The information in this document is subject to change without notice and does not repre sent a commitment on the part of Native Instruments GmbH. The downloac described by this document is pdv to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced downloae otherwise transmitted or record ed, for any purpose, without prior written permission by Native Instruments GmbH, herein after referred to as Native Instruments. All other trade marks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them.

Document authored by: Errorsmith Product version: 1. It is capable of a wide range of sounds. From ‘bread and butter’ sounds that are refreshed by new sonic twists to truly new and unheard sounds only possible with RAZOR. All with an outstanding, high sound quality.

Its lean and clean Interface in conjunction with the huge and beautiful graphical display makes it easy and fun to edit sounds or build new ones from scratch quickly. Additive syn thesis offers the opportunity to design the sound in great detail. RAZOR gives you a simple tool to do so, like a blade to sculpt the sound. RAZOR the cutting edge synthesizer!

Manual Conventions This manual uses particular formatting to point out special facts and to warn you of poten tial issues. The icons introducing the following notes let you see what kind of information is to be expected: Whenever this exclamation mark icon appears, you should read the corresponding note care fully and follow the instructions and hints given there if applicable.

This light bulb icon indicates that a note contains useful extra information. This information may often help you to solve a task more efficiently, but does not necessarily apply to the setup or operating system you are using; however, it’s always worth a look. Furthermore, the following formatting is used: Text appearing in drop-down mannual such as Open, Save as /44864.txt. Text appearing elsewhere on the screen labels of buttons, controls, text next to check boxes etc.

Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen. Important names and concepts are reaktir in bold faced letters. References to keys on your computer’s keyboard you’ll find put in square brackets e. Single instructions are introduced by this play button type arrow. Results of actions are introduced by this smaller arrow. The instrument uses additive synthesis to create state of the art ‘synthetic’ sounds.

RAZOR simulates features of /3665.txt synthesis concepts like subtractive filters, dissonance occurring in Frequency Shifters or certain aspects of physical raktor as a start.

These features get improved and extended by ni reaktor 6 manual pdf free download of additive synthesis to achieve adobe premiere pro cc 2015 4gb ram free previously unheard of quality.

So a resonant lowpass filter for instance sounds very precise and sharp. Filters have new features like variable filter slopes or new resonance shapes that go beyond ‘real’ filters. In addition to these extended simulations RAZOR brings new highly innovative features like new filter types, new ways to create dissonance, partial panning ef fects, pitchable reverbs and much more that is only possible with additive synthesis.

RAZOR has a powerful and easy to use modulation scheme. Most parameters can be modulated by an extensive list of modulators. Even stereo effect parameters can ni reaktor 6 manual pdf free download modu lated.

RAZOR takes a new approach concerning effects. Instead of inserting a bunch of audio ef fects behind the synthesizer most effects are instead done inside the synthesizer itself to give them a new sonic twist. Echoes are achieved by echoing envelopes. This feature re sults in echoes merged with the dry sound in a unique way.

Instances of the echo reflec tions can be modulated. They can be pitched, filtered and made non-harmonic using a new and innovative modulator called ‘Echo Steps’. The reverbs are synthesized reverbs us ing additive synthesis. They have a unique feature: they follow the pitch of the voice, ena bling you to mqnual melodies with the reverb tail! Some effects like a flanger and phaser are available as filter types.

Parameters of all of these ‘part of the synthesizer’ effects can be modulated to cre ate lively sounds. The only ‘real’ effects are found in the ‘dynamics’ section offering com pressors and distortion effects to create more punch, warmth and dirt. RAZOR comes with more than professionally designed presets. Its factory downlkad con tains a large variety of basses and lead sounds mqnual well as soundscapes and special effects.

Modifying these sounds or creating new ones is an easy task. RAZOR offers familiar pa rameters to control its powerful additive engine under the hood. Its interface is intuitive and straight forward and has just the right balance of complexity versus usability. All ac tive parts are visible to ease the workflow.

RAZOR features a huge graphical display showing the exact spectrum at certain points in the signal chain fres the synthesizer and more. It makes it easy to set up sounds, as the im pact of parameter changes can be seen immediately on the display.

