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-. Smth controls the speed that of changes to the cutoff frequency from the. Fast FX has a total of snapshot slots, represented by 32 x 8 slot programs. To se-. The total slot data is stored in a large event table inside the structure. If you wish.

The bookmark feature enables you to store your favourite presets numbers and quickly. Disable this if you want to copy the cur-. You can drop samples on the sampler window, or double click on it to open the REAK-. Select the desired sample from the map using the Select knob. Loop Lng and Offset. Pitch trans-. The Loopplayer has 16 different automatic variation patterns, these can be selected. The filter can be bypassed by pressing the Bps switch. Rnd Mrph determines.

Fit links sample pitch with time stretching, like a conventional sampler i. Smooth controls the sampler grain smoothness, and Gain determines the output level. Programs 1 to 16 are stored in bank. These are recalled when recalling snap-. This patch combines four frequency-specific compressors with a full-spectrum peak-limiter to produce a high-end package for your multiband dynamics shaping needs. As it does not introduce any delay it is not limited to mastering use but can also be applied on a per channel basis.

The controls might appear intimidating at first glance, but are actually straightforward when you examine the signal chain.

The separately compressed bands get mixed together and then processed by a full-band peak limiter. Please note that the master bypass for the complete patch is situated to the left above the X Over section.

After the input stage the signal gets split into four independent frequency bands as defined by the X Over section. Each frequency band gets processed by independent, identical compressors and can be independently muted, soloed and bypassed. Separate saturators for each band make it possible, for example, to add punch and bite to the mids without affecting clarity in the lower registers.

The peak limiter affects the full band signal. For clean mastering purposes we recommend a limiter threshold setting of about -3 to -4 db and a peak setting at 0db.

Should pumping effects be desired, adjust the threshold to more extreme values. This adjusts the release time. It is the time the limiter takes to return the signal to. Controls the amplification of the uncompressed signal if Bypass is active. If you want. Flatblaster is a high-end finalizing and multiband dynamic shaping tool.

Flatblaster combines four frequency-specific compressors with a full-spectrum peak-limiter. It is an excellent finalstep mastering plug-in, but it can also be used while mixing since it doesn’t introduce any de-.

Each of the compressors has a saturator, so you could saturate just the uppermid frequencies, for instance, without muddying the bass. It also makes an excellent de-esser and sibilant reducer. Even though Flatblaster gives control over many sound-shaping parameters, there’s no need to be intimidated by its complexity.

A full range of presets shows off its capabilities and gives good starting points for tweaking the effect for your sound. Try experimenting with muting, soloing, and bypassing each individual band so you can carefully hear what the ‘blaster’s doing. Be careful when adjusting the saturation of each band!

The sound can potentially get very loud if you don’t first reduce the make-up gain the knob labeled Gain to the right of the Sat knob. The input signal is divided into four bands – the three crossover frequencies are adjustable independently.

Each frequency band is processed by an independent, identical compressor. Each band can be muted, soloed, and bypassed no compression. The signal is summed before going through a full-band peak limiter, which can also be independently bypassed. The master bypass for the effect is located to the right of the input meters, above the crossover settings.

Each of the four compressors are absolutely identical. In fact, they have to be! If they weren’t, then unwanted phase shifts could creep in. Each compressor gives control over saturation, saturation makeup gain, threshold, compression ratio, adjustable knee, attack, release, and output makeup gain. Note that the Ratio has to be higher than 0 for the compressor to have any effect – at a Ration of 1 maximum , the compressor acts as a limiter. The red meters show the amount of peak reduction.

The Attack and Release knobs control how the compressor responds to transient signals. The peak limiter affects the full frequency range of the audio, after each of the four frequency bands has been compressed separately. The Threshold slider controls when the peak limiter will start working. With Threshold at 0, the peak limiter will have no effect.

For mastering, it’s recommended to have the Threshold set to around -3 or -4 dB. Severe Threshold settings will lead to pumping, which may or may not be desirable. The Attack and Release knobs control how the peak limiter responds to transient signals. The final Peak slider sets the output level of the signal. When Peak is set to its maximum 0 dB, then the audio will be as loud as possible.

