This Reaktor Tutorial serves as an introduction to Reaktor, and covers building a two oscillator synth.
The video starts with an overview of the Reakor manuals, and then looks at building the synth example from the getting started manual.
The example ensemble can be found at flipmu.com/work/software/
Paolo Groppioni plays eight Grp A4 Analog Synthesizers in unison. Twentyfour wild VCOs under the same MIDI master keyboard control.
- Voltage Controlled Oscillator 1, 2, 3
- Wide audio range (64’-2’) w. Tune & Fine; six analog waveforms (sine, triangle, triangle & saw, saw, saw & variable pulse summed, variable pulse); manual pw & pwm (from VCLFO1, EG1, S&H, Aft); FM 1 Amt (lin/exp –from VCLFO1, LFO2, VCO1, 2, 3, Noise, S&H, EG1, EG2, Aft, ModW, KeyVel, EnvFoll) w. phase rev; FM 2 Amt (only exp – from VCLFO1, Env Foll); sub oscillator (on VCO 1, 2) -1/-2 oct; hard sync (VCO 1 master); kybd on/off (w. user’s selectable octave offset from MIDI Interface).
- Ring Modulator
- Ring Mod Sources: VCO 2 & VCO 3/Ext Input (user’s selectable).
- Noise Generator
- White & Pink Noise selectable.
- External Input
- Input gain from line to mic level; freely adjustable Gate Threshold (Gate to EG 1-2); enclosed envelope follower (goes into mod buss).
- Audio Mixer
- Separate level controls for VCO 1, 2, 3, Sub 1, 2, Ext Input, Ring Mod, Noise.
- Filter Section
- Dual analog filter section: 24 db/Oct Low Pass Transistor Ladder Filter w. pole selection & 12 dB/Oct State Variable Low, Band, High, Notch Filter.
- Each filter has a separate Distortion/Level control.
- Filter section can be configured in LP 24 Only, SV 12Only, Serial (LP into SV), Parallel, Direct Out (LP 24 goes on Left Audio Out, SV 12 goes on Right Audio Out).
- Low Pass Filter:
- Slope selection (6, 12, 18, 24 dB); Cutoff Frequency; Resonance; Overload LED; FM1 Amt (from VCLFO1, LFO2, VCO 1, 2, 3 Env Foll, Noise, S&H, EG2, Aft, ModW, KeyVel) w, phase rev.; FM 2 Amt (from VCLFO 1); FM 3 Amt (from Step Sequencer, Kybd Track 0-120%; Key Vel On/Off.
- State Variable Filter:
- Mode (12dB HP, 6 dB BP, 12 dB LP, 6 dB Notch); Cutoff Frequency; Resonance; Overload LED; FM1 Amt (from VCLFO1, LFO2, VCO 1, 2, 3 Env Foll, Noise, S&H, EG2, Aft, ModW, KeyVel) w, phase rev.; FM 2 Amt (from VCLFO 1); FM 3 Amt (from Step Sequencer, Kybd Track 0-120%; Key Vel On/Off.
- Voltage Controlled Amplifier
- Dedicaded Envelope Generator (see below); Control Selection (dedicated EG2, ON-hold, External CV); VCLFO1 Amt.
- AutoPan Off/Internal Clock/VCLFO1; Pan Frequency Control; LED (red = internal clock; blue = VCLFO1).
- Stereo Main
- Master Volume.
- Envelope Generator 1
- Multi Stage Loopable Env (Attack, Hold, Decay, Sustain Lev, Sustain Time-Only in Loop On, Release); Gate Source Selection (Keyboard, S&H, ExtIn/ Step Seq); independent EG Amt for 24 dB LP Filter and 12 dB State Variable Filter, both w. user’s selectable EG polarity.
- EG time goes from 1msec to 60 sec.
- LED: red = EG under Gate sources; blue = EG under Step Sequencer control;
- Loop Envelope: loop from Attack to Release, w. Sustain Time selectable.
- Loop Mode Switch:
- Loop Off: EG as standard AHDSR, no Sustain Time.
- Gate: EG loops from A to S (w. Sustain Time max 60”) as long as Gate is On.
- Auto: EG full loop, from A to R; independent from Gate.
- Envelope Generator 2
- Same as EG 1, without Hold segment.
- Voltage Controlled Low Frequency 1
- Frequency (from very low to 2500 Hz); Waveform (sine, ramp, triangle, saw, square w. variable pulse); FM Amt (exp, w. phase normal/rev); FM Sources (Key, EG1, EG2, LFO2, Seq A, B, A+B, S&H, Aft, ModW, EnvFoll); Sync (Off, Gate, Seq, MIDI – dividing factor selectable from internal MIDI Interface); Shaping LFO out (from: Off, EG1, EG2, Lfo2, SeqA, B, A+B, S&H, Aft, ModW, EnvFoll).