Besides ni reaktor 6 manual pdf free download this in formative feedback to the sound designer, the display ni reaktor 6 manual pdf free download able to show beautiful anima tions, especially if set to 3D mode. Перейти на страницу analyzer part is done using the classic bandpass approach. Imprinting the analyzed band amplitudes on an instrument voice is done in the additive engine of the synthesizer resulting in downloax high quality vocoder sound.

Although this process /22923.txt straightforward, please take a minute to read these instructions, as doing so might prevent some common problems. Alternatively, during the installation process, choose the di rectory where you would like to have RAZOR installed.

Log ni reaktor 6 manual pdf free download Enter your Native Instruments nu account name and downloar on the initial page. Select products: The Service Center detects all products that have not yet been activat ed and lists them. Activate: After proceeding to the next downlkad, the Service Center connects to the Native Instruments server and activates your products. Download updates: When the server has confirmed the activation, the Service Center automatically displays the Update Manager with a list of all available updates for your installed products.

Please make sure that you always use the latest version of your Na tive Instruments products to ensure they function correctly. Downloading updates is optional. After activation is complete, you can always quit the Service Center. The folder’s content will be displayed in the lower sec tion of the browser. Then, lets change the sound completely by loading a different Snap shot.

RAZOR can hold banks of Snapshots, and loading any of these Snapshots will set each control of to ni reaktor 6 manual pdf free download specific value, and re-create a particular sound.

If not already ссылка на страницу after startup, you need to open the Sidepane. Ni reaktor 6 manual pdf free download the Sidepane button 1 in the Main Bar to open the Sidepane. Select a Snapshot Bank 3. Select the name of a Reamtor entry 4. Click the Snapshot drop-down menu control 2. The menu holds all Snapshots and Banks of the instrument. Click an entry to select it. RAZOR is an extremely graphic synthesizer as you can see the spec trum of oscillator shapes, filter curves and even the frequency depending panning of the signal.

To learn the instrument it is highly recommended to turn the graphical display to ‘Auto’ and switch off ‘3D’. This will help you to understand what the parameters are actual ly doing. This is easier than any written explanation.

For more information about the dis play see the paragraph ‘graphical display’ below. RAZOR was designed to give its user intuitive control over its powerful additive engine. So you dont have to be a synthesizer specialist to edit and create sounds with it. But it might be helpful to gain some knowledge about the ni reaktor 6 manual pdf free download of additive synthesis to fully under stand some of RAZORS features.

Its out of the scope of this manual to explain additive synthesis. Search on the internet for more information. A search for ‘Introduction to addi tive synthesis’ and ‘Fourier series’ might be a good start.

The Interface ni reaktor 6 manual pdf free download divided horizontally in three main parts. The main synthesizer is located in the middle. There are two oscillators on the left that are mixed together before they get filtered by filter 1 and then by filter 2. The next section to the right of the filters is called ‘Dissonance’, offering effects to make the sound non-har monic; followed by the ‘Stereo’ section with various stereo reakyor. At the very end of the chain you find the ‘Dynamics’ section with effects to alter the amplitude dynamics of the sound like saturators and compressors.

Modulators like envelopes and LFOs are located at the bottom. These can be routed to var ious destinations.

Envelope 1 is pre-assigned to the amplitude. At the top you find a multi-functional display, some global controls like Pitch, ‘Voice Mode’, a value display and ‘Quality’. At the top right ni reaktor 6 manual pdf free download are two sections offering ni reaktor 6 manual pdf free download features named ‘Spectral Clip’ and ‘Safe Bass’. After ‘Safe Bass’ the signal en ters the ‘Stereo’ effect section.

Offers several filter types that are capable of damping high frequencies. The above-men. Their settings are used to calculate the нажмите для продолжения frequency, ampli tude and phase of each partial.

As you can see in the Signal Flow graphic above, the second oscillator doesn’t have its own ‘sine bank’.

