Propellerhead Reason Specifications Page 122

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MALSTRÖM SYNTHESIZER
120
Introduction
The Malström is a polyphonic synthesizer with a great number of different rout-
ing possibilities. It is based on the concept of what we call “Graintable Synthe-
sis” (see below), and is ideally suited for producing swirling, sharp, distorted,
abstract special effect types of synthesizer sounds. In fact, you could go so far
as to say that the Malström can produce sounds quite unlike anything you’ve
ever heard from a synthesizer.
For a complete run-down of the principles behind it and thorough explanations
of the controls, read on...
Features
The following are the basic features of the Malström:
D Two Oscillators, based on Graintable Synthesis.
See page 121 for details.
D Two Modulators, featuring tempo sync and one-shot options.
See page 123.
D Two Filters and one Shaper.
A number of different filter modes in combination with several routing op-
tions and a Waveshaper makes it possible to create truly astounding filter ef-
fects.
D Three Envelope generators.
There is one amplitude envelope for each oscillator and a common envelope
for both filters. See page 122 and page 126 for details.
D Polyphony of up to 16 voices.
D Velocity and Modulation control.
See page 131.
D A number of CV/Gate Modulation possibilities.
See page 133.
D A variety of Audio Input/Output options.
You can for instance connect external audio sources for input to the
Malström, and you can also control its output. See page 132 for more de-
tails.
Theory of operation
There are a number of different synthesis methods for generating sound. There
is e.g. Subtractive Synthesis (which is used in Reason’s other synth - the Sub-
tractor), FM Synthesis and Physical Modelling Synthesis to mention but a few.
To give you a clear understanding of the inner workings of the Malström, it might
be in order with a brief explanation of what we call Graintable Synthesis.
What we refer to as Graintable Synthesis is actually a combination of two syn-
thesis methods; Granular Synthesis and Wavetable Synthesis.
In granular synthesis, sound is generated by a number of short, contiguous
segments (grains) of sound, each typically between 5 to 100 milliseconds
long. The sound is varied by changing the properties of each grain and/or
the order in which they are spliced together. Grains can be produced either
by a mathematical formula or by a sampled sound. This is a very dynamic
synthesis method with a lot of variation possibilities, although somewhat
hard to master and control.
Wavetable synthesis on the other hand, is basically the playback of a sam-
pled waveform. An oscillator in a wavetable synth plays back a single period
of a waveform, and some wavetable synths also allow the possibility of
sweeping through a set of periodic waveforms. This is a very straightforward
synthesis method that is easily controlled, but somewhat limited in variation
possibilities.
The Malström combines these two into a synthesis method that provides a very
flexible way of synthesizing sounds with incredible flux and mutability.
It works like this:
The oscillators in the Malström play back sampled sounds that are subject to
some very complex processing and cut up into a number of grains. From
here on, these sounds will be referred to as Graintables
This results in a set of periodic waveforms (a graintable) that, when spliced
together, play back the original sampled sound.
This can then be treated just like a wavetable. I.e. It is possible to sweep
through it. Move through it at any speed without affecting pitch. Play any
section of it repeatedly. Use it to pick static waveforms. Jump between posi-
tions. Etc. etc.
It is also possible to perform a number of other tricks, all of which are de-
scribed further on in this chapter.
Loading and Saving Patches
Loading and saving patches is done in the same way as with any other Reason
device. This is described in the chapter “Working with Patches” in the Getting
Started book.
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