NATIVE INSTRUMENTS Software Synthesis

1 Introduction *

1.1 What is REAKTOR ? *

1.2 What is GENERATOR ? *

1.3 What is TRANSFORMATOR ? *

1.4 Support *

2 Installation under Windows *

2.1 System Requirements and Recommendations *

2.1.1 Hardware *

2.1.2 Software *

2.2 Soundcard Settings *

2.2.1 Devices *

2.2.2 Latency *

2.3 MIDI Interfaces *

2.3.1 Using REAKTOR SERIES with a Software Sequencer *

2.4 Uninstalling the Software *

3 Installation under Mac OS *

3.1 System Requirements and Recommendations *

3.1.1 Hardware *

3.1.2 Software *

3.2 Audio Output Properties *

3.2.1 Latency *

3.3 MIDI Input *

3.3.1 Using REAKTOR SERIES with a Software Sequencer *

3.4 Uninstalling the Software *

4 First Steps in GENERATOR *

4.1 Opening and Playing Example Ensembles *

4.1.1 FatFM Overdrive *

4.2 Your First DIY Synthesizer *

4.2.1 Preparation *

4.2.2 Choice of Components *

4.2.3 Wiring *

4.2.4 Arranging the Panel *

4.2.5 A Touch of Luxury *

5 Basic Operation *

5.1 Context Menus *

6 Toolbars *

6.1 Ensemble Toolbar *

6.2 Instrument Toolbar *

7 Ensemble *

7.1 Ensemble Structure *

7.1.1 Audio-In Module *

7.1.2 Audio-Out Module *

7.2 Ensemble Panel *

8 Instruments *

8.1 What is an Instrument? *

8.2 Creating Instruments *

9 Macros *

9.1 What is a Macro? *

9.2 Creating Macros *

10 Structures *

10.1 What is a Structure? *

10.2 Modules *

10.2.1 Creating *

10.3 Wires *

11 Panel *

11.1 What is a Panel? *

11.2 What are Controls? *

11.3 MIDI Control *

11.3.1 MIDI Data Types *

11.3.2 MIDI Learn *

12 Snapshots *

12.1.1 What are Snapshots? *

12.1.2 Recalling *

12.1.3 Storing *

13 4Control MIDI Unit *

1. Introduction

1. What is REAKTOR ?

REAKTOR is a piece of software that turns your computer and soundcard into a powerful synthesizer and audio processing system. Its completely modular structure ensures that no limits are imposed on your imagination in the creation of electronic musical instruments and sound effects. From the simulation of relatively simple, analog synthesizers as well as large, complex modular systems, through sample players and FM synthesis up to exotic methods such as delay-line resonance or granular synthesis – REAKTOR will show itself to be capable of fulfilling all your desires.

REAKTOR’s ability to take on many different forms is the first major difference compared to hardware synthesizers and is its major advantage. "How do you want to sound today" would certainly be a good slogan for REAKTOR.

But even if the construction of synthesizers is not amongst your preferred activities, you have still made a good choice with REAKTOR. Together with the program you get a bunch of ready-made instruments that allow you to dedicate yourself without much ado to your favorite occupation: making music.

And finally: You never know what will happen. Because of the way it’s structured, REAKTOR always lets you take a look "behind the scenes" – another difference to hardware solutions where opening the cabinet rarely leads to an increased understanding of the internal workings, it just invalidates your warranty. It could be that you will find these insights so fascinating that after some time you, who maybe always believed yourself to be someone with the proverbial two left hands, find yourself unexpectedly a member of the guild of synthesizer designers.

2. What is GENERATOR ?

GENERATOR is a modular synthesizer. It has all the power that results from REAKTOR’s flexible modular structure, but it comes without TRANSFORMATOR‘s sample playback and resynthesis functions.

3. What is TRANSFORMATOR ?

TRANSFORMATOR is a modular sampler. It also has all the power that results from REAKTOR’s flexible modular structure, but it comes without GENERATOR’s large range of audio oscillators which are used for building synthesizers.

4. Support

Updates of the software as well as a rapidly growing library of ready-programmed instruments and components are at your disposal on our website: www.native-instruments.com.