 
 

Free Native Instruments User Guide, Download Instruction Manual and Support – 2 – DOWNLOAD FREE DEMO

 

The blocks can be feaktor together in limitless combinations reakyor virtual patch cables on the front panel. The blocks combine modern sequencing, sampling and digital synthesis with state of the art analogue modelling. The collection is divided into 6 separate packs ni reaktor 6 manual pdf free download tools for modern leads and basses, sampling, sound design, effects creation and audio processing. All packs are compatible with the free Reaktor Player. A collection of 50 ground breaking and innovative по ссылке modular blocks, sophisticated and versatile enough to create any sound you could imagine.

The pack realtor based on two powerful new oscillators, the Atomic Oscillator is an additive FM oscillator that breaks sound ni reaktor 6 manual pdf free download its component parts and provides a multitude of controls to reconstruct the sound at the ‘sub-atomic’ level!

Deep cross modulation options between the oscillator’s 2 additive engines result in never reakktor heard sounds and timbres. The pack also includes a versatile wavetable oscillator with controls to warp and twist the waveform’s harmonics. A powerful morphing filter with distortion, wave-folding and /45216.txt can be used to further maunal the sound.

Fascinating and deep cross modulation options between the synth’s two oscillators can be used to produce complex and rich oscillator timbres. Use the morphing filter with distortion, wave-folding and FM to further sculpt the sound with gritty fiery textures. The layout of the synth is influenced by popular ‘classic’ mono-synths, making dialling up basic sounds quick and intuitive. Full modular patching between all the synth’s sections is available in ‘structure’ view, for dkwnload sonic possibilities.

A new suite of powerful blocks based on legendary Eurorack modules, with some unique blocks for advanced synthesis and sound creation.

A collection of powerful ni reaktor 6 manual pdf free download and polyphonic synthesisers in ‘Blocks’ format. The synths feature versatile internal modulations and are designed to be integrated with the other packs for expanded modulation and effects routing.

The pack includes a sophisticated PIANO ROLL block with extensive editing and modulation functions and a suite of polyphonic utility and modulation blocks to augment and expand the polyphonic functionalities of the synths. По ссылке collection of free ‘User Blocks’ for use with Reaktor 6. New blocks will be added regularly. Watch this space for more These blocks are so creative! They allow me to go way beyond reaktpr I can do with conventional tools Close search.

Add to cart. A revolutionary new modular synthesis playground A collection of 50 ground breaking and innovative new modular blocks, sophisticated and versatile enough to create any sound you could imagine. A powerful semi-modular synth based on blocks chosen from the cream of the Toybox blocks library. The ultimate sound design tool with unparalleled mznual and audio quality. Powerful global snapshot system built into every block.

All the packs are sooooo great!! Use rownload effects and modulation modules to create your own powerful audio processors. Rich in features and powerful hi to create any sound imaginable.

 

Ni reaktor 6 manual pdf free download

 

Turn right for more modulation. Here you can see also the effect of modulation by the envelope follower and the slow random generator. Left represents a low freqeuncy, right a high freqeuncy. Turn left to make the filter freqeuncy be reduced on high incoming envelopes, turn right for the opposite, i.

The left knob modifies the lower cutoff freqeuncy, the right one the higher freqeuncy. These effects can be chained in a variety of ways offering a large range of sounddesign possibilities. This ability to instantly switch between sets is what really brings Fast FX to life. The snapshots are made up of 32 x 8 slot banks.

Select bank by the using the step Program Selector slider at the bottom of the panel, and select the slot by using the. When Flow is enabled, selecting a new bank or slot automatically loads the preset. Fast FX has two pairs of stereo inputs. The first pair of inputs are connected to the. Level and Mute control the input level. This section allows configuration of the signal flow order between the 6 effects. Level and Mute control the output level.

All effects can be bypassed simultaneously. The mix section controls the overall mix between the dry input signal and the wet,. The mix is defined separately for low and high frequencies with the. Spin determines how the loop length changes when the effect is enabled. A setting of. Spin Time determines the speed of loop length changing, and Jtr sets the delay time. This effect slices incoming sound into grains, and then slides the pitch, so that the. Slice A and Slice B set the length of first and second slices respectively, in 16th steps.

Length sets the grain length in milliseconds. Below, the knob labelled Mod sets the. The Rnd XY field is used to. Asym sets the grain size asymmetry between the left and right channels. Decay con-. This effect also slices the incoming sound, and then shifts the position and playback. The two slicers work on a rotating basis, so therefore the slice lengths alternate be-. The SncVar enables a mathematical formula to automatically rearrange and vary the.

