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SpaceMaster 5. SpaceMaster Quad SpaceMaster Stereo Spring Tank Two Knees Compressor The Sequencer Pattern Sequencer Step Sequencer Massive 1.

Control Section Modulation Section Sound Engine Life Sequencer Random Step Shifter Loading Samples Tips and Tricks Sinebeats Noise Synthesizer Sine Synthesizers EQ and Compressor Snapshot System Global Section Loop Section Slice Parameters Memory Drum Global Parameters Sample Parameters Grainstates SP SQ 8x Sound Generators Metaphysical Function Operation Modes Master Controls Space Drone List of Controls Carbon Modulation Sources Global Controls Signal Flow and Structure Equinoxe Deluxe String Section Ensemble, KleinStein, and Delay Sections Operator Sections FM Sources Section LFO Section Voice Mode Section Effects Sections Green Matrix Group Attenuation Oscillator Phase Ratio Multiply Ratio Add Partial Beating Visualization Area Periodic Filter Using the Modulation Matrix Modulation Envelope Modulation LFO Modulation Macro Controls Global Pitch Gate Mode Pitch Mod.

Oki Computer MIDI In Modulation Matrix SoundSchool Analog Interface Areas and Control Elements Page B – Instrument Architecture Steam Pipe Space Master Deluxe Steam Pipe Amplitude and Modulation Envelope Sub Oscillator Formant Oscillator Mix and Output This classic and renowned selection of musical tools unfolds more than ten years of legacy within electronic music.

All Ensembles are ready to use in your music and sound design projects, but their open Structures also allow you to look behind the curtain and discover how they work.

The Analogic Filter Box sandwiches a rich and meaty distortion unit between two hearty ana- log-style filters to create a sound-shaping tool for every appetite. Juicy modulation is also provided on the side: An envelope, LFO, and envelope follower can be freely routed to the most important filter and distortion parameters. Analogic Filter Box can handle everything from fat disco-loop tweaking to full-on mangling of any sound source imaginable.

The signal is routed from input to Filter 1, to the Distortion, to Filter 2, and then out. Both filters offer multiple operation modes. Both filters were very carefully designed to produce warm, analog sounds even at extreme resonance and cutoff settings. Beside the normal cutoff frequency control available in both filters, Filter 1 also provides fast modulation of its frequency by an additional oscillator which can itself be modulated by the LFO, envelope, or envelope follower!

The Distortion section between the two multimode filters also features multiple modes of operation. While the clipper mode provides a relatively harsh distortion sound and the saturator mode results in warm overdrive, the several wrapping modes marked by the name of the waveform used for wrapping produce unique sounds from subtle to extreme. An additional quantize mode converts the incoming signal into a step waveform, for familiar bit-reduction effects to mimic the character of vintage samplers, for instance.

A visual display of the distortion function helps to see what’s going on inside. The modulation sources and the flexible matrix signal routing system at the bottom of this effect transforms it into an incredibly powerful machine. The modulation signal routing system provides a source selector for each parameter to be modified; among those modifiable parameters are the cutoff frequencies and resonance settings of both filters and the distortion amount and symmetry control of the distortion section.

In addition to gate information from MIDI note-on events that can even be used to trigger the filter, you can also use the pitch and mod wheels as modulation sources. An internal LFO, envelope follower, and auto-trigger envelope can add movement to the sound without the need any external MIDI controllers. The Envelope Follower calculates its modulation amount from the incoming signal: At high levels there is a high modulation level, and at low levels it’s low.

The Interval knob controls the response time to fast. Use the cutoff controls of the internal highpass and lowpass filters to select a specific frequency band of the incoming signal to trigger the envelope follower.

The Envelope is a standard attack-decay-sustainrelease envelope generator, triggered by MIDI note on events. However, an additional auto-trigger feature allows it to be triggered by the incoming audio, settable with the Tresh slider.

You can define custom mix modulation combinations in the Define Mix 1 and 2 areas as the bottom of the instrument. Please check your Reaktor or Reaktor Session user’s guide for helpful information.

Anima is a polyphony-dependent filter bank, animated by an LFO that can produce complex wave effects. The meters show the post-fader input level. A single bandpass filter corresponds to every voice of polyphony. All of the filters are controlled together, in the main XY display.

If off, the Y coordinate modulates the phase offset or starting point of the wave that determines the amplitude of the bands. If the “Y-Wdth” button is off this knob controls the width of the frequency band that is covered by the bandpass filters in semitones.

If the “Y-Wdth” button is on it controls the phase offset or starting point of the wave that determines the amplitude of the bandpass filters.

Values between 0 and 1 set the phase between 0 and degrees. The amplification is compensated internally so the resonance controls only the narrowness of the bandpass filters.

The amplification is compensated internally so it controls the amount of distortion. Its length is then set in 16th notes. If Reaktor is used as a plug in the clock of the host is used.

The LFO modulates the phase offset of the wave that determines the amplitude of the bandpass filters. If the “Snyc” button is on the length are set in 16th notes. If off the length is set in milliseconds. Counter clockwise it turns into a sawtooth with a falling slope. In the center it remains a triangle waveform. The meters show the post-fader output level.

It crossfades between the incoming signal fully left and the processed signal fully right. When off, the CPU is no longer used. Banaan Electrique is a sophisticated guitar and bass amp simulator with built in effects. It’s like having a pedal board full of vintage pedals and a vintage amp, with the added advantages of not needing to cable anything together or risk electrocuting yourself by running too much. You can still get shocked by its lush sound, however.