To take part in discussions with other users about everything connected with REAKTOR SERIES software, please join our e-mailing list by sending an e-mail to generator-request@native-instruments.com with subscribe as the text of the message.

• Email: support@native-instruments.de
• Tel: +49 - 30 - 28 38 86 42
• Fax: +49 - 30 - 28 38 86 41

1. Installation under Windows

1. System Requirements and Recommendations

To use the REAKTOR SERIES software you need a computer with at least the following specifications:

1. Hardware

• Intel Pentium class processor (100 MHz clock rate or higher). Processors with lower floating point performance, e.g. the Cyrix 6x86 are explicitly not recommended. Note: The maximum complexity of the sound synthesis structures and the number of voices that can be generated is proportional to the power of the CPU.
• 32 MByte RAM
• 20 MByte space on the hard disk for installation (better 120 MByte for full installation)
• Soundcard compatible with Windows 95/98/2000 or Windows NT 4.0, or a NATIVE INSTRUMENTS GENERATOR DAC card or Emagic Audiowerk8 card. To make use of audio input the soundcard must support 16-bit stereo full duplex operation.
• MIDI interface for connection of a MIDI keyboard or other controller or an external sequencer. It is possible to use the interface that is part of many common soundcards.

1. Software

• Windows 95/98 or
• Windows NT 4.0 (only standard soundcards are currently supported under Windows NT)

1. Soundcard Settings

The REAKTOR SERIES software needs a soundcard for playing the sounds it produces. In addition, the soundcard’s inputs can be used to process external audio signals live (REAKTOR SERIES as effects unit) or to sample them.

To use a standard soundcard as the audio interface for the software no extra drivers are needed. The REAKTOR SERIES software makes use of the standard WaveAudio or DirectX drivers installed with the cards.

However, some adjustment of the REAKTOR SERIES software’s parameters is necessary to tune it to the hardware and achieve optimum performance. Choose Soundcard in the Systemð Audio Port menu and open the appropriate settings dialog window by selecting Systemð Audio Settings.... You can also open this dialog window by double-clicking on the Audio In or the Audio Out module.



Audio Settings dialog window for standard soundcards

1. Devices

If more than one soundcard (or driver port) is installed, the selection boxes In Port and Out Port allow the choice of which soundcard (or which driver port) is to be used by the REAKTOR SERIES software. If the audio inputs of a soundcard are to be used, it must support 16-bit full duplex operation. Also, the In Port and Out Port that the software uses must be on the same card. Otherwise smooth operation cannot be guaranteed.

In the list of available ports for Out Port the available devices are marked MME: or DirectSound:. The latest DirectSound drivers for your soundcard are probably better optimized with regard to latency (delay) in the audio output than the earlier MME (WaveOut) drivers and normally perform better. We recommend that you try out all the available drivers, see what latency can be achieved with each and then use the one that performs best.

Do not use emulated DirectSound drivers (which are usually marked "emulated") because these are actually MME drivers made to look like DirectSound and will perform worse than others.

Precondition for using DirectSound is that the Windows extension DirectX 5.0 is installed on your PC. Unfortunately, there are no DirectX drivers available yet for the In Port.

Note: The low latency technology employed in REAKTOR SERIES software makes high demands on soundcard drivers. Many drivers, especially older ones, are not able to cope and cause system crashes or incorrect operation particularly when using audio input. Please make sure you have the very latest drivers available for your soundcard.

2. Latency

The delay (latency) that occurs during audio output depends on the size of the audio buffer that the software passes to the soundcard. For smooth operation this buffer must have a minimum length which depends mainly on the type of soundcard and driver used.

If you are installing the REAKTOR SERIES software for the first time you can skip the settings described below and first get to know the system. Come back here later to optimize the latency so that you will get the best possible performance.

With the sliders Play ahead of the Out Port section and Record ahead of the In Port section you can adjust the size of the audio buffers. The smaller the buffers, the faster is the response of REAKTOR. However, if the buffer is set too small, clicks will appear in the audio output.

Important: To get good performance from the REAKTOR SERIES software you must optimize the Play ahead by hand every time you change your soundcard or update the soundcard driver.