There’s really no reason to ever set Peak lower than this, unless you needed to ensure a certain amount of headroom. Fusion Reflections is a delay-based effect that can create early reflections, shimmering choruses, fluttering delays, and even ambient reverbs. Two distinct diffusion engines are chained together to create an extremely wide range of effects.

Each finely-tuned diffusion engine consists of four stereo modulation delays and an innovative graphical display that shows the actual delay time for each delay. Just five controls control the core parameters of each diffusion engine. Welcome to ManualMachine. We have sent a verification link to to complete your registration.

Log In Sign Up. Forgot password? Enter your email address and check your inbox. Please check your email for further instructions. Enter a new password. Reaktor 6. Table of Contents 2. Sound Engine 76 3. Sequencer 78 3. Introduction 83 3. Sound Engine 83 3. Sequencer 85 3. Introduction 89 3. Quick Start 90 3. Structure and Signal Flow Table of Contents 3.

Introduction 3. Sequencer 3. Splitter 3. Sample 3. Grain Effect 3. Sample Loader 3. Introduction Table of Contents 4. Introduction 4. Quick Start 4. Structure and Signal Flow 4. Global 4. Sequencer 4. Delay Units 4. Filter 4. Master and Envelope 4. Additional Delay 5 Sequenced Synthesizers Table of Contents 5.

Introduction 5. Structure and Signal Flow 5. Quick Start 5. The Sequencer 6 Sequencers Introduction 6. Using Spiral 6. Details 6. Table of Contents 6. Table of Contents 8. Effects Analogic Filter Box 2 Effects 2. Effects Analogic Filter Box Both filters offer multiple operation modes. Effects Anima level changes. Effects Anima Filters A single bandpass filter corresponds to every voice of polyphony.

Effects Banaan Electrique 2. Effects Banaan Electrique current through the amp. Effects Classic Vocoder 2. Effects Cyan Introduction Like a traditional Chorus effect, Cyan uses a bank of modulated-delay units to add width, depth and richness to the input signal.

Details 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.

Section Function Power and Input These two sections control whether the chorus is switched on or off and which signal is used as input: The complete stereo signal, the left channel alone, or a mono mix of both. Distance, Intensity, The Delay knob on the other hand adjusts the delay times offset, thus controlling the and Feedback phase variation applied to the chorused signal in respect to the unprocessed signal.

The Spread control additionally changes this offset slightly for each LFO independent- ly to enhance this effect. The Intensity knob mainly controls the sound of the chorus: It determines the amount by which the delay times vary. After passing through the delay units, the signal is routed to the Feedback section where it can be filtered using the Colour knob to control the filter’s frequency , and is then mixed with dry signal.

The FB amount knob is bi-polar: At the right there is nor- mal feedback, at the left the feedback signal’s phase is inverted; at mid position the feedback is turned off. Shift controls the phase to which the oscillators are reset at synchronization events that can be specified with the LFO Reset switch; the button below this menu can be used to manually synchronize the oscillators.

Saturator and Equal- After the chorus section itself the audio signal can be saturated and equalized. Mix balance can also be automated by a ramp generator, the speed of which is adjustable by the Speed knob. The ramp generator trigger source can be selected at the left of the Att knob. This is especially useful when using Cyan as a send effect. The Stereo knob controls the spread of the audio within the stereo panorama.

Effects Echomania 2. Effects EnFX 2. Envelope Follower An envelope follower isn t a dog that chases the postman. Effects Fast FX 2.

Junction This section allows configuration of the signal flow order between the 6 effects. Eight possibilities are available in the drop-down menu. All effects can be bypassed simultaneously with the Bypass button. Mix The mix section controls the overall mix between the dry input signal and the wet, post FX signal. The mix is defined separately for low and high frequencies with the Low and High knobs. Link synchronises the two knobs. Spin Time determines the speed of loop length changing, and Jtr sets the delay time jitter — the amount of slow, random variation.

Below, the knob labelled Mod sets the amount of grain length modulation. For both Length and Pitch modulation, a collection of pseudorandom, MIDI clock synchronised patterns are used as the modulation source.

The Rnd XY field is used to select the current pseudo-random pattern each pixel represents one of the available patterns. Decay con- trols the dry signal decay time, the envelope is retriggered with each new slice i. Effects Fast FX Section Function Slice Manipulator This effect also slices the incoming sound, and then shifts the position and playback direction of the slices. The two slicers work on a rotating basis, so therefore the slice lengths alternate be- tween the two settings.