Naturally, Banaan is happy to eat whatever types of sounds you feed it, whether they’re vocals, drum loops, synths, or scallops. Banaan Electrique was designed to be so easy that even guitar players can use it! Just play some audio through it and let a rip.

The incoming signal is converted to mono, amplified, gated, equalized and compressed to control the input’s amplitude level and to enhance those sounds wanted to be in the recording, getting rid of any unwanted noise.

Then, a guitar amplifier is simulated, including distortion, overdrive and filtering. Its output signal is sent to a rotor module, placing the mono sound in the stereo field dynamically. This signal is then routed to a phaser effect and, afterwards, to a stereo echo unit whose delay times can be synced to master tempo or MIDI clock. A high-qual- ity reverb enhances the spatial sound once more, feeding its output into the final compressor. Not all modules have to be active at the same time – in fact, it’s a good idea to turn off any modules that you’re not using to save CPU.

You can turn modules on and off with their respective Power buttons. The Classic Vocoder was designed to faithfully emulate the well-known tones of singing robots made popular in the seventies. The instrument combines a vocoding engine, a vintage-type synthesizer, and a four-band dynamics processor for a warm, smooth sound. The audio input is vocoded with the built-in synthesizer. Play some audio into the vocoder. Audio input 1 is the modulator, and is vocoded with the Classic 2-VCO synth, which is the carrier.

The entire signal flow is mono. If you are using a stereo signal, only the left channel will be used. The output of the vocoder is fed into the four-band normalizer to smooth-out the sound and remove any uncomfortable signal peaks that could come with vocal sibilants or drum transients. Sonically, Vocoding uses the characteristics of one sound to control another. To achieve the popular robotic-singing effect, a voice technically called the modulator is vocoded with a constant sound, such as a synth or string sound the carrier.

The frequency content of the voice is split up into many different bands – the number of bands has an obvious impact on the sound, with fewer bands leading to more synthetic voices, and higher bands make the voice easier to understand. You can adjust the number of voices of the vocoder instrument to change how many bands are used.

Up to voices bands are possible. All changes in number of bands are immediately shown in the graphical display. The amplitude of each frequency band of the voice is linked to the frequency bands in the string or synth sound.

The re-shaped bands of the carrier signal are mixed together, providing the output signal of the vocoder. Like a traditional Chorus effect, Cyan uses a bank of modulated-delay units to add width, depth and richness to the input signal.

And due to painstaking attention to detail in the design process, Cyan can reproduce classic chorus-type sounds with the finest sound quality. However, Cyan is far more than just a high-quality chorus unit. Indeed, due to its advanced features such as tempo-synchronisation and extended delay modulation control, Cyan offers many new and exciting sound-shaping possibilities.

The effect’s architecture consists of up to six independent stereo delay lines see sections Distance, Intensity and LFO that are fed with the incoming audio signal see Input. Optionally, the delay lines’ output can be routed again to their input to establish an additional feedback circuit Feedback.

After summing the delay lines’ signal the sound is routed to a saturation unit and an equalizer to dynamically and harmonically re-shape the chorused signal Saturation and Equalizer.

Finally, the signal is mixed with the unprocessed one and sent to the output Mix Automation, Additional Mix and Output. These two sections control whether the chorus is switched on or off and which signal. The Delay knob on the other hand adjusts the delay times offset, thus controlling the. The Spread control additionally changes this offset slightly for each LFO independent-.

The Intensity knob mainly controls the sound of the chorus:. After passing through the delay units, the signal is routed to the Feedback section. The FB amount knob is bi-polar: At the right there is nor-. Waveform and LFO determine the shape and number of low frequency oscillators.

Rate controls how fast the delay times are modulated by the low frequency oscillators. Spread knob. Shift controls the phase to which the oscillators are reset at synchronization events. After the chorus section itself the audio signal can be saturated and equalized. Wet balance knob position. Mix balance can also be automated by a ramp generator,. The ramp generator trigger source. This is. Tremolo enables amplitude modulation, synchronized to the delay time modulation. Echomania is an advanced and spectacular-sounding delay box that excels at tight, temposynced rhythms.

The delay time is handily synced to the global MIDI clock, for creating stretchy rhythmic effects. A drive and noise circuit combined with a feedback offset control recreate vintage sounds. Get dubbing! Play some audio through Echomania. The delay time is set in 16th note increments, synced to the global MIDI clock. The Unit and Divisor windows, to the right of the Time control, allow you to fine tune the beat division and create different rhythmic feels—to be precise, the enumerator divided by the denominator scales the delay time fraction.

You can set the amount of time modulation with the Amount knob. The Freq knob controls the rate of the LFO in 16th notes. The Unit knob divides the speed of the global clock by the Unit amount. The Width control morphs between sine and pulselike, or, if the Tri button is engaged, triangle and saw tooth waveshapes. The starting phase of the LFO can be adjusted positively or negatively using the Phse knob. If you engage the Snc button, the right-side LFO can be phase-offset from the left side by the amount set with the Right knob.

This can create a variety of woozy stereo spinning and phasing effects. The EQ module processes the delayed signal. You can create synchronized filter sweeps, fizzing hi-frequency delay tails, and all manner of dubby effects by boosting and modulating select frequency bands.

The Eq Res control lets you dial in the peak width of the frequency, while EQ Boost lets you crank it up. The Mixer lets you add a tape saturation-like Dist Drive effect and Noise to give everything that just-pulled-out-of-the-closet feeling. The Dry Wet section allows you to balance the amount of dry and delayed signal. EnFX consists of three separate effects: an envelope-follower filter, distortion, and delay.