You can optimize the buffer length for sound output on your system like this: Open an ensemble and play it while at the same time moving the slider for Play ahead in the Soundcard Properties dialog window. Move the slider to the left to reduce Play ahead until you start to hear clicks in the sound output. Now move it back to the right a bit to find the point where the clicks disappear. Now you have found the minimum output buffer size for your card.

You can find the optimum position for the Record ahead slider in a similar way. First draw a wire from the Audio-In module to the Audio-Out module in the ensemble structure window, connect an audio source (e.g. CD player) to the soundcard input and listen to the soundcard output as usual. Now move the slide for Record ahead to the left until clicking starts. Then slowly move it back to the right until the sound become clean. You have now found the optimum for the audio inputs of your soundcard.



Connection for optimizing Record ahead

The Timing Resolution for arriving MIDI events can be switched between 5 ms, 10 ms and 20 ms. A setting of 5 ms delivers the most precise relative timing (smallest variation in delay). You should only change the setting to 10 ms or 20 ms if at 5 ms noticeably more clicking or stuttering occurs. However, at the highest resolution (5 ms) the CPU load caused by the driver is somewhat higher. If timing accuracy is not so important but CPU overload is causing problems, the resolution may be decreased.

When the soundcard is configured well, the In and Out level meters in the Ensemble Toolbar appear in green/red, otherwise they appear gray.

By the way, the number of voices and the sample rate used inside the software don’t have any affect on either latency or timing resolution, but they do, of course, affect overall performance through the CPU load caused.

Please note that the input and output levels of the soundcard depend on the settings of the mixer on the card. You can control this device using the Windows accessory Volume Control, the Multimedia Properties of the Control Panel or a mixer program, delivered with the soundcard.

2. MIDI Interfaces

The MIDI Ports through which the REAKTOR SERIES software is to communicate with the rest of the world are selected in the MIDI Port dialog window, which is opened via the menu entry Systemð MIDI Settings.... All the existing MIDI ports in your PC which are installed under Windows appear here an can be chosen for use with the REAKTOR SERIES software.

If a MIDI input port has already been opened by another program, the software will not be able to use it and it will not appear under Available Inports. In this case free up the port in the other program or make sure that the REAKTOR SERIES software starts up first. Conversely, an in-port has to be removed from the list of Installed Inports before another program has access to it.



MIDI Port dialog window

1. Using REAKTOR SERIES with a Software Sequencer

You can control the REAKTOR SERIES software with another piece of MIDI software such as a sequencer, running on the same computer. The driver genmidi.dll that provides the internal MIDI input and output ports which are required for this has already been copied to your computer and registered as a MIDI driver during the installation procedure under Windows 95/98. This driver does not work with Windows NT, however, where you will need a special MIDI loop-back device designed for NT.

genmidi.dll provides the MIDI out-port Generator Synthesizer for use by other MIDI programs such as your sequencer. MIDI events routed to this port are passed to the REAKTOR SERIES software inside the computer. You can find this interface as Generator internal Midiport in the list of Available Inports.

If you want to disable this internal connection to other MIDI programs, simply remove the entry Generator internal Midiport for the list of Installed Inports in the MIDI Port dialog window (Systemð MIDI Settings...) by selecting it and pressing the Delete button.

If you want to connect the REAKTOR SERIES software’s MIDI output to the input of your sequencer you will need another driver (for example the free Hubi's LoopBack device) to forward MIDI events inside the computer.

3. Uninstalling the Software

• Open ÿ Startð Settingsð Control Panelð Add/Remove Programs
• On the page Install/Uninstall choose the REAKTOR SERIES software from the list of installed programs.
• Click on Add/Remove and confirm deletion by clicking on Yes.

• Start the program sysedit (ÿ Startð Run...ð sysedit).
• Click on the window C:\Windows\System.ini and look for the section labeled [drivers].
• In the section [drivers] remove the line midiX=genmidi.dll, where the X in midiX stands for the number occupied by genmidi.dll.
• If entries with higher numbers exist, change them so that the result is again a continuous sequence
• Save the changed version of C:\Windows\System.ini.

