the self-contained song will still be a lot smaller than the original song and the sample files combined.
Import MIDI File... Reason can import standard MIDI files (SMF). This allows you to import MIDI data to Reason from other applications. D Under Windows, MIDI files have the extension “.mid”. On a Macintosh, MIDI files are recognized if they have the file type “Midi”. D If the imported MIDI file is of “Type 1”, there will be one sequencer track for each track in the MIDI file. D The MIDI file will be of Type 1, with one MIDI track for each track in the Reason sequencer.
2. Make sure the Loop/End markers are at the correct positions. If you want to export the loop, you need to set the left and right locators to encompass the desired area. If you instead want to export the whole song, make sure the End (E) marker is at the desired end position. ✪ If you are using reverb or delay, you may want to adjust the right locator or End marker so that the reverb/delay “tails” are included in the exported file. 3. Check that the song (or loop) plays back properly.
D You can also Paste the track(s) into another song. Note that only the tracks (complete with contents) are copied and pasted not their respective devices. You may want to separately copy and paste the devices to the other song. 6. Select Paste Pattern from the Edit menu or the device context menu. Sequencer events and groups This menu item is used for deleting selected items. It is also used for clearing (emptying) the select pattern on a pattern device.
If referenced samples are missing Redrum Patches for the Redrum, NN-19 and NN-XT contain references to samples. Just like patches, samples can be independent files on the hard disk or elements within a ReFill or a SoundFont. However, if sample files have been moved or renamed after a patch was saved, the sample file references in the patch will not be accurate.
Automap Samples Delete Sample/Remove Sample This menu item applies to the NN 19 Sampler. If you have a number of samples that belong together but haven’t been mapped to key zones, you can use the “Automap Samples” function. This is used in the following way: Redrum 1. Select all samples that belong together and load them in one go, using the sample browser. One of the samples will be loaded to a key zone spanning the whole range, and the rest will reside in the sample memory. 2.
Copy REX Loop to Track This menu item is used for the Dr. Rex loop player device. To be able to make your REX loop start at the same time as other sequencer or pattern data, you “convert” the slices in the loop to notes in the sequencer: 1. Select a sequencer track connected to the Dr.Rex device. D If you copied a Matrix pattern, you need to connect the track to an instrument device (such as the device which was originally controlled by the Matrix), since the Matrix in itself doesn’t produce any sound.
! Note that for the Matrix, Alter affects both the Gate, Note and Curve CV! Ungroup This menu item is used to dissolve a Group: Alter Drum 1. Select the Group. The Alter Pattern function modifies existing patterns for the selected drum sound. Note that there must be something in the pattern for that channel for the function to work - using an Alter function on an empty pattern will not do anything. 2. Select Ungroup from the Edit menu. Auto-route Device 1. Select a Group.
Matrix notes • • After performing “Convert Pattern Track to Notes”, you need to move the contents to another track, or re-route the track to another device. Having the track connected to the Matrix itself is pointless, since the Matrix cannot produce any sound. You may want to disconnect or even remove the Matrix after performing this function. This is because you probably don’t want both the Matrix and the sequencer notes to play back at the same time.
3. Make settings for one of the functions in the dialog and click the Apply button next to the settings. All settings can be made by clicking the spin controls or by clicking in a value field and entering a value numerically. The functions are described below. 4. If you like, use other settings in the same way. You can use the transport controls as usual while the dialog is open. This allows you to play back the events to check out the changes. 5. When you are done, close the dialog.
Copy Zones This menu item is used with the NN-XT sampler. It copies the selected zone(s), and all of its settings - including references to any sample it may contain - and places it in the clipboard buffer. You can then select “Paste Zones” to create a new zone that is an exact replica of the copied zone(s). Note that copying/pasting zones can also be performed between NN-XT devices. Paste Zones This menu item is used with the NN-XT sampler.
1. Select the zones you want to group together. The zones don’t have to be contiguous in order to be grouped. Regardless of their original positions in the samples column, they will all be put together in succession. 2. Select all zones you want to automap. 2. Select “Group Selected Zones”. The zones are grouped. D The zones will be sorted in the display (from top to bottom - lowest key first) according to the root keys.
Preferences – General Show Parameter Value Tool Tip Normally, if you hold the mouse pointer over a parameter on a device panel for a moment, a Tool Tip appears displaying the name and the current value of the parameter. If you uncheck this option, Tool Tips will not be displayed. Show Automation Indication If a parameter is automated in the sequencer, this is, by default, indicated by a colored square around the parameter on the device panel. If you uncheck this option, automation will not be indicated.