- LFO act as modulation buss for auxiliary sources: EG1, EG2, S&H, Noise, VCO2, EnvFoll. The aux source can be amplitude modulated with the Shaping Select.
- Voltage Controlled Low Frequency 2
- Frequency; Freq Range (Low-Mid-High); Waveform (Triangle, Square); Shaping Select (Off, Aft, ModW).
- Independent Send Modulations for: VCO 1, 2, 3 freq; PWM 1, 2, 3; VCF 24/12 Cutoff; VCA Level.
- Sample & Hold
- Frequency; Frequency Source (Int, VCLFO1); LED (red = Internal, blue = VCLFO1); S&H Source (Pink Noise, White Noise, VCLFO 1, LFO 2, VCO 1, 2, 3); Glide.
- The S&H Clock can be routed to EG firing; there are three options: Off – no routing; Gate – the S&H clock is ANDed with keyb/ext/manual Gate; Auto – EGs always fired from S&H.
- Master Tune; Portamento Time; Bend Amount; VCO 1 Portamento On/Off, VCO 1, Bend On/Off; Hold On/Off; A440 On/Off; Retrig On/Off; Manual Gate.
- MIDI Interface: MIDI Channel Select; Keyboard Off Octave Offset; External CV In Octave Offset; MIDI Clock Divider on LFO Reset.
- A4 receives: MIDI Note On/Off, Bend, Modulation, Aftertouch, Key Velocity, Expression Pedal, Damper.
- Step Sequencer
- User’s configurable Mode Select 8×2 or 16×1.
- Clock Source: Int, VCLFO1, Ext, MIDI.
- Clock Divider on all Clock Sources; dividing factor MIDI: 1/1, ¼, 1/4t, 1/8, 1/8t, 1/16; dividing factor TTL: 1/1, /2, /4, /16, /32.
- Sequencer Mode: FW, BW, FW/BW, PNDL, ALT, RND, TRG.
- CV Seq Clock: A, Off, B on internal Clock.
- VCO Seq Enable: VCO 1, 2, 3, Off/A/B/A+B
- VCF Seq Enable: 24dB Off/A/B/A+B; 12dB Off/A/B/A+B.
- Step Repeat: Off, x2, x3, x4.
- Permutations: n,n+1; n, n+1, n; n, n, n+1, n.
- Loop On/Off.
- Hold On/Off.
- Manual Controls: Reset/Step Advance, Run/Stop, Continue
- Pulse Width (legato/staccato) on Internal & MIDI Clock.
- Row A & B Parameters: Glide Amt; Range (x2, x4, x8); Quantizer On/Off.
- Step Parameters: LED; Step Value; Gate On/Off; Step Mode (End, Skip, Normal).
- Audio: Mono Out; Phones Out; Left/24dB Out; Right/12 dB Out; Audio External In.
- Filter: CV In 24 dB; CV In 12 dB.
- Amplifer: CV In VCA.
- Synth Control: CV In; Gate In.
- External Modulation Buss: Ext 1/AftT; Ext 2/ModW.
- Sequencer Connections: Row A/B/A+B CV Out; Row A/B/A+B Gate Out; Run/Stop In; Continue In; Loop On/Off In; Clock Input; Clock Output; CV In Clock Modulation.v
Background video information below:
You lot should be happy that it was a grim, wet, windy Bank Holiday as I got to plug in my Pi and make a video. Sorry the frame rate of the second half is low, it’s my Mac not being fast enough to capture everything.
So – here’s an indication of quite how rich a single-oscillator synth can be (as in, I left OSC B cranked down to zero throughout). OSC A is set to a ‘sin’ wave (which does actually have a *little* bit of harmonic content as it’s not really a sin, it’s a short power series), but all the amazing richness comes from manipulating the phase of the oscillator during each cycle of the waveform. An EG is used to stretch and squash the phase over the lifetime of each note, then the LFO is pulled in to add a warbly, squishy immenseness.
And no explicit frequency manipulation – everything here is being induced by messing with the phase within each cycle of the waveform, the fundamental is not being manipulated, at all. Things get beyond awesome when you add in pitch modulation at the same time as Phase Distortion.
‘gstormelectro’ continues to provide us with good tutorials on the Alesis Andromeda, in this one he checks out the oscillators:
In this video I will examine the OSCILLATOR and PRE-FILTER MIX sound modules in more detail. I will introduce and explain topics for Oscillator FM, Filter FM, SYNC, Ring Modulation and Filter Feedback. And I will also show how to program a couple of basic patches along the way.