1. Installation under Mac OS

1. System Requirements and Recommendations

To use the REAKTOR SERIES software you need a computer with at least the following specifications:

1. Hardware

• Processor: PowerPC (120 MHz clock rate or higher). Note: The maximum complexity of the sound synthesis structures and the number of voices that can be generated is proportional to the power of the CPU.
• 32 MByte RAM
• Sound Manager compatible audio interface
• OMS compatible MIDI interface for connecting a MIDI keyboards or an external sequencer.
• 20 MByte space on the hard disk for installation (better 120 MByte for full installation)

1. Software

• MacOS 7.6.1 or higher
• Opcode OMS

1. Audio Output Properties

To access the settings for the Sound Manager open ð Control Panelð Monitors & Sound and click on Sound.

Early versions of the REAKTOR SERIES software do not yet feature audio input.

1. Latency

The delay (latency) that appears between a MIDI event and the audio signal that it triggers should be short (under 20 ms) for proper performance.

Important:

The OMS (Open MIDI System) introduces some amount of delay in the MIDI data stream when MacOS is using virtual memory. Therefore you must turn off virtual memory by going into ð Control Panelð Memory and setting Virtual Memory to Off.

2. MIDI Input

The REAKTOR SERIES software uses OMS (Open MIDI System) to receive MIDI control signals from the rest of the world. If you don’t already have OMS installed on your Macintosh, you can download the software for free from http://www.opcode.com.

You can select the MIDI Port to be used in the OMS Settings dialog window, which is opened via the menu entry Systemð MIDI Settings....

1. Using REAKTOR SERIES with a Software Sequencer

You can control the REAKTOR SERIES software with another piece of MIDI software such as a sequencer, running on the same computer. The connection is made using the IAC (Inter Application Communication) driver which is part of OMS.

3. Uninstalling the Software

If you want to remove the software installation from your computer completely, start the setup program called Reaktor 2.0 Installer which you used to install the software, select the installation folder and press Uninstall.

1. First Steps in GENERATOR

The purpose of this chapter is to make you familiar with the basics of the operation and the functionality of the REAKTOR SERIES software and how to program it. The examples used here are GENERATOR specific, so they won’t work with TRANSFORMATOR, but the will of course work in REAKTOR.

By the way, we will dispense with trying to tell you that GENERATOR is a very simple affair and that within only a few minutes you will have programmed your own physical modeling synthesizer. That would be a lie. Fact is: GENERATOR is a complex program that offers complex functions which allow you to achieve complex things. And if that’s just what you want to do, you won’t really get around an intensive initial learning phase. After all, real success never comes easy but is worth it in the end.

But don’t worry. You can work with GENERATOR at a complex level, but you don’t have to. As you will see right at the start of our first tour, it is possible to make music with the software using a number of different instruments, even without any knowledge of synthesis methods or processing structures. You simply help yourself in the provided library.

1. Opening and Playing Example Ensembles

First make sure that your MIDI controller instrument (masterkeyboard or the like) is connected to one of the MIDI inputs of your computer which you have activated under Installed Ports. The MIDI transmit channel on your controller should be set to 1.

Alternatively, you can just use the QWERTY keys on your computer keyboard to trigger notes.

1. FatFM Overdrive

The example we want to present to you here is called FatFM Overdrive.ens.

As a quick look at the Ensemble window shows, we again have a combination of two devices here: the synthesizer FatFM followed by the distortion effect Overdrive.

This synthesizer is a first proof, quite a modest one admittedly, that besides analog subtractive synthesis GENERATOR can also handle other methods of sound synthesis. In this case the FM (frequency modulation) tone generation made popular by the Yamaha DX series of synthesizers.

In our example there are not 6 operators as in the DX7, or 4 like in the smaller DX models, but only 2 operators, so the whole structure remains quite clear. Both operators consist of an oscillator that generates a sine wave. One is the so-called carrier, responsible for generating the fundamental wave and thus setting the pitch of the sound. The other operator is the modulator that affects the frequency of the carrier and controls the timbre.

Play a few notes on your MIDI instrument. Not very exciting, right? Now slowly push the FM fader upwards and listen how the sound changes. A bell-like element starts to creep into the sound until it dominates it completely when the maximum position is reached. On a technical level, all we have done by sliding the FM knob up, is to increase the level of the modulator and thereby determining how much it modulates the carrier’s frequency.