7. Close the Preferences dialog. The next time you launch the program or select New from the File menu, the new song document will contain the devices and settings you made. Preferences – Audio CPU Usage Limit Reason is a powerful program but also demanding in terms of processing power. The more devices you add to your rack, the more of your computer’s resources it will use.
D If there is no specific ASIO driver, you should select the Direct Sound driver for the audio hardware. This makes Reason communicate with the hardware via Direct Sound (a part of the Microsoft DirectX package). For this to be possible, you need to have DirectX installed on your computer, and there must be a Direct Sound driver for the audio hardware. D If the audio hardware doesn’t support Direct Sound (i.e.
Audio Card Driver – Mac OS 9 This menu lists all the available Audio Card Drivers on your system, and lets you select which one Reason should use. Which option to select depends on the audio hardware: D If you are using audio hardware for which there is a specific ASIO driver, you should select this.
D If you are using an ASIO driver specifically written for the audio hardware, you can in most cases make settings for the hardware by clicking the Control Panel button. This opens the hardware’s ASIO Device Control Panel, which may or may not contain parameters for adjusting the latency. Usually this is done by changing the number and/or size of the audio buffers - the smaller the audio buffers, the lower the latency.
Latency Compensation Preferences – Advanced MIDI This control should normally only be adjusted when synchronizing Reason to external MIDI Clock. External Control Bus Inputs Because of the latency problem, you might need to adjust Reason’s playback in relation to the MIDI Clock sync master, so that they are in perfect time. The tempo will not differ between the two, but Reason might play ahead or behind the other application. You might need to adjust this.
Preferences – Sound Locations 4. If you like, specify search path 2 to 4 in the same way. It is normally enough to specify a single path, since all underlying folders are automatically included in the database. Use the additional paths if you use more than one hard drive, CD-ROM drives etc. When you add sound files or save Reason files, you should place them within the database (under one of the specified search path folders).
Create Menu Options Menu Sequencer Track Internal Sync/MIDI Clock Sync/ReWire Sync Tracks are automatically created when you create instrument devices in the rack. Still, you may need to create additional tracks (e.g. for recording effect device automation): These three options are used to specify which type of tempo synchronization you prefer: D To create a new sequencer track, pull down the Create menu and select Sequencer Track.
Edit Keyboard Remote Edit MIDI Remote Mapping D To get an overview of which parameters are remote controllable select “Edit Keyboard Remote” from the Options menu. When done, each device you select will show a yellow arrow symbol beside every parameter that can be assigned a keyboard remote. 1. To get an overview of which parameters are MIDI remote controllable select “Edit MIDI Remote Mapping” from the Options menu.
Toggle Rack Front/Rear This switches the rack between the front and rear views. A quicker way to do this is to press [Tab]. Windows Menu (Windows Version) Show Cables If you have made many connections in Reason, the cables can sometimes obscure the view, making it difficult to read the text printed on the back panels of the devices. You can hide/show all cables in the following way: D Select “Show/Hide cables” on the Options menu to hide all cables.
Windows Menu (Mac OS Version) Detach/Attach Sequencer Window Selecting this will detach the sequencer pane from the rack, and open it in a separate window. When the sequencer is detached, the menu item text changes from Detach to Attach. Selecting this will then reattach the sequencer to the rack. Help/Contacts Menu Contents (Windows only) This menu item opens up the Help system with the Contents tab selected. Index (Windows only) This menu item opens up the Help system with the Index tab selected.
Register Reason Now This takes you to the Propellerhead Software registration pages. Once registered you can download free sounds, chat with other Reason users and upload songs for others to hear! About Reason (Windows only) This menu item opens up a dialog that informs you about the version of the program and the people behind it.
280 MENU AND DIALOG REFERENCE
22 D About Audio on Computers
General Information Audio Quality The general audio quality in a computer based synthesizer system depends on two things: D The quality of the software calculating the audio. In our case, this is the Reason DSP (Digital Signal Processing) code. • • • • Reason uses 32-bit floating point arithmetic for all internal audio operations which ensures the highest possible resolution throughout the signal chain. The program supports 16, 20, and 24 bit audio output.
Reason’s built in sequencer is not affected by latency! When Reason’s sequencer is playing back a song, the timing between notes is perfect! Once playback of a Reason pattern or song is up and running, latency isn’t a consideration at all.