Even though the effects are together in one ensemble, they can also be used independently. Each effect features a identical Input, Envelope Follower, and Output sections. These sections will be explained first:. An envelope follower isn t a dog that chases the postman. This envelope can control different parameters, depending on the effect. The result is an effect that wraps itself around the incoming audio for an organic, natural sound.

It shapes the output of the peak detector. Lower values, i. Use mono mode for a more stable envelope. In stereo mode, the two incoming channels are processed seperately -a separate envelope of the left and the right channel is generated. In mono mode, both channels are mixed together before extracting the envelope. Lower values at the left result in more sensitivity to smaller peaks e. HiHats , higher values instead only detect really high peaks like bass drums etc.

Higher values result in a more smoothed signal following the envelope of the incoming signal. At the center the EnFX delay is a delay whose time is modulated by an envelope follower. It s useful for very long delays due to internal feedback enhancements as well as for unique pitch shifting.

See the envelope follower info above for information about the envelope follower section. The display below shows the delay time in 16th notes according to the midi tempo. Internally, the linear output of the knob is processed by a function mapping it onto a grid to allow very short decays as well as very long decays.

The grid also performs triplet division of the time 0. Turn to the right for a longer delay times at high envelope follower signals, turn to the left for shorter delay times at high envlope follower signals. Use mid position to switch the modulation off. Turn right to amplify very silent signals in the feedback tail, turn left to amplify only the louder signals.

Use it to make very long and damped feedbacks audible. Turn to the left for smooth transistions, turn to the right for sharper and faster response to level changes. Turn to the left for no swapping, i. Turn to mid position for mono processing, i.

Turn to the right for crossfading, i. More feedback leads to a decay with more repeats. Turn to the right for a more wet signal at high envelope follower signals, turn to the left for a more dry signal at high envlope follower signals. EnFX Distortion is a overdrive effect with a preand a post-distortion equalization filter whose center freqeuncies are controlled by an envelope follower.

Usefull for all kinds of overdive effects, but can also be used for guitar wahwah etc. In the distorion section, the left knobs belong to the “push” filter that modifies the signal before the distortion; the right knobs belong to the “pop” post-distortion equalizer. Turn to the right for a higher frequency at high envelope follower signals, turn to the left for lower freqeuncies at high envlope follower signals. On high distortion levels the signal might tend to fade. Increase the drive value to fade it back in.

The value displayed below shows the time in milliseconds that goes by before another random event is generated. Turn right for more modulation. Here you can see also the effect of modulation by the envelope follower and the slow random generator.

Left represents a low freqeuncy, right a high freqeuncy. Turn left to make the filter freqeuncy be reduced on high incoming envelopes, turn right for the opposite, i. The left knob modifies the lower cutoff freqeuncy, the right one the higher freqeuncy. These effects can be chained in a variety of ways offering a large range of sounddesign possibilities. This ability to instantly switch between sets is what really brings Fast FX to life. The snapshots are made up of 32 x 8 slot banks.

Select bank by the using the step Program Selector slider at the bottom of the panel, and select the slot by using the. When Flow is enabled, selecting a new bank or slot automatically loads the preset. Fast FX has two pairs of stereo inputs. The first pair of inputs are connected to the. Level and Mute control the input level. This section allows configuration of the signal flow order between the 6 effects.

Level and Mute control the output level. All effects can be bypassed simultaneously. The mix section controls the overall mix between the dry input signal and the wet,. The mix is defined separately for low and high frequencies with the.

Spin determines how the loop length changes when the effect is enabled. A setting of. Spin Time determines the speed of loop length changing, and Jtr sets the delay time. This effect slices incoming sound into grains, and then slides the pitch, so that the.

Slice A and Slice B set the length of first and second slices respectively, in 16th steps. Length sets the grain length in milliseconds. Below, the knob labelled Mod sets the. The Rnd XY field is used to. Asym sets the grain size asymmetry between the left and right channels.

Decay con-. This effect also slices the incoming sound, and then shifts the position and playback. The two slicers work on a rotating basis, so therefore the slice lengths alternate be-. The SncVar enables a mathematical formula to automatically rearrange and vary the. Rev A and Rev B enable reverse playback of the first and second slices. This section features a step sequencer that modulates the amplitude of the incom-.

The horizontal slider above the sequencer display selects one of the The preset sequence can be varied by reducing the loop length with.

This control. Gate determines the length of the open gate, as a proportion of a sequencer step. The section features a stereo delay line with a modulated filter in the feedback path. Delay sets the delay time in 16th steps, Fbck sets the feedback amount and Asym sets. Filter sets the centre frequency of the feedback filter. The cutoff is also modulated a. The XY X axis. This section features a sequenced filter.

The horizontal slider above the sequencer. Length sets the loop length of the se-. Mod defines how much the extent to which the sequencer modulates the fil-. Center and Reso set the filter cutoff and resonance respectively, and Width sets the fil-. Like x 3. For those that buy the application new and didn’t update it would be good to have at least the old one with the missing new features.

Seoman , Oct 18, Aaron McPherson , Oct 18, Like x 1 Informative x 1. Thank you, I didn’t see that Seoman , Oct 19, Hi everybody. Please don’t overlook the Reaktor Factory Library Manual, which I think was not available on the Reaktor 6 downloads page when Reaktor 6 was first released.

