Propellerhead Reason Specifications Page 127
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MALSTRÖM SYNTHESIZER
125
D To activate/deactivate a filter, click the On/Off button in the top left
corner.
When a filter is activated, the button is lit.
An activated filter
Filter types
To select a filter type, either click the Mode button in the bottom left corner or
click directly on the desired filter name so that it lights up in yellow:
D LP 12 (12 dB lowpass)
Lowpass filters let low frequencies through and cut off high frequencies.
This filter type has a roll-off curve of 12dB/Octave.
D BP 12 (12 dB bandpass)
Bandpass filters cut both high and low frequencies, leaving the frequency
band in between unaffected. Each slope in this filter type has a 12 dB/Oc-
tave roll-off.
D Comb + & Comb –
Comb filters are basically delays with very short delay times with adjustable
feedback (in Reason controlled with the Resonance knob). A comb filter
causes resonating peaks at certain frequencies.
The difference between “+” and “–” is in the position of the peaks, in the
spectrum. The main audible difference is that the “–”-version causes a bass
cut.
The Resonance parameter in both cases controls the shape and size of the
peaks.
D AM
AM (Amplitude Modulation) is often referred to as Ring Modulation. A Ring
Modulator works by multiplying two signals together. In the case of the Mal-
ström, the filter produces a sine wave which is multiplied with the signal from
osc:A or osc:B. Resonance controls the mix between the clean and modu-
lated signals. The Ring Modulated output will then contain added frequen-
cies which are generated by the sum of, and the difference between the two
signals. This can be used for creating complex, non-harmonic sounds.
Comb + Low Resonance Comb + High Resonance
Comb – Low Resonance Comb – High resonance
- , Operation Manual 1
- Table of Contents 3
- TABLE OF CONTENTS 4
- The Sequencer 9
- Recording 10
- Recording Pattern Changes 12
- THE SEQUENCER 13
- Copying REX loops and 14
- Patterns to Sequencer 14
- Editing - About Snap 16
- Editing in the Arrange 17
- Duplicating Events 18
- Using Cut, Copy and Paste 18
- Deleting Events 18
- Inserting and Removing Bars 19
- Using Groups 20
- Selecting Groups 21
- Resizing Groups 21
- Dividing Groups 22
- Combining Groups 22
- Find Identical Groups 22
- Ungrouping 22
- Editing with Groups 22
- The Edit View 23
- Drawing and Editing Notes 24
- Drawing notes 25
- Selecting notes 25
- Moving notes 26
- Duplicating notes 26
- Resizing notes 26
- About resizing drum notes 26
- Deleting notes 27
- Editing velocity 27
- Editing Controllers 28
- Inserting Pattern Changes 31
- Quantizing 33
- The Change Events Dialog 34
- Importing and Exporting 36
- MIDI Files 36
- D Routing Audio and CV 37
- About the various signals 38
- About Cables 38
- Automatic Routing 39
- Manual Routing 40
- Using CV and Gate 41
- ROUTING AUDIO AND CV 42
- D Routing MIDI to Reason 43
- About the Various MIDI 44
- Sending MIDI Data to 45
- Sending MIDI Data from 46
- Other Applications 46
- Controlling Devices 47
- Recording Pattern changes 48
- About this Chapter 50
- Why use Reason with 50
- Introducing ReWire! 50
- Preparations for Using 51
- ReWire - Mac OS 9 only 51
- Launching and Quitting 51
- Using the Transport and 52
- Tempo Controls 52
- Synchronization 52
- Routing Audio 52
- Routing MIDI via ReWire 2 53
- Converting ReWire 53