• • • ✪ Not all cards come with ASIO drivers. If in doubt check with the audio card manufacturer. Using a card via an ASIO driver can give latency figures as low as 3ms. When you use ASIO, only one program at a time can access the card. More information about ASIO can be found on Steinberg Media Technologies’ web pages, www.steinberg.net. Intel vs.
Mac Audio Cards with an ASIO Driver An audio card with an ASIO driver is your best option if it is available. ASIO does not guarantee low latency, but it allows for it if the audio card designers take advantage of its possibilities. • • • Using a card via an ASIO driver can give latency figures as low as 3ms. When you use ASIO, only one program at a time can access the card. Note that to use ASIO you need to add an ASIO driver file to the ASIO Drivers folder in your Reason folder.
286 ABOUT AUDIO ON COMPUTERS
23 D MIDI Implementation
About This Chapter This chapter briefly describes the way various MIDI messages are implemented in Reason. It is mainly intended for those who control the rack directly via MIDI, but direct MIDI input can also be put to good use when recording into the sequencer. The basics on how to send MIDI to Reason is described on page 43 and page 45. This chapter only deals with the details on various MIDI messages. MIDI Direct Control vs.
D Index
A C ADSR 109 Alter Notes 33, 265 Pattern (Matrix) 202 Pattern (Redrum) 93 Arrange View 15 ASIO Control Panel 66 ASIO Driver 283, 285 Attach Sequencer Window 22, 277 Audio Out Clipping 74 Audio Outputs (Hardware Interface) 79 Audio Quality 282 Automap Samples 142, 261 Automap Zones 168, 267 Automatic Quantize 32 Automation Clearing 28 Editing 26 Pattern Changes 10 Recording 9 Resetting during recording 9 Showing and Hiding 26 Showing in Device Panels 268 Static Controller Value 8 AUX Sends and Returns 85
CV About 36 Merging 249 Routing 39 Splitting 251 vs. Gate 200 CV Trim knobs 39 D D-11 Distortion 241 DDL-1 Delay 240 Decay/Gate Switch 94 Default Song 268 Delay 240 Delete Unused Samples 140 Detach Sequencer Window 22, 277 DirectX Driver 283 Disable MIDI Priority Boost 273 Disconnect (Routing) 38 Distortion D-11 241 Scream 4 225 Dr.
Follow Song 277 G Gate About 36 Programming in Matrix 199 Routing 39 vs.
Malström About 120 Filters 124 Graintables 120, 122 Modulators 123 Oscillators 121 Routing 128 Routing external audio to 133 Shaper 127 Master Tune 269 Matrix About 198 Application Examples 204 Programming 199 Maximize Sequencer 22 Memory Requirements 69 MIDI Clock 60 MIDI Clock Input 42 MIDI Files 34 MIDI In Device 78 MIDI Inputs About 42 Setting Up 43 MIDI Remote Clearing 276 Mapping 56 Selecting Input 54 MIDI Sync 74 Mixer About 82 Chaining 86 Signal Flow 84 MME Driver 283 Mono Considerations 68 In Effec
Patches Browsing 259 Exporting 257 Malström 120 Missing Sounds 260 NN-19 137 NN-XT 153 Redrum 89 RV7000 230 Scream 4 225 Subtractor 100 Pattern Changes Clearing 30 Converting patterns to notes 13 Editing 29 Recording 10 Pattern Controlled Filter 243 Pattern Shuffle 92 Patterns Matrix 199 Muting 92 Redrum 90 Transferring between songs 259 Pencil tool Controllers 27 Groups in the sequencer 18 Notes 23 PEQ-2 EQ 247 Phase Controls (Subtractor) 103 Phaser 245 Polyphony Dr.
Resolution (Audio) 258 Resolution (Redrum Pattern) 91 Reverb RV-7 239 RV7000 230 ReWire Latency 283 Setting Up 49 With ReBirth 208 REX files Loading in Dr.
Songs Creating New 254 End position 258 Opening 254 Optimizing 68 Publishing 255 Self-contained 256 Setting up the Default Song 268 Splash Picture 255 Sort Zones by Note 266 Sort Zones by Velocity 266 Sound and Patch Search Paths 274 Sound Manager 284 SoundFonts NN-19 138 NN-XT 153 Redrum 88 Spider Audio Merger and Splitter 248 CV Merger and Splitter 249 Splash Picture 255 Stereo Considerations 68 In Effect Devices 224 Subtractor About 100 External Modulation 116 Filter 105 Oscillators 100 Waveforms 101 Syn