0:35 Tune Page
1:32 Wave Page
2:39 ENV1 Page
3:13 Patch: Classic Or Deviant Sync
4:56 OSC2FM Page
7:57 NZEXT Page
8:48 Modulations + Control Routes
9:49 Patch: Mod-Wheel PWM
11:23 Pre-Filter Mix: Ring Mod + Filter Feedback
Join me for my next video which will cover the Filters in more depth, including examples of Filter FM and Filter Feedback. Thanks for watching!
A short video showing the powerful sound of 5 analog oscillators and actually being able to play more than one note. Simply adding another Moog via a MIDI cable, using last note priority on the Moog SP, you get to play 2 notes without having to go into the menu and setup a chain (both Moogs have this ability in the menu – Voyager 1, Voyager2 etc and the same deal with the SP).
A rather quick and dirty video – but you get the benefit of having your ear drums pummeled by the 5 osc’s
Best with Headphones
Nice video featuring the first Jupiter synth from Roland.
All sounds from Jupiter 4 are produced by its self oscillating filter with VCO waveforem set to “OFF”. Modulating filter with ENV-1 and LFO and adding a little noise from time to time. Strymon TimeLine is being used in ICE mode with 1.5 octave interval.
The first Jupiter synth. It was among one of the first poly synthesizers (4 individual voices which could be synced together for one fat monophonic lead), it had a pitch wheel that could be assigned to the VCA, VCF, VCO or all together, there are 8 memory locations and a cool arpeggiator – the arpeggiator can in the Duran Duran classic, “Rio”. It also has a very slow LFO for those ever-so-long filter sweeps. Pretty good for 1978!
Not so cool however, are the 10 preset sounds which sound nothing like the piano, brass or strings they claim to be. The placement of all the preset buttons below the keyboard can be inconvenient, especially while playing it. And as with most old analog synths, the Jupiter-4′s tuning can go out often. Still it is a nice analog synth for creating weird trippy analog sounds.
“Here’s a demo for the Wigglers out there who demand it. The new Make Noise Dual Prismatic Oscillator.
Disclaimer: I’m functioning on about three hours restless sleep. UPS man knocked on my door surprisingly early and well… I couldn’t bring myself to go back to bed.
What we have here is a quick demo showing the raw wave forms from both sections of the DPO. Then some tweaking of the knobs and the modes. Then I use the Make Noise Pressure Points/Brains combo to construct a very simple sequence. Only other modules in use are the Make Noise Optomix (Low Pass Gate) and a mixer. There is some wave folding and FM modulation going on during the sequence. I hope it’s pretty self-explanatory. I will be doing a proper tutorial when I’ve had time to spend with the DPO and hopefully borrow a nice HD camera. Until then enjoy!”
SineVibes has released Oscillator– an audio-controlled synthesizer for the Mac – as a free download.
Oscillator is an AudioUnit effect plugin that lets you turn any audio into sci-fi effects, glitches and noises. It is based on a multi-waveform oscillator with up to six voices and variable frequency stepping, whose parameters are modulated using the input signal’s dynamics.
The oscillator output can then be processed via effects which include ring modulator, sample rate degrader and bit crusher. This lets Oscillator turn any audio signal into a wide variety of sounds and effects.
Oscillator is a free download at the SineVibes site.
Short video showing the process of adding a third oscillator from another device to the Moog Little Phatty. In this case, the additional oscillator comes from the iPad iOS app ANIMOOG.
Using the Erthenvar Patch Chord to generate chords in a Eurorack system. Visit http://erthenvar.com
Erthenvar Patch Chord – a bank of 25 “Oscillator Controlled Oscillators”, which can be used to generate chords in a Eurorack system.
The Patch Chord continously samples the cycle duration and duty cycle of the input waveform. It outputs 12 semitone steps above the input note, 12 semitone steps below the input note, and the root note itself (available from two output jacks). All outputs are pulse waveforms with continuously variable pulse width.
An oversized tri-color LED spans the color spectrum in each octave, so each note has a unique color! The input jack is passively multipled to an output jack so the visual effects of the LED can be had even if the module is not part of the current patch.
There four modulation types available, each with an input jack and a three-position switch. The switch can turn off the modulation, allow the CV value to control the parameter, or turn on the modulation. The modulation jacks are all DC coupled and respond to audio rate signals, though the tracked waveform has a lower limit of around 20 seconds per cycle.
- The SQR modulation forces the tracked duty cycle to 50%, making all of the 25 outputs into square waves
- The INT modulation changes the relationship between each output from a semitone step to an integer or harmonic step
- The ZERO modulation resets all of the output counters to 0, similar to a sync function
- The HOLD modulation stops tracking the input and keeps the last counted cycle duration and duty cycle values