Rev A and Rev B enable reverse playback of the first and second slices. This section features a step sequencer that modulates the amplitude of the incom-. The horizontal slider above the sequencer display selects one of the The preset sequence can be varied by reducing the loop length with. This control. Gate determines the length of the open gate, as a proportion of a sequencer step. The section features a stereo delay line with a modulated filter in the feedback path.

Delay sets the delay time in 16th steps, Fbck sets the feedback amount and Asym sets. Filter sets the centre frequency of the feedback filter. The cutoff is also modulated a. The XY X axis.

This section features a sequenced filter. The horizontal slider above the sequencer. Length sets the loop length of the se-. Mod defines how much the extent to which the sequencer modulates the fil-. Center and Reso set the filter cutoff and resonance respectively, and Width sets the fil-. Smth controls the speed that of changes to the cutoff frequency from the. Fast FX has a total of snapshot slots, represented by 32 x 8 slot programs. To se-. The total slot data is stored in a large event table inside the structure.

If you wish. The bookmark feature enables you to store your favourite presets numbers and quickly. Disable this if you want to copy the cur-. You can drop samples on the sampler window, or double click on it to open the REAK-.

Select the desired sample from the map using the Select knob. Loop Lng and Offset. Pitch trans-. The Loopplayer has 16 different automatic variation patterns, these can be selected. The filter can be bypassed by pressing the Bps switch. Rnd Mrph determines. Fit links sample pitch with time stretching, like a conventional sampler i.

Smooth controls the sampler grain smoothness, and Gain determines the output level. Programs 1 to 16 are stored in bank. These are recalled when recalling snap-. This patch combines four frequency-specific compressors with a full-spectrum peak-limiter to produce a high-end package for your multiband dynamics shaping needs.

As it does not introduce any delay it is not limited to mastering use but can also be applied on a per channel basis. The controls might appear intimidating at first glance, but are actually straightforward when you examine the signal chain.

The separately compressed bands get mixed together and then processed by a full-band peak limiter. Please note that the master bypass for the complete patch is situated to the left above the X Over section. After the input stage the signal gets split into four independent frequency bands as defined by the X Over section. Each frequency band gets processed by independent, identical compressors and can be independently muted, soloed and bypassed. Separate saturators for each band make it possible, for example, to add punch and bite to the mids without affecting clarity in the lower registers.

The peak limiter affects the full band signal. For clean mastering purposes we recommend a limiter threshold setting of about -3 to -4 db and a peak setting at 0db.

Should pumping effects be desired, adjust the threshold to more extreme values. This adjusts the release time. It is the time the limiter takes to return the signal to. Controls the amplification of the uncompressed signal if Bypass is active. If you want. Flatblaster is a high-end finalizing and multiband dynamic shaping tool. Flatblaster combines four frequency-specific compressors with a full-spectrum peak-limiter.

It is an excellent finalstep mastering plug-in, but it can also be used while mixing since it doesn’t introduce any de-. Each of the compressors has a saturator, so you could saturate just the uppermid frequencies, for instance, without muddying the bass. It also makes an excellent de-esser and sibilant reducer. Even though Flatblaster gives control over many sound-shaping parameters, there’s no need to be intimidated by its complexity.

A full range of presets shows off its capabilities and gives good starting points for tweaking the effect for your sound. Try experimenting with muting, soloing, and bypassing each individual band so you can carefully hear what the ‘blaster’s doing.

Be careful when adjusting the saturation of each band! The sound can potentially get very loud if you don’t first reduce the make-up gain the knob labeled Gain to the right of the Sat knob. The input signal is divided into four bands – the three crossover frequencies are adjustable independently. Each frequency band is processed by an independent, identical compressor. Each band can be muted, soloed, and bypassed no compression.

The signal is summed before going through a full-band peak limiter, which can also be independently bypassed. The master bypass for the effect is located to the right of the input meters, above the crossover settings. Each of the four compressors are absolutely identical. In fact, they have to be! If they weren’t, then unwanted phase shifts could creep in. Each compressor gives control over saturation, saturation makeup gain, threshold, compression ratio, adjustable knee, attack, release, and output makeup gain.

