Propellerhead Reason - 4.0 Betriebshandbuch PDF herunterladen (Seite 342)

THE EFFECT DEVICES

340

Parameters

Scream 4 contains three main sections; Damage (distortion and other types of sound

destruction), Cut (EQ) and Body (places the sound in a resonant environment - can

serve as anything from a cabinet emulator to a wah-wah to completely new special ef-

fects) which can be switched on or off independently. The parameters in each section

are as follows:

Damage section controls

The “Damage” section is where you specify the basic sound mangling algorithm and

make settings to inflict the desired amount of damage to the sound. There are ten ba-

sic algorithms to chose from, ranging from classic distortion effects to digital-sound-

ing warping and modulation effects.

There are five controls in this section, with the following functions:

Description of the various Damage Type algorithms

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

eters the P1/P2 knobs control for each type:

Parameter

Description

Damage button This switches the Damage section on or off.

Damage Control knob This controls the input gain which in turn determines the

amount of damage inflicted. The higher the value, the

more destruction!

When raising the Damage Control you may need to lower

the Master level to maintain the same output level (and

vice versa).

Damage Type knob This selects the type of effect - see the table below for a

description of the available damage methods.

P1/P2 knobs The functionality of these knobs vary according to the se-

lected Damage Type - see the table below for a descrip-

tion.

Type

Description

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

sponsive to varying dynamics. Use lower Damage Control settings for

more subtle “crunch” effects.

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

a brighter sound.

- The P2 knob controls Presence. Presence boosts frequencies in the

high midrange before the distortion stage which in turn affects the

character of the distortion. Turn clockwise for more Presence boost.

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

tortion is also more “even” across the Damage Control range com-

pared 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 symmetrical 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 differ-

ent 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.

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