Especially if you mainly got attracted to Reaktor because of Blocks, you may not have noticed how much more great stuff is included in Reaktor. There’s a mind boggling array of 70 synthesizers, sequencers, and effects already on your hard drive, in the Factory Library folder, that you can play with, plug together, open up and learn from, and modify or steal parts from. I don’t know how many times I’ve said “What? Three of my favorite words: Spring Tank Reverb.

Oh, and if you haven’t plugged in an Electric Banana a. Banaan Electrique , please try it out. I had Reaktor for a year before I stumbled on these glorious things, hiding in the Effects folder. Christian PS: No sound coming out? Make sure you understand the difference between polyphonic and monophonic aspects of Reaktor, and add voice combiners if you’re connecting a polyphonic instrument to a monophonic effects unit. Even if you’re intimidated or overwhelmed by all these possibilities and all this documentation, walk through that tutorial and you’ll glimpse some of the enormous potential that you now possess.

What’s not to like? Last edited: Oct 24, Exiannyc , Oct 24, Hi all, first post here. Working through the “Building in Primary” document, in the “Basic Step Sequencer” section it looks like there are a few screencaps or maybe even more missing from p. Unfortunately, these are at the end of the lesson so I can’t figure it out from other images, and the next two tutorials require the completion of this ensemble, so I’m really stuck here as a Reaktor newbie.

I’ve contacted NI support about this already, but probably won’t hear back until after the long weekend. Can anyone at least give me an idea of what to do from this point so that I can keep pushing through the documentation? Many thanks in advance! I’m sorry but I don’t know.

 
 

Free Native Instruments User Guide, Download Instruction Manual and Support – 1

 

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.

All other trade marks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Analogic Filter Box Structure and Signal Flow Banaan Electrique Getting Started Classic Vocoder Quick Start The Vocoding Engine EnFX Delay 1. EnFX Distortion 1.

EnFX Filter 1. Fast FX FlatBlaster Multi-band Compressor Full-band Peak Limiter Frequency-Specific Compressor Full-Band Peak Limiter Fusion Reflections Diffusion Delays Grainstates FX Additional Controls MIDI Control Space Master Input and Output Stage Frequency Response SpaceMaster 5.

SpaceMaster Quad SpaceMaster Stereo Spring Tank Two Knees Compressor The Sequencer Pattern Sequencer Step Sequencer Massive 1. Control Section Modulation Section Sound Engine Life Sequencer Random Step Shifter Loading Samples Tips and Tricks Sinebeats Noise Synthesizer Sine Synthesizers EQ and Compressor Snapshot System Global Section Loop Section Slice Parameters Memory Drum Global Parameters Sample Parameters Grainstates SP SQ 8x Sound Generators Metaphysical Function Operation Modes Master Controls Space Drone List of Controls Carbon Modulation Sources Global Controls Signal Flow and Structure Equinoxe Deluxe String Section Ensemble, KleinStein, and Delay Sections Operator Sections FM Sources Section LFO Section Voice Mode Section Effects Sections Green Matrix Group Attenuation Oscillator Phase Ratio Multiply Ratio Add Partial Beating Visualization Area Periodic Filter Using the Modulation Matrix Modulation Envelope Modulation LFO Modulation Macro Controls Global Pitch Gate Mode Pitch Mod.

Oki Computer MIDI In Modulation Matrix SoundSchool Analog Interface Areas and Control Elements Page B – Instrument Architecture Steam Pipe Space Master Deluxe Steam Pipe

 

Native instruments reaktor 6 manual pdf free download.Native Instruments Reaktor 6 Operation Manual

 

SpaceMaster 5. SpaceMaster Quad SpaceMaster Stereo Spring Tank Two Knees Compressor The Sequencer Pattern Sequencer Step Sequencer Massive 1. Control Section Modulation Section Sound Engine Life Sequencer Random Step Shifter Loading Samples Tips and Tricks Sinebeats Noise Synthesizer Sine Synthesizers EQ and Compressor Snapshot System Global Section Loop Section Slice Parameters Memory Drum Global Parameters Sample Parameters Grainstates SP SQ 8x Sound Generators Metaphysical Function Operation Modes Master Controls Space Drone List of Controls Carbon Modulation Sources Global Controls Signal Flow and Structure Equinoxe Deluxe String Section Ensemble, KleinStein, and Delay Sections Operator Sections FM Sources Section LFO Section Voice Mode Section Effects Sections Green Matrix Group Attenuation Oscillator Phase Ratio Multiply Ratio Add Partial Beating Visualization Area Periodic Filter Using the Modulation Matrix Modulation Envelope Modulation LFO Modulation Macro Controls Global Pitch Gate Mode Pitch Mod.

Oki Computer MIDI In Modulation Matrix SoundSchool Analog Interface Areas and Control Elements Page B – Instrument Architecture Steam Pipe Space Master Deluxe Steam Pipe Amplitude and Modulation Envelope Sub Oscillator Formant Oscillator Mix and Output This classic and renowned selection of musical tools unfolds more than ten years of legacy within electronic music.

All Ensembles are ready to use in your music and sound design projects, but their open Structures also allow you to look behind the curtain and discover how they work. The Analogic Filter Box sandwiches a rich and meaty distortion unit between two hearty ana- log-style filters to create a sound-shaping tool for every appetite. Juicy modulation is also provided on the side: An envelope, LFO, and envelope follower can be freely routed to the most important filter and distortion parameters.

Analogic Filter Box can handle everything from fat disco-loop tweaking to full-on mangling of any sound source imaginable. The signal is routed from input to Filter 1, to the Distortion, to Filter 2, and then out.