- Channels to Audio Tracks 53
- Details About Various 54
- ReWire Hosts 54
- MIDI Remote Mapping 56
- Example MIDI Setups 57
- Enabling MIDI Remote 57
- Editing MIDI Remote Mapping 58
- Keyboard Remote 59
- Saving Remote Setups 60
- D Synchronization 61
- ReWire users – Read This! 62
- What is Synchronization 62
- Slaving Reason to an 62
- External Device 62
- Slaving Reason to 63
- Another Program on the 63
- Same Computer 63
- Considerations 64
- About Tempo Changes 65
- SYNCHRONIZATION 66
- D Optimizing Performance 67
- Optimization and Output 68
- Optimizing Your 69
- Computer System 69
- Optimizing Songs 70
- Songs and Memory 71
- Requirements 71
- OPTIMIZING PERFORMANCE 72
- D Transport Panel 73
- Overview 74
- TRANSPORT PANEL 75
- MIDI Sync and Focus 76
- Automation Override 76
- Audio Out Clipping Indicator 76
- CPU Meter 77
- D Reason Hardware Interface 79
- MIDI In Device 80
- Audio Out 81
- REASON HARDWARE INTERFACE 82
- D The Mixer 83
- The Channel Strip 84
- Channel Strip Controls: 85
- The Mixer signal flow 86
- About the EQ modes 86
- The Auxiliary Return 86
- The Master Fader 86
- Chaining Mixers 88
- D Redrum 89
- Using Patches 91
- Step Dynamics 93
- The Pattern Enable switch 94
- Redrum Parameters 95
- Level and Velocity 96
- Global Settings 98
- Using Redrum as a Sound 99
- D Subtractor Synthesizer 101
- Introduction 102
- The Oscillator Section 102
- Semitone/Cent 103
- Oscillator Keyboard Tracking 104
- Using Oscillator 2 104
- Oscillator 2 Waveform 104
- Noise Generator 105
- Phase Offset Modulation 105
- Frequency Modulation (FM) 106
- The Filter Section 107
- SUBTRACTOR SYNTHESIZER 109
- Filter 1 Frequency 110
- Resonance 110
- Filter Keyboard Track (Kbd) 110
- Envelopes - General 111
- Amplitude Envelope 112
- Filter Envelope 112
- LFO Section 113
- LFO 2 Parameters 114
- Play Parameters 115
- Pitch Bend Range 116
- Portamento (Time) 117
- External Modulation 118
- Connections 118
- Modulation Inputs 119
- Modulation Outputs 119
- Gate Inputs 119
- D Malström Synthesizer 121
- The Oscillator section 123
- The amplitude envelopes 124
- The Modulator section 125
- The Filter section 126
- Filter types 127
- The Filter Envelope 128
- The Shaper 129
- Routing examples 130
- Adding the shaper 131
- The play controls 132
- The Velocity controls 133
- Routing external audio to 135
- MALSTRÖM SYNTHESIZER 136
- D NN-19 Sampler 137
- General Sampling 138
- Principles 138
- About Audio File Formats 139
- About Key Zones and 140
- Creating Key Zones 141
- Selecting Key Zones 141
- Setting the Key Zone Range 141
- Deleting a Key Zone 141
- NN-19 SAMPLER 142
- The Sample knob 142
- Looping Samples 143
- Automap Samples 144
- NN-19 Synth Parameters 145
- Envelope Section 147
- Velocity Control 149
- D NN-XT Sampler 153
- Panel Overview 154
- Loading Complete 155
- Patches and REX Files 155
- Using the Main Panel 156
- High Quality Interpolation 157
- Global Controls 157
- Overview of the Remote 158
- Editor panel 158
- About Samples and Zones 159
- Selections and Edit Focus 160
- Moving Edit Focus 161
- Adjusting Parameters 162
- Managing Zones and 163
- NN-XT SAMPLER 164
- A newly added empty zone 164
- Working with Grouping 165
- Working with Key Ranges 166
- Dragging multiple zones 168
- Setting Root Notes and 169
- Using Automap 170
- Layered, Crossfaded and 171
- Velocity Switched Sounds 171
- Overlapping Velocity Ranges 172
- Using Alternate 174