Note that the Ratio has to be higher than 0 for the compressor to have any effect – at a Ration of 1 maximum , the compressor acts as a limiter. The red meters show the amount of peak reduction. The Attack and Release knobs control how the compressor responds to transient signals.

The peak limiter affects the full frequency range of the audio, after each of the four frequency bands has been compressed separately. The Threshold slider controls when the peak limiter will start working. With Threshold at 0, the peak limiter will have no effect. For mastering, it’s recommended to have the Threshold set to around -3 or -4 dB.

Severe Threshold settings will lead to pumping, which may or may not be desirable. The Attack and Release knobs control how the peak limiter responds to transient signals. The final Peak slider sets the output level of the signal. When Peak is set to its maximum 0 dB, then the audio will be as loud as possible.

There’s really no reason to ever set Peak lower than this, unless you needed to ensure a certain amount of headroom. Fusion Reflections is a delay-based effect that can create early reflections, shimmering choruses, fluttering delays, and even ambient reverbs.

Two distinct diffusion engines are chained together to create an extremely wide range of effects. Each finely-tuned diffusion engine consists of four stereo modulation delays and an innovative graphical display that shows the actual delay time for each delay. Just five controls control the core parameters of each diffusion engine. Welcome to ManualMachine. We have sent a verification link to to complete your registration. Log In Sign Up. Forgot password? Enter your email address and check your inbox.

Please check your email for further instructions. Enter a new password. Reaktor 6. Table of Contents 2. Sound Engine 76 3. Sequencer 78 3. Introduction 83 3. Sound Engine 83 3. Sequencer 85 3. Introduction 89 3. Quick Start 90 3. Structure and Signal Flow Table of Contents 3.

Introduction 3. Sequencer 3. Splitter 3. Sample 3. Grain Effect 3. Sample Loader 3. Introduction Table of Contents 4. Introduction 4. Quick Start 4. Structure and Signal Flow 4. Global 4. Sequencer 4. Delay Units 4. Filter 4. Master and Envelope 4. Additional Delay 5 Sequenced Synthesizers Table of Contents 5.

Introduction 5. Structure and Signal Flow 5. Quick Start 5. The Sequencer 6 Sequencers Introduction 6. Using Spiral 6. Details 6. Table of Contents 6. Table of Contents 8.

Effects Analogic Filter Box 2 Effects 2. Effects Analogic Filter Box Both filters offer multiple operation modes. Effects Anima level changes.

Effects Anima Filters A single bandpass filter corresponds to every voice of polyphony. Effects Banaan Electrique 2. Effects Banaan Electrique current through the amp. Effects Classic Vocoder 2. Effects Cyan Introduction Like a traditional Chorus effect, Cyan uses a bank of modulated-delay units to add width, depth and richness to the input signal. Details The effect’s architecture consists of up to six independent stereo delay lines see sections Distance, Intensity and LFO that are fed with the incoming audio signal see Input.

Section Function Power and Input These two sections control whether the chorus is switched on or off and which signal is used as input: The complete stereo signal, the left channel alone, or a mono mix of both. Distance, Intensity, The Delay knob on the other hand adjusts the delay times offset, thus controlling the and Feedback phase variation applied to the chorused signal in respect to the unprocessed signal.

The Spread control additionally changes this offset slightly for each LFO independent- ly to enhance this effect. The Intensity knob mainly controls the sound of the chorus: It determines the amount by which the delay times vary.

After passing through the delay units, the signal is routed to the Feedback section where it can be filtered using the Colour knob to control the filter’s frequency , and is then mixed with dry signal. The FB amount knob is bi-polar: At the right there is nor- mal feedback, at the left the feedback signal’s phase is inverted; at mid position the feedback is turned off.

Shift controls the phase to which the oscillators are reset at synchronization events that can be specified with the LFO Reset switch; the button below this menu can be used to manually synchronize the oscillators. Saturator and Equal- After the chorus section itself the audio signal can be saturated and equalized. Mix balance can also be automated by a ramp generator, the speed of which is adjustable by the Speed knob. The ramp generator trigger source can be selected at the left of the Att knob.