Both filters offer multiple operation modes. Both filters were very carefully designed to produce warm, analog sounds even at extreme resonance and cutoff settings. Beside the normal cutoff frequency control available in both filters, Filter 1 also provides fast modulation of its frequency by an additional oscillator which can itself be modulated by the LFO, envelope, or envelope follower!

The Distortion section between the two multimode filters also features multiple modes of operation. While the clipper mode provides a relatively harsh distortion sound and the saturator mode results in warm overdrive, the several wrapping modes marked by the name of the waveform used for wrapping produce unique sounds from subtle to extreme.

An additional quantize mode converts the incoming signal into a step waveform, for familiar bit-reduction effects to mimic the character of vintage samplers, for instance. A visual display of the distortion function helps to see what’s going on inside. The modulation sources and the flexible matrix signal routing system at the bottom of this effect transforms it into an incredibly powerful machine.

The modulation signal routing system provides a source selector for each parameter to be modified; among those modifiable parameters are the cutoff frequencies and resonance settings of both filters and the distortion amount and symmetry control of the distortion section. In addition to gate information from MIDI note-on events that can even be used to trigger the filter, you can also use the pitch and mod wheels as modulation sources.

An internal LFO, envelope follower, and auto-trigger envelope can add movement to the sound without the need any external MIDI controllers. The Envelope Follower calculates its modulation amount from the incoming signal: At high levels there is a high modulation level, and at low levels it’s low. The Interval knob controls the response time to fast.

Use the cutoff controls of the internal highpass and lowpass filters to select a specific frequency band of the incoming signal to trigger the envelope follower.

The Envelope is a standard attack-decay-sustainrelease envelope generator, triggered by MIDI note on events. However, an additional auto-trigger feature allows it to be triggered by the incoming audio, settable with the Tresh slider. You can define custom mix modulation combinations in the Define Mix 1 and 2 areas as the bottom of the instrument. Please check your Reaktor or Reaktor Session user’s guide for helpful information.

Anima is a polyphony-dependent filter bank, animated by an LFO that can produce complex wave effects. The meters show the post-fader input level. A single bandpass filter corresponds to every voice of polyphony. All of the filters are controlled together, in the main XY display. If off, the Y coordinate modulates the phase offset or starting point of the wave that determines the amplitude of the bands.

If the “Y-Wdth” button is off this knob controls the width of the frequency band that is covered by the bandpass filters in semitones. If the “Y-Wdth” button is on it controls the phase offset or starting point of the wave that determines the amplitude of the bandpass filters.

Values between 0 and 1 set the phase between 0 and degrees. The amplification is compensated internally so the resonance controls only the narrowness of the bandpass filters. The amplification is compensated internally so it controls the amount of distortion. Its length is then set in 16th notes. If Reaktor is used as a plug in the clock of the host is used. The LFO modulates the phase offset of the wave that determines the amplitude of the bandpass filters.

If the “Snyc” button is on the length are set in 16th notes. If off the length is set in milliseconds. Counter clockwise it turns into a sawtooth with a falling slope. In the center it remains a triangle waveform.

The meters show the post-fader output level. It crossfades between the incoming signal fully left and the processed signal fully right. When off, the CPU is no longer used. Banaan Electrique is a sophisticated guitar and bass amp simulator with built in effects.

It’s like having a pedal board full of vintage pedals and a vintage amp, with the added advantages of not needing to cable anything together or risk electrocuting yourself by running too much. You can still get shocked by its lush sound, however. Naturally, Banaan is happy to eat whatever types of sounds you feed it, whether they’re vocals, drum loops, synths, or scallops.

Banaan Electrique was designed to be so easy that even guitar players can use it! Just play some audio through it and let a rip. The incoming signal is converted to mono, amplified, gated, equalized and compressed to control the input’s amplitude level and to enhance those sounds wanted to be in the recording, getting rid of any unwanted noise.

Then, a guitar amplifier is simulated, including distortion, overdrive and filtering. Its output signal is sent to a rotor module, placing the mono sound in the stereo field dynamically. This signal is then routed to a phaser effect and, afterwards, to a stereo echo unit whose delay times can be synced to master tempo or MIDI clock. A high-qual- ity reverb enhances the spatial sound once more, feeding its output into the final compressor. Not all modules have to be active at the same time – in fact, it’s a good idea to turn off any modules that you’re not using to save CPU.

You can turn modules on and off with their respective Power buttons. The Classic Vocoder was designed to faithfully emulate the well-known tones of singing robots made popular in the seventies. The instrument combines a vocoding engine, a vintage-type synthesizer, and a four-band dynamics processor for a warm, smooth sound. The audio input is vocoded with the built-in synthesizer. Play some audio into the vocoder. Audio input 1 is the modulator, and is vocoded with the Classic 2-VCO synth, which is the carrier.

The entire signal flow is mono. If you are using a stereo signal, only the left channel will be used. The output of the vocoder is fed into the four-band normalizer to smooth-out the sound and remove any uncomfortable signal peaks that could come with vocal sibilants or drum transients. Sonically, Vocoding uses the characteristics of one sound to control another. To achieve the popular robotic-singing effect, a voice technically called the modulator is vocoded with a constant sound, such as a synth or string sound the carrier.

The frequency content of the voice is split up into many different bands – the number of bands has an obvious impact on the sound, with fewer bands leading to more synthetic voices, and higher bands make the voice easier to understand. You can adjust the number of voices of the vocoder instrument to change how many bands are used.

Up to voices bands are possible. All changes in number of bands are immediately shown in the graphical display. The amplitude of each frequency band of the voice is linked to the frequency bands in the string or synth sound.