In the next step we turn our attention to the Interval knob. The effect that this parameter has should quickly become quite clear. The knob placed next to it, Detune, allows you to make fine adjustments to the interval setting.

A very simple envelope is responsible for determining the sound’s development over time. The carrier’s envelope, which controls volume, has only the two parameters D(ecay) and R(elease). The envelope for the modulator is even simpler and has only the one knob for setting the decay, labeled Mod-D.

Armed with this knowledge you should not find it difficult now to create your own sounds with this 2 operator FM synthesizer, and to do it with a sense of purpose.

Let’s turn briefly to the Overdrive, the purpose of which is simply to furnish you FM sound creation with some amount of acoustic grit. The best thing is probably if you first try out the various snapshots before dedicating yourself to the following explanation of this device.

Drive sets the level of the signal that is sent to the distorting element so it controls the amount of dirt that is generated. With Asym it is possible to modify the overtone spectrum of the signal in such a way as to make it "warmer", i.e. to make it sound more as if the sound was generated using a valve circuit. The distortion circuit is followed by a filter with the parameters Freq(ency) for setting its cutoff frequency and Emph(asis) to emphasize this frequency. The setting of the Volume knob finally determines the output level of the sound signal.

2. Your First DIY Synthesizer

As you may have noticed in the examples in the previous chapter and by further rummaging through the ensemble library, GENERATOR offers a wealth of ready-made instruments, effects units and combinations, that already offer a whole lot of fun. But the true thrill with GENERATOR is surely in the possibility of designing and constructing your own instruments. And as you can see next, this is not even so difficult if approached in the right way.

How about an analog synthesizer in the good old fashion? Using the tried and trusted VCO-VCF-VCA principle? You don’t know what that is? Well, that’s sound generation by subtractive synthesis, where an oscillator first produces a signal rich in high frequency components, some of which are subsequently removed using a time variable filter, and finally a time variable amplifier shapes the volume. All right, here we go.

1. Preparation

To construct our synthesizer we will use a method that, to a true fiddler may appear less radical, but which is actually very effective – the use of so-called Macros.

In REAKTOR SERIES terminology, macros are functional blocks with the aid of which the construction of complex structures becomes quite easy, and most importantly, everything remains clearly laid out. In GENERATOR you already have an extensive library of such macros at your disposal, and we will help ourselves from it.

It’s best if you now turn off the main switch in the Toolbar, so that you don’t get startled when the half-finished construction suddenly starts making noises.

To begin with we will prepare the workspace in which to construct the synth. Please open the menu File at the top of the Ensemble window and choose the entry New. If you just made some changes you will first be asked whether you want to save the old ensemble. After this you can see in the Ensemble window our old friends Audio-Out and Audio-In.

First we need a shell – a box so to speak – in which we will construct our synth. For this we take an empty instrument module which we find in the library. Click with the right mouse button in the Structure window and in the context menu choose Instrumentsð ~Newð Out1. The empty instrument we need appears in the structure.

Now, in the Ensemble window, click with the left mouse button on the Out port of the Instrument, move the pointer to the L input of the Audio-Out module and there once more click the left mouse button. Do you now see a connection between the two components? If not, try again. If yes, we congratulate you on creating your first virtual Wire. In the same way connect the Out port of the Instrument to the R input of Audio-Out so that you can later hear the sound on both channels.



An empty instrument connected to Audio Out

2. Choice of Components

For our synth we need one or more oscillators (VCOs) whose signal should go through a filter (VCF). We then send the filtered signal through an amplifier (VCA) , and that’s it. We will now assemble these components.

With a right mouse click on the Instrument module and then selecting Panel, open the panel window, which obviously doesn’t contain any controllers yet because we haven’t built anything so far. In the same way open the Structure window which is already equipped with an output terminal (Out) and a Voice Combiner (}). In the remaining space we load the components we have just talked about.

Click with the right mouse button in the Structure window and in the context menu choose Macrosð Oscillatorð FirstSteps-VCO. In the Structure window you can now see the module VCO and a quick look in the Instrument-Panel window, which was empty until just a few moments ago, shows the first few controllers. We’re making progress.