This is especially useful when using Cyan as a send effect. The Stereo knob controls the spread of the audio within the stereo panorama. Effects Echomania 2. Effects EnFX 2. Envelope Follower An envelope follower isn t a dog that chases the postman. Effects Fast FX 2. Junction This section allows configuration of the signal flow order between the 6 effects. Eight possibilities are available in the drop-down menu.

All effects can be bypassed simultaneously with the Bypass button. Mix The mix section controls the overall mix between the dry input signal and the wet, post FX signal. The mix is defined separately for low and high frequencies with the Low and High knobs.

Link synchronises the two knobs. Spin Time determines the speed of loop length changing, and Jtr sets the delay time jitter — the amount of slow, random variation.

Below, the knob labelled Mod sets the amount of grain length modulation. For both Length and Pitch modulation, a collection of pseudorandom, MIDI clock synchronised patterns are used as the modulation source. The Rnd XY field is used to select the current pseudo-random pattern each pixel represents one of the available patterns.

Decay con- trols the dry signal decay time, the envelope is retriggered with each new slice i. Effects Fast FX Section Function Slice Manipulator This effect also slices the incoming sound, and then shifts the position and playback direction of the slices. The two slicers work on a rotating basis, so therefore the slice lengths alternate be- tween the two settings. The SncVar enables a mathematical formula to automatically rearrange and vary the slices in time. Set to zero for no variation.

Gate This section features a step sequencer that modulates the amplitude of the incom- ing signal. The horizontal slider above the sequencer display selects one of the 20 available patterns for the sequencer, and the lower horizontal slider sets the sequenc- er clock speed.

The preset sequence can be varied by reducing the loop length with the Length knob, or by varying the playback position with the PosVar knob. This control applies one of 16 variation patterns to the sequence playback order. Re- lease sets the time the gate takes to close. Delay sets the delay time in 16th steps, Fbck sets the feedback amount and Asym sets the delay time asymmetry between the left and right channels.

Filter This section features a sequenced filter. The horizontal slider above the sequencer display selects one of the 20 available patterns for the sequencer, and the lower hori- zontal slider sets the sequencer clock speed. Length sets the loop length of the se- quencer. Mod defines how much the extent to which the sequencer modulates the fil- ter cutoff. Center and Reso set the filter cutoff and resonance respectively, and Width sets the fil- ter width. Smth controls the speed that of changes to the cutoff frequency from the sequencer or the Center knob.

Instead, with live performance in mind, the snapshot handling is dealt with on the panel. The 32 programs are selectable by the Program Selector at the bottom of the panel. To se- lect a slot, click on the selector, or press the associated computer keyboard key i. Bookmark The bookmark feature enables you to store your favourite presets numbers and quickly access them by using the dropdown menu. To set a bookmark to the current state, take a look at the POSITION display, then open the Bookmark list properties, and create an entry there with a name of your choice, and the value displayed in the position meter.

Disable this if you want to copy the cur- rent state to another slot i. Transpose should be set to 0 for all samples Select the desired sample from the map using the Select knob. Loop Lng and Offset and define the loop length, and position offset in 16th steps respectively. Pitch trans- poses the sample in semitones. The Loopplayer has 16 different automatic variation patterns, these can be selected with the Pos Variator knob.

Rnd Mrph determines the amount to which a slow randomiser is applied to the filter cutoff. Snapshot handling The Loopplayer state is not saved in the Fast FX snapshot table, but pressing the Write creates a snapshot in the Loopplayer instrument.

Programs 1 to 16 are stored in bank 1 and programs 16 to 32 are stored in bank2. These are recalled when recalling snap- shots on the Fast FX panel. Effects FlatBlaster 2 2. Version 2. Bypass Bypasses the complete effect. This is the master bypass switching off all compressors and the Limiter. Low Sets the crossover frequency between the Mid Low and Low compressor bands. High, Mid High, Stereo Sets stereo width of the frequency band.

Low Compres- Tresh Sets the point at which the compressor will begin to work in db. Levels sors below this threshold remain unprocessed. Ratio Adjusts the ratio of the input level to the output level after compression. Think of it as a slope control for the attack time. Sat Drives the band into saturation. Link Activates stereo linking of the two input channels.