The re-shaped bands of the carrier signal are mixed together, providing the output signal of the vocoder. Like a traditional Chorus effect, Cyan uses a bank of modulated-delay units to add width, depth and richness to the input signal. And due to painstaking attention to detail in the design process, Cyan can reproduce classic chorus-type sounds with the finest sound quality.

However, Cyan is far more than just a high-quality chorus unit. Indeed, due to its advanced features such as tempo-synchronisation and extended delay modulation control, Cyan offers many new and exciting sound-shaping possibilities. The effect’s architecture consists of up to six independent stereo delay lines see sections Distance, Intensity and LFO that are fed with the incoming audio signal see Input. Optionally, the delay lines’ output can be routed again to their input to establish an additional feedback circuit Feedback.

After summing the delay lines’ signal the sound is routed to a saturation unit and an equalizer to dynamically and harmonically re-shape the chorused signal Saturation and Equalizer. Finally, the signal is mixed with the unprocessed one and sent to the output Mix Automation, Additional Mix and Output. These two sections control whether the chorus is switched on or off and which signal.

The Delay knob on the other hand adjusts the delay times offset, thus controlling the. The Spread control additionally changes this offset slightly for each LFO independent-. The Intensity knob mainly controls the sound of the chorus:. After passing through the delay units, the signal is routed to the Feedback section. The FB amount knob is bi-polar: At the right there is nor-. Waveform and LFO determine the shape and number of low frequency oscillators.

Rate controls how fast the delay times are modulated by the low frequency oscillators. Spread knob. Shift controls the phase to which the oscillators are reset at synchronization events.

After the chorus section itself the audio signal can be saturated and equalized. Wet balance knob position. Mix balance can also be automated by a ramp generator,. The ramp generator trigger source.

This is. Tremolo enables amplitude modulation, synchronized to the delay time modulation. Echomania is an advanced and spectacular-sounding delay box that excels at tight, temposynced rhythms. The delay time is handily synced to the global MIDI clock, for creating stretchy rhythmic effects. A drive and noise circuit combined with a feedback offset control recreate vintage sounds. Get dubbing! Play some audio through Echomania.

The delay time is set in 16th note increments, synced to the global MIDI clock. The Unit and Divisor windows, to the right of the Time control, allow you to fine tune the beat division and create different rhythmic feels—to be precise, the enumerator divided by the denominator scales the delay time fraction. You can set the amount of time modulation with the Amount knob. The Freq knob controls the rate of the LFO in 16th notes.

The Unit knob divides the speed of the global clock by the Unit amount. The Width control morphs between sine and pulselike, or, if the Tri button is engaged, triangle and saw tooth waveshapes. The starting phase of the LFO can be adjusted positively or negatively using the Phse knob.

If you engage the Snc button, the right-side LFO can be phase-offset from the left side by the amount set with the Right knob. This can create a variety of woozy stereo spinning and phasing effects. The EQ module processes the delayed signal. You can create synchronized filter sweeps, fizzing hi-frequency delay tails, and all manner of dubby effects by boosting and modulating select frequency bands.

The Eq Res control lets you dial in the peak width of the frequency, while EQ Boost lets you crank it up. The Mixer lets you add a tape saturation-like Dist Drive effect and Noise to give everything that just-pulled-out-of-the-closet feeling. The Dry Wet section allows you to balance the amount of dry and delayed signal. EnFX consists of three separate effects: an envelope-follower filter, distortion, and delay. Even though the effects are together in one ensemble, they can also be used independently.

Each effect features a identical Input, Envelope Follower, and Output sections. These sections will be explained first:. An envelope follower isn t a dog that chases the postman. This envelope can control different parameters, depending on the effect.

The result is an effect that wraps itself around the incoming audio for an organic, natural sound. It shapes the output of the peak detector.

Lower values, i. Use mono mode for a more stable envelope. In stereo mode, the two incoming channels are processed seperately -a separate envelope of the left and the right channel is generated. In mono mode, both channels are mixed together before extracting the envelope.

Lower values at the left result in more sensitivity to smaller peaks e. HiHats , higher values instead only detect really high peaks like bass drums etc. Higher values result in a more smoothed signal following the envelope of the incoming signal.

At the center the EnFX delay is a delay whose time is modulated by an envelope follower. It s useful for very long delays due to internal feedback enhancements as well as for unique pitch shifting. See the envelope follower info above for information about the envelope follower section. The display below shows the delay time in 16th notes according to the midi tempo.

Internally, the linear output of the knob is processed by a function mapping it onto a grid to allow very short decays as well as very long decays. The grid also performs triplet division of the time 0. Turn to the right for a longer delay times at high envelope follower signals, turn to the left for shorter delay times at high envlope follower signals. Use mid position to switch the modulation off. Turn right to amplify very silent signals in the feedback tail, turn left to amplify only the louder signals.

Use it to make very long and damped feedbacks audible. Turn to the left for smooth transistions, turn to the right for sharper and faster response to level changes. Turn to the left for no swapping, i. Turn to mid position for mono processing, i. Turn to the right for crossfading, i. More feedback leads to a decay with more repeats. Turn to the right for a more wet signal at high envelope follower signals, turn to the left for a more dry signal at high envlope follower signals.

EnFX Distortion is a overdrive effect with a preand a post-distortion equalization filter whose center freqeuncies are controlled by an envelope follower. Usefull for all kinds of overdive effects, but can also be used for guitar wahwah etc. In the distorion section, the left knobs belong to the “push” filter that modifies the signal before the distortion; the right knobs belong to the “pop” post-distortion equalizer. Turn to the right for a higher frequency at high envelope follower signals, turn to the left for lower freqeuncies at high envlope follower signals.