- Sample Parameters 175
- Group Parameters 176
- Synth parameters 177
- The Pitch section 180
- The Modulation Envelope 182
- The Amplitude Envelope 183
- The LFOs 184
- D Dr. Rex Loop Player 187
- About File Formats 188
- Adding a Loop 189
- Creating Sequencer Notes 190
- Slice Handling 191
- Dr.Rex Synth Parameters 192
- Audio Quality Settings 196
- DR. REX LOOP PLAYER 198
- D Matrix Pattern Sequencer 199
- Programming Patterns 201
- Using Curve Patterns 202
- Setting Pattern Length 203
- Using Tied Notes 203
- Setting Pattern Resolution 204
- Pattern Shuffle 204
- Pattern Mute 204
- Pattern Functions 204
- Chaining Patterns 204
- MATRIX PATTERN SEQUENCER 205
- Example Usage 206
- Triggering Samples 207
- D ReBirth Input Machine 209
- Preparations 210
- D BV512 Vocoder 211
- Setting up for basic 213
- Vocoded vocals 214
- Using the BV512 as an 215
- BV512 parameters 216
- Automation 218
- Tips and tricks 218
- Choosing a modulator sound 219
- Controlling the Hold function 220
- Using the BV512 as a reverb 222
- Creating a stereo reverb 223
- BV512 VOCODER 224
- D The Effect Devices 225
- Common Device Features 226
- Scream 4 Sound 227
- Destruction Unit 227
- THE EFFECT DEVICES 228
- Cut section (EQ) 229
- Body section 229
- About the envelope follower 229
- CV inputs and outputs 230
- RV7000 Advanced Reverb 232
- Selecting an algorithm 234
- Small Space 234
- Multi Tap 237
- The EQ section 239
- The Gate section 239
- CV Inputs 240
- RV-7 Digital Reverb 241
- DDL-1 Digital Delay Line 242
- D-11 Foldback Distortion 243
- ECF-42 Envelope 243
- Controlled Filter 243
- The Filter Parameters 244
- The Envelope Parameters 244
- CV/Gate Inputs 244
- CF-101 Chorus/Flanger 246
- PH-90 Phaser 247
- UN-16 Unison 248
- COMP-01 Auto Make-up 248
- Gain Compressor 248
- PEQ-2 Two Band 249
- Parametric EQ 249
- Spider Audio Merger & 250
- Splitter 250
- Spider CV Merger & 251
- Splitting CV 253
- D Menu and Dialog Reference 255
- Reason Menu (Mac OS X) 256
- File Menu 256
- Song Information 257
- Publish Song 257
- Song Self-contain Settings 258
- Import MIDI File 259
- Export MIDI File 259
- Export Device Patch 259
- Edit Menu 260
- Initialize Patch 261
- Select All 261
- Browse Device Patches 261
- Browse ReCycle/REX Files 262
- Browse Samples 262
- Delete Sample/Remove Sample 263
- Delete Unused Samples 263
- Split Key Zone 263
- Delete Key Zone 263
- MENU AND DIALOG REFERENCE 264
- Redrum notes 265
- Get User Groove 266
- Clear Automation 266
- Quantize Notes 266
- Change Events 266
- Reload Samples 267
- Add Zone 267
- Automap Zones 269
- Create Velocity Crossfades 269
- Preferences – General 270
- Preferences – Audio 271
- Audio Card Driver – Mac OS X 272
- Preferences – MIDI 275
- Preferences – Advanced MIDI 275
- Preferences – Sound Locations 276
- Create Menu 277
- Options Menu 277
- Edit Keyboard Remote 278
- Clear All Keyboard Remote 278
- Enable MIDI Remote Mapping 278
- Edit MIDI Remote Mapping 278
- Clear All MIDI Remote Mapping 278
- Windows Menu 279
- (Windows Version) 279
- (Mac OS Version) 280
- Help/Contacts Menu 280
- Register Reason Now 281
- About Reason (Windows only) 281
- D About Audio on Computers 283
- General Information 284
- PC Specific Information 285
- Macintosh Specific 286
- Information 286
- ABOUT AUDIO ON COMPUTERS 287
- D MIDI Implementation 289
- MIDI IMPLEMENTATION 290
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