The SncVar enables a mathematical formula to automatically rearrange and vary the slices in time. Set to zero for no variation. Gate This section features a step sequencer that modulates the amplitude of the incom- ing signal. The horizontal slider above the sequencer display selects one of the 20 available patterns for the sequencer, and the lower horizontal slider sets the sequenc- er clock speed.

The preset sequence can be varied by reducing the loop length with the Length knob, or by varying the playback position with the PosVar knob. This control applies one of 16 variation patterns to the sequence playback order. Re- lease sets the time the gate takes to close. Delay sets the delay time in 16th steps, Fbck sets the feedback amount and Asym sets the delay time asymmetry between the left and right channels.

Filter This section features a sequenced filter. The horizontal slider above the sequencer display selects one of the 20 available patterns for the sequencer, and the lower hori- zontal slider sets the sequencer clock speed.

Length sets the loop length of the se- quencer. Mod defines how much the extent to which the sequencer modulates the fil- ter cutoff. Center and Reso set the filter cutoff and resonance respectively, and Width sets the fil- ter width. Smth controls the speed that of changes to the cutoff frequency from the sequencer or the Center knob.

Instead, with live performance in mind, the snapshot handling is dealt with on the panel. The 32 programs are selectable by the Program Selector at the bottom of the panel.

To se- lect a slot, click on the selector, or press the associated computer keyboard key i. Bookmark The bookmark feature enables you to store your favourite presets numbers and quickly access them by using the dropdown menu. To set a bookmark to the current state, take a look at the POSITION display, then open the Bookmark list properties, and create an entry there with a name of your choice, and the value displayed in the position meter.

Disable this if you want to copy the cur- rent state to another slot i. Transpose should be set to 0 for all samples Select the desired sample from the map using the Select knob.

Loop Lng and Offset and define the loop length, and position offset in 16th steps respectively. Pitch trans- poses the sample in semitones. The Loopplayer has 16 different automatic variation patterns, these can be selected with the Pos Variator knob.

Rnd Mrph determines the amount to which a slow randomiser is applied to the filter cutoff. Snapshot handling The Loopplayer state is not saved in the Fast FX snapshot table, but pressing the Write creates a snapshot in the Loopplayer instrument. Programs 1 to 16 are stored in bank 1 and programs 16 to 32 are stored in bank2.

These are recalled when recalling snap- shots on the Fast FX panel. Effects FlatBlaster 2 2. Version 2. Bypass Bypasses the complete effect. This is the master bypass switching off all compressors and the Limiter.

Low Sets the crossover frequency between the Mid Low and Low compressor bands. NI Community Forum. Messages: 27, Like x 1.

Messages: There seems to be a missing figure on p. As near as I can tell, it ought to look something like this:.

Last edited: Oct 13, Aaron McPherson , Oct 13, Like x 2. I’m slowly but surely adding all of my Komplete manuals to my Kindle libraries. Great way to have easy access to the manuals across multiple devices. HoosierGuy , Oct 17, 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?

Synths : Reaktor 6 : Downloads | Komplete.Toybox modular software synthesiser blocks for Reaktor Player – Toy Box

 
Reaktor factory library manual. REAKTOR FACTORY LIBRARY MANUAL. Blocks. REAKTOR BLOCKS MANUAL · REAKTOR BLOCKS FRAMEWORK MANUAL · REAKTOR BLOCKS QUICK START. Reaktor 6 – Diving Deeper REAKTOR_6_Diving_Deeper_English Free User Guide for Native Inst Reaktor Software, Manual. User Manual: DIVING DEEPER Komplete.

Reaktor 6 | PDF | Synthesizer | Computer Engineering

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-. Smth controls the speed that of changes to the cutoff frequency from the. Fast FX has a total of snapshot slots, represented by 32 x 8 slot programs.

To se-. The total slot data is stored in a large event table inside the structure. If you wish. The bookmark feature enables you to store your favourite presets numbers and quickly. Disable this if you want to copy the cur-. You can drop samples on the sampler window, or double click on it to open the REAK-. Select the desired sample from the map using the Select knob. Loop Lng and Offset.

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. 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.