Propellerhead Reason Specifications download pdf (Page 228)

THE EFFECT DEVICES

226

Description of the various Damage Type algorithms

Here follows a basic description of the ten Damage Types available, and what

parameters the P1/P2 knobs control for each type:

| Type | Description

Overdrive This produces an analog-type overdrive effect. Overdrive is quite

responsive to varying dynamics. Use lower Damage Control set-

tings for more subtle “crunch” effects.

- The P1 knob controls the basic tone of the effect. Turn clock-

wise for a brighter sound.

- The P2 knob controls Presence. Presence boosts frequencies

in the high midrange before the distortion stage which in turn af-

fects the character of the distortion. Turn clockwise for more

Presence boost.

Distortion Similar to Overdrive, but produces denser, thicker distortion. The

distortion is also more “even” across the Damage Control range

compared to Overdrive.

- The P1/P2 knobs control Tone and Presence, respectively -

see Overdrive for a description.

Fuzz Fuzz produces a bright and distorted sound even at low Damage

Control settings.

- The P1/P2 knobs control Tone and Presence, respectively -

see Overdrive for a description.

Tube This emulates tube distortion.

- The P1 knob controls Contour, which is somewhat like a high

pass filter, changing the tone and character of the distortion.

- The P2 knob controls Bias, which changes the “symmetry” of

the tube distortion. Setting this to the minimum or maximum

value will produce asymmetrical distortion (typical of a real-life

tube amplifier), while a 12 o’clock setting will produce symmetri-

cal distortion (odd harmonics only).

Tape This emulates the soft clipping distortion produced by magnetic

tape saturation and also adds compression which adds “punch”

to the sound.

- The P1 knob controls Speed, which simulates tape running at

different speeds. The higher the Speed setting the more of the

original high frequency material in the signal. Turn clockwise for

a brighter sound.

- The P2 knob controls the amount of Compression. Turning the

knob clockwise increases the compression ratio.

Feedback This effect combines distortion in a feedback loop which can

produce many interesting and sometimes unpredictable results.

Feedback is basically when a sound source is fed back to itself.

An open microphone picking up sound from a nearby loud-

speaker that is also being used to amplify sound from the micro-

phone will produce a feedback loop with the associated typical

howling. For this effect the Damage Control knob controls the

gain of the feedback loop.

- The P1 knob controls Size, which could be described as the

“length” (i.e. the distance between the microphone and the loud-

speaker in the above example) of the feedback loop.

- The P2 knob controls Frequency, which for this effect deter-

mines which overtones will “howl”.

Modulate Modulate first multiplies the signal with a filtered and com-

pressed version of itself, and then adds distortion. This can pro-

duce resonant, ringing distortion effects.

- The P1 knob controls Ring, which is the resonance of the filter.

Turn clockwise for more pronounced ringing effects.

- The P2 knob controls Frequency, which is the filter frequency.

Turn clockwise to raise the filter frequency which generally pro-

duces a sharper, more piercing effect.

Warp Warp distorts and multiplies the incoming signal with itself.

- The P1 knob controls Sharpness. Lower values will produce a

soft, compressed distortion, while higher values produces more

harmonics and a sharper sound.

- An effect of multiplying a signal with itself is that the fundamen-

tal pitch is removed from the signal, leaving overtones only. The

P2 knob controls Bias - raise this to reintroduce the fundamental

pitch in the sound.

Digital Lo-fi anyone? This reduces the bit resolution and sample rate for

raw and dirty sounds or for emulating vintage digital gear.

- The P1 knob controls (bit) Resolution. If the knob is turned fully

to the right there is no bit reduction, fully the left the resolution is

1-bit.

- The P2 knob controls the sample rate. If the knob is turned fully

to the right the sample rate is not reduced; turning it to the left

gradually reduces the sample rate.

Scream Similar to Fuzz, but with a bandpass filter with high resonance

and gain settings placed before the distortion stage.

- The P1 knob controls the basic tone of the effect. Turn clock-

wise for a brighter sound.

- The P2 knob controls the filter frequency. The high resonance

setting of the filter makes it suitable for wah-wah effects.

| Type | Description

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Propellerhead Reason Specifications Page 228

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