Propellerhead Reason - 2.0 Betriebshandbuch Seite 109
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Subtractor Synthesizer
107
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Bandpass (BP 12)
A bandpass filter cuts both high and low frequencies, while midrange fre-
quencies are not affected. Each slope in this filter type has a 12 dB/Octave
roll-off.
The darker curve illustrates the roll-off curve of the Bandpass Filter. The lighter curve in
the middle represents the filter characteristic when the Resonance parameter is raised.
DD
DD
Highpass (HP12)
A highpass filter is the opposite of a lowpass filter, cutting out the lower fre-
quencies and letting the high frequencies pass. The HP filter slope has a 12
dB/Octave roll-off.
The darker curve illustrates the roll-off curve of the Highpass Filter. The lighter curve in
the middle represents the filter characteristic when the Resonance parameter is raised.
- , Operation Manual 1
- Table of Contents 4
- 255 MIDI Implementation 7
- 257 Index 7
- Recording 10
- Recording Pattern Changes 12
- 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
- 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 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
- 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
- Optimizing Performance 67
- Optimization and Output 68
- Optimizing Your 69
- Computer System 69
- Optimizing Songs 70
- Songs and Memory 71
- Requirements 71
- Transport Panel 73
- Overview 74
- MIDI Sync and Focus 76
- Automation Override 76
- Audio Out Clipping Indicator 76
- CPU Meter 77
- Reason Hardware Interface 79
- MIDI In Device 80
- Audio Out 81
- The Mixer 83
- The Channel Strip 84
- Channel Strip Controls: 85
- The Mixer Signal Flow 86
- The Auxiliary Return 86
- The Master Fader 86
- Chaining Mixers 88
- 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
- Subtractor Synthesizer 101
- Introduction 102
- The Oscillator Section 102
- Semitone/Cent 104
- 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
- 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 119
- 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
- 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
- The Sample knob 142
- Looping Samples 143
- Automap Samples 144
- NN-19 Synth Parameters 145
- Envelope Section 147
- Velocity Control 149
- 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
- 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
- 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
- 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 205
- Example Usage 206
- Triggering Samples 207
- ReBirth Input Machine 209
- Preparations 210
- The Effect Devices 211
- Common Device Features 212
- RV-7 Digital Reverb 213
- DDL-1 Digital Delay Line 214
- D-11 Foldback Distortion 215
- ECF-42 Envelope 215
- Controlled Filter 215
- The Filter Parameters 216
- The Envelope Parameters 216
- CV/Gate Inputs 216
- CF-101 Chorus/Flanger 218
- PH-90 Phaser 219
- Parameters 220
- CV Inputs 220
- COMP-01 Auto Make-up 221
- Gain Compressor 221
- PEQ-2 Two Band 222
- Parametric EQ 222
- Menu and Dialog Reference 223
- Reason Menu (Mac OS X) 224
- File Menu 224
- Song Information 225
- Publish Song 225
- Song Self-contain Settings 226
- Import MIDI File 227
- Export MIDI File 227
- Export Device Patch 227
- Edit Menu 228
- Initialize Patch 229
- Select All 229
- Browse Device Patches 229
- Browse ReCycle/REX Files 230
- Browse Samples 230
- Delete Sample/Remove Sample 231
- Delete Unused Samples 231
- Split Key Zone 231
- Delete Key Zone 231
- Get User Groove 234
- Clear Automation 234
- Quantize Notes 234
- Change Events 235
- Single adjustment parameters 236
- Sort Zones by Note 237
- Sort Zones by Velocity 237
- Group Selected Zones 237
- Automap Zones 237
- Create Velocity Crossfades 238
- Preferences – General 238
- Show Parameter Value Tool Tip 239
- Show Automation Indication 239
- Default Song 239
- CPU Usage Limit 239
- Use High Resolution Samples 239
- Preferences – Audio 240
- Audio Card Driver – Mac OS X 241
- Audio Card Driver – Mac OS 9 241
- Preferences – MIDI 243
- Preferences – Advanced MIDI 243
- Preferences – Sound Locations 244
- Create Menu 245
- Options Menu 245
- Edit Keyboard Remote 246
- Clear All Keyboard Remote 246
- Enable MIDI Remote Mapping 246
- Edit MIDI Remote Mapping 246
- Windows Menu 247
- (Windows Version) 247
- (Mac OS Version) 248
- Help/Contacts Menu 248
- Register Reason Now 249
- About Reason (Windows only) 249
- About Audio on Computers 251
- General Information 252
- ReWire and Latency 253
- Reducing latency 253
- PC Specific Information 254
- Macintosh Specific 255
- Information 255
- MIDI Implementation 257
- About This Chapter 258
- How various MIDI 258
- Implemented 258
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