On high distortion levels the signal might tend to fade. Increase the drive value to fade it back in. The value displayed below shows the time in milliseconds that goes by before another random event is generated. Turn right for more modulation. Here you can see also the effect of modulation by the envelope follower and the slow random generator.

Left represents a low freqeuncy, right a high freqeuncy. Turn left to make the filter freqeuncy be reduced on high incoming envelopes, turn right for the opposite, i. The left knob modifies the lower cutoff freqeuncy, the right one the higher freqeuncy. These effects can be chained in a variety of ways offering a large range of sounddesign possibilities. This ability to instantly switch between sets is what really brings Fast FX to life.

The snapshots are made up of 32 x 8 slot banks. Select bank by the using the step Program Selector slider at the bottom of the panel, and select the slot by using the. When Flow is enabled, selecting a new bank or slot automatically loads the preset. Fast FX has two pairs of stereo inputs. The first pair of inputs are connected to the. Level and Mute control the input level. This section allows configuration of the signal flow order between the 6 effects.

Level and Mute control the output level. All effects can be bypassed simultaneously. The mix section controls the overall mix between the dry input signal and the wet,. The mix is defined separately for low and high frequencies with the. Spin determines how the loop length changes when the effect is enabled.

A setting of. Spin Time determines the speed of loop length changing, and Jtr sets the delay time. This effect slices incoming sound into grains, and then slides the pitch, so that the. Slice A and Slice B set the length of first and second slices respectively, in 16th steps. Length sets the grain length in milliseconds.

Below, the knob labelled Mod sets the. The Rnd XY field is used to. Asym sets the grain size asymmetry between the left and right channels.

Decay con-. This effect also slices the incoming sound, and then shifts the position and playback. The two slicers work on a rotating basis, so therefore the slice lengths alternate be-. The SncVar enables a mathematical formula to automatically rearrange and vary the.

Rev A and Rev B enable reverse playback of the first and second slices. This section features a step sequencer that modulates the amplitude of the incom-. The horizontal slider above the sequencer display selects one of the The preset sequence can be varied by reducing the loop length with.

This control. Gate determines the length of the open gate, as a proportion of a sequencer step. The section features a stereo delay line with a modulated filter in the feedback path.

Delay sets the delay time in 16th steps, Fbck sets the feedback amount and Asym sets. Filter sets the centre frequency of the feedback filter. The cutoff is also modulated a. The XY X axis. This section features a sequenced filter. The horizontal slider above the sequencer.

Length sets the loop length of the se-. Mod defines how much the extent to which the sequencer modulates the fil-. Center and Reso set the filter cutoff and resonance respectively, and Width sets the fil-. I had Reaktor for a year before I stumbled on these glorious things, hiding in the Effects folder.

Christian PS: No sound coming out? Make sure you understand the difference between polyphonic and monophonic aspects of Reaktor, and add voice combiners if you’re connecting a polyphonic instrument to a monophonic effects unit. Even if you’re intimidated or overwhelmed by all these possibilities and all this documentation, walk through that tutorial and you’ll glimpse some of the enormous potential that you now possess.

What’s not to like? Last edited: Oct 24, Exiannyc , Oct 24, Hi all, first post here. Working through the “Building in Primary” document, in the “Basic Step Sequencer” section it looks like there are a few screencaps or maybe even more missing from p. Unfortunately, these are at the end of the lesson so I can’t figure it out from other images, and the next two tutorials require the completion of this ensemble, so I’m really stuck here as a Reaktor newbie. I’ve contacted NI support about this already, but probably won’t hear back until after the long weekend.

Can anyone at least give me an idea of what to do from this point so that I can keep pushing through the documentation? Many thanks in advance! I’m sorry but I don’t know. Maybe you could ask the guy who says he figured it out.

I hope you can move forward with your learning. I myself fell off that tutorial wagon at just about that point. Exiannyc , Dec 31, Thank you! I have done just that, and will hope for a reply back. Aaron McPherson , Jan 1, You’re awesome. I couldn’t figure out where I was to input the different time divisions, but figured it out thanks to you. Thanks Aaron. Exiannyc , Jan 2, You must log in or sign up to reply here. Show Ignored Content. Your name or email address: Do you already have an account?

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Synths : Reaktor 6 : Downloads | Komplete – REAKTOR 6 PLAYER FREE DOWNLOAD

 
 

Welcome to the world of Reaktor, a whole universe of sonic sculptures, where synthesis meets programming, audio processing, and where, if you can imagine a new tool, vree way to manipulate or insfruments a sound, it can come to life.

In the Kritical Reaktions series, we will try to explore the possibilities and nuances of this gargantuan instrument. We begin with a general overview in this first installment, starting from its sections, structures and environments, to its modular synthesis tools, Blocks, and moving later on to its most significant ensembles, third party instruments and tools.

We also look very briefly at the sound design and experimentation fields. We will talking here about the latest version, Reaktor 6. The sixth and latest version features a revisited interface and a lot of new features for the building environment, like the Table Framework. A major feature of the latest version, Blocks, deserves and will receive special attention.

So is Reaktor just a virtual modular synth? That is just the tip of the iceberg, the higher level of the building. Reaktor is a visual programming environment, allowing us to doenload, program and build custom instruments, DSP algorithms and entire ensembles of tools.