Before we go on we should make sure that the oscillator is working. As a precautionary measure, first open the Ensemble-Panel window (right mouse click in the empty ensemble window etc., you know) and set the Level fader to, let’s say, -10 to avoid any nasty surprises during the following audio test.

In the Instrument-Structure window, connect a wire from the Out port of the VCO module to the input of the Voice Combiner module (marked with the symbol: }) by clicking first on one port to start the wire and then on the other port to finish connecting it. Press the orange power button in the Toolbar and you should hear a sound somewhat like a motorboat. This is it, our oscillator in its raw form – not really beautiful but audibly functional.

Before loading the next component, the filter, please first remove the wire you have just made between the oscillator and the Voice Combiner. Simply click on the two ports again, as if connecting a second wire, and the connection is gone. Alternatively, just click on the wire (it changes color) and press the Del key on your computer keyboard – same result.

Now load the VCF module in the same manner as previously the oscillator. You find it in the context menu under Macrosð Filterð FirstSteps-VCF. And as you’re doing so well, go for the VCA module, too, which lives under Macrosð Amplifierð FirstSteps-VCA.

On considering the components you may be haunted by the thought that a synth with only one oscillator is not the be all and end all. After all it’s well known that two oscillators simply give a fatter sound. Ok, so we’ll have another one: click the right mouse button on the VCO module (careful, don’t hit one of the ports), select Copy from the context menu, click the right mouse button on some patch of empty space in the Structure window, select Paste, done.

It’s always important to keep your things in order, but in technical matters, believe you me, all the more so. All too quickly can chaotic layout lead to bitter hours of searching for the cause of a problem. So let’s first clean up the structure window a bit. Move the VCA module a little way in front of the Out terminal, the VCF module in front of the VCA module, and the two VCOs we place neatly one above the other in front of the VCF module.

As the next step we remove the danger of confusing the two oscillators, which at present are not only as alike as two peas in a pod but also go by the same name. So we give them different labels. To achieve this, click the right mouse button on the upper VCO and choose Properties from the context menu. Now you see the field called Label at the top left of the window that appears, and there you can enter a new name, e.g. VCO1. Leave the Properties box by clicking on OK. Do the same for the other VCO below, but give it the label VCO2.



This is roughly how the structure window should look before wiring.

3. Wiring

Now that we have all the components of our synth ready, we can start wiring them up. Make a connection from Out of VCO1 to In of VCF and then, because we want the signals of both oscillators to enjoy treatment by the filter, from Out of VCO2 to In of the VCF. Well, we clearly have a problem here, because whatever we do there is only ever one wire. Of course that’s not really surprising, because you can’t put two jack plugs in the same socket either. The solution to this problem is to be found with a little bit of thinking. What we are looking for is a component that can simply digest the signals from the two VCOs and pass the sum on to the In of the VCF. And this component, an adder for audio signals, is of course available in GENERATOR.

To insert the adder, click the right mouse button on an empty area in the Structure window and in the context menu choose Modulesð +, -, X, /ð Audio Add 2. You now see a new item in the structure window, a little box with a + sign. It features two connections on the left (those are the inputs) and one connection on the right (that’s the output).

Now place the adder between the two VCOs and the VCF (we want things to be neat), and connect the output of VCO1 to the upper input of the adder and the output of VCO2 to the lower input. The rest is child’s play: a wire from the output of the adder to In of the VCF, a wire from Out of the VCF to In of the VCA, a wire from Out of the VCA to the input of the Voice Combiner – done. Exactly at the moment in which you complete the last connection, the status LEDs of all modules should light up to indicate that we now have a functional structure.



The structure window after insertion of additional components and wiring.

If you now play a few notes on your MIDI instrument, the result will impressed you very little. No matter which key you press, somehow you always hear just some kind of bubbling. The reason: Our synthesizer doesn’t yet contain any part to determine the note pitch of the supplied trigger information and convey it to the oscillators, so we have to add this component to our structure. Happily it is already available as a macro in the library under Macrosð Pitchð PitchLFO. Load this module and place it in front of the oscillators. Then draw a wire from Out of the Pitch + LFO module to the input labeled P(itch) of VCO1, and then another wire from Out of Pitch + LFO to the P