When active, the com- pressor takes the max of the left and right peak levels and uses it for both channels. This preserves a clean stereo image and is lighter on CPU cycles.

Att This dial adjusts the attack time. It is the time the compressor takes to react to an above-threshold signal. Rel With this control you set the release time. This is the time the compres- sor takes to return the signal to normal when it falls below the compres- sion threshold. Out Gain Sets the amount of amplification applied to the compressed signal of the specific band before it gets mixed with the other bands. Bypass Bypasses the compressor for the respective band.

Mute Turns the sound of the respective band off. Solo Turns all other bands off, leaving only the signal of the soloed band. Use it to fine tune single compressor bands. Control Function Thr Adjusts the threshold of the limiter. Levels above this value get processed. Peak Adjusts the hard limit of the signal. No signal will exceed this limit. Rel This adjusts the release time.

It is the time the limiter takes to return the signal to normal when it falls below the limiting threshold. Effects Flatblaster Control Function Compare Controls the amplification of the uncompressed signal if Bypass is active.

If you want compression without amplification set it to 0 and make sure there is no change in lev- el when toggling the Bypass button. Effects Flatblaster lay to the signal. Effects Flatblaster 2. Effects Fusion Reflections 2. You can only view or download manuals with. Sign Up and get 5 for free. Upload your files to the site. You get 1 for each file you add. Get 1 for every time someone downloads your manual.

Buy as many as you need. View and download manuals available only for. Register and get 5 for free. Upload manuals that we do not have and get 1 for each file. Get 1 for every download of your manual. Buy as much as you need. It determines the amount by which the delay times vary.

TOR map editor. Transpose should be set to 0 for all samples. Bypasses the complete effect. This is the master bypass switching off all. Like x 1 Informative x 1.

Thank you, I didn’t see that Seoman , Oct 19, Hi everybody. Please don’t overlook the Reaktor Factory Library Manual, which I think was not available on the Reaktor 6 downloads page when Reaktor 6 was first released. Especially if you mainly got attracted to Reaktor because of Blocks, you may not have noticed how much more great stuff is included in Reaktor.

There’s a mind boggling array of 70 synthesizers, sequencers, and effects already on your hard drive, in the Factory Library folder, that you can play with, plug together, open up and learn from, and modify or steal parts from. I don’t know how many times I’ve said “What? Three of my favorite words: Spring Tank Reverb. Oh, and if you haven’t plugged in an Electric Banana a. Banaan Electrique , please try it out. I had Reaktor for a year before I stumbled on these glorious things, hiding in the Effects folder.

Christian PS: No sound coming out? Make sure you understand the difference between polyphonic and monophonic aspects of Reaktor, and add voice combiners if you’re connecting a polyphonic instrument to a monophonic effects unit. Even if you’re intimidated or overwhelmed by all these possibilities and all this documentation, walk through that tutorial and you’ll glimpse some of the enormous potential that you now possess. What’s not to like? Last edited: Oct 24, Exiannyc , Oct 24, Hi all, first post here.

Working through the “Building in Primary” document, in the “Basic Step Sequencer” section it looks like there are a few screencaps or maybe even more missing from p. Unfortunately, these are at the end of the lesson so I can’t figure it out from other images, and the next two tutorials require the completion of this ensemble, so I’m really stuck here as a Reaktor newbie.

I’ve contacted NI support about this already, but probably won’t hear back until after the long weekend. Can anyone at least give me an idea of what to do from this point so that I can keep pushing through the documentation? Many thanks in advance! I’m sorry but I don’t know. Maybe you could ask the guy who says he figured it out. I hope you can move forward with your learning. I myself fell off that tutorial wagon at just about that point.

Exiannyc , Dec 31,

 
 

Reaktor 6 | PDF | Synthesizer | Computer Engineering.

 
 
AUTO: If on the pitch glide only happens when notes overlap in time. Electrical Engineering. RAZOR has 6 voices as default. The effects, filters, crossovers and stereo tools can also be used to create studio quality modular effects processors. It contains filters that combine well with the high frequency damping types of filter 1.