It comes with instrumnts lot of pre-build material, such as the Factory Library or Blocks, with their Blocks Wired ensembles, so programming knowledge is not imperative to enjoy this wonderful native instruments reaktor 6 manual pdf free download, and musicians can start immediately native instruments reaktor 6 manual pdf free download put their hands on it and start making sounds.

You can imagine Reaktor привожу ссылку a building with many native instruments reaktor 6 manual pdf free download we can start by playing with what is inside it, the Factory Library or third party ensembles, then, on the next floor we can find a more complex environment, Blocks, which consists, again, of pre-build modules, but we have to patch manjal together in order to hear a sound.

Here we have much more freedom, in fact we can assembly something really personal and original, as with a real modular system. To summarize: we might be familiar with programming, with objects in environments like MaxMsp or PureData, with patch cables, cases, CVs and Gates, or just with soft synths programming.

Reaktor embraces all of these aspects and more. To allow maximum flexibility to all of the different users whether they are programmers or musiciansReaktor reeaktor both in standalone mode and as a instrumennts. We can load and assembly them together to get something more unique.

This new complex array of tools, working dpf, are ensembles. In fact, instruments are made of Macros, containers for Modules, which are the basic reakfor that constitute an instrument, and, further on, we will find Core cells. Instrumenfs the following image, we opened an ensemble and then dragged in a single module instrument. Ensembles, as we said before, consist of nativd or more single instruments. Reaktor has a couple of ways to nafive and store our work: Snapshots and Presets.

Additionally, Snapshots can be stored for a single native instruments reaktor 6 manual pdf free download, which can be highly useful within the Blocks Framework. Presets, on the other hand, are external files, they are like Snapshots, but not tied to the ensemble, so a single preset приведенная ссылка also point to the ensemble file to which it refers.

In the examples below, we loaded a Blocks ensemble, and browsed through the snapshots from the browser left column instrumenhs from the snapshot menu, in the страница. As we said before, programming skills are not imperative to enjoy nanual beauty of Reaktor.

In fact it comes loaded with over 70 ready-to-use instruments, samplers, drum machines, effects, all in the form of ensembles. The generous amount of the factory library content ranges from simple but effective synths, to unusual ensembles like the amazing Gaugear which implements an experimental GUI.

The factory content is not http://replace.me/10383.txt we can use within Reaktor: a lot of synths and instruments available separately on the Native Instruments website смотрите подробнее actually made in Reaktor, thus we can only use them inside it.

As mentioned before, Reaktor can host third party instruments, which, again, range from processors, sequencers or sound design tools, like, just to mention a few of them, S-Layer from Twisted Tools, a great and essential tool for layering and manipulating samples it comes with a vast library of native instruments reaktor 6 manual pdf free download and audio files, but we can import our own using the Sample Map editor.

Blocks is the virtual modular system it seems everybody is talking about these days. Blocks is a set of synth modules that we can patch together, like employing modular synth technology in the real world, rekator save as an ensemble. We can import, connect and tweak them to unleash our sonic ideas.

They are divided into different folders, like Bento Box or Monark, usually, modules from the same folder share a UI look, and share some sound analogies: manul Monark modules, for instance, are the single parts taken from the full synth; West Coast surprise is a set of modules inspired by the West Coast synthesis.

We can choose between жмите modules, oscillators, clock generators, sequencers, and create our set of virtual modules, arranging them easily just by dragging them into the desired position, modulating them. Patching is simple and intuitive. We have two different windows: panel and structure. The first contains the modules with their controls, as the front end of our synth, on which we can tweak knobs and modify our sound. In the second one we will see the modules connections.

Furthermore, we can split the main window into two sections for the panel and the structure, for easy movements and adjustments. All the modules have clearly named INs and OUTs, and for more clarity and organization, we can rename not only the single module, but also the single connections, which is a useful feature to native instruments reaktor 6 manual pdf free download to keep everything under control. Reaktor users from all over the world here instrmuents their creations ensembles and instruments that we can download for 66.

These instruments embrace the most different tools, from Drum Machines to Reverbs, from Synths to the most exotic audio instrumentx. I personally recommend this little gem by James Peck, an amazing VHS degradation suite, which is absolutely free imstruments so useful to pursuit a lo-fi and fluttery sound. Learning resources deserve some читать. First, on the Native Instruments website, we can inxtruments nine different manuals for it, each one dedicated to a specific topic or to a different level of knowledge involved:.

There are a couple of free series of videos right in читать далее main Reaktor page, one from Kadenze and one from ADSR, привожу ссылку show the Blocks section, useful to get started patching cables and making sounds with the factory modules. There are also entire courses on Ask Audio Academy, focused on both Blocks and on building our own instruments.

We have just scratched the surface of all the possibilities offered by Reaktor with this nwtive. It is not just about simply the ability to build custom instruments, nor is it just jative playing with existing ensembles. Конечно, injustice 2 pc game ГЛЯНУТЬ))) is more of a sonic, all-embracing world in which we can find sound design tools, weird wonders, processing tools, complex synths, and a complete and intuitive virtual native instruments reaktor 6 manual pdf free download system, Blocks, which by itself can be considered as another deep playground.

It requires an Internet connection and по этому адресу graphics card that supports OpenGL 2. Once installed and activated, the product can be used offline. Reaktor 6 is also included in the Komplete bundle. First name. Last teaktor. Welcome to SoundBytes Magazinea free online magazine devoted to nqtive subject of computer sound and music production.

We hope you’ll enjoy reading what you find inatruments and visit this site on native instruments reaktor 6 manual pdf free download regular basis. Share 0. SoundBytes mailing list. Search through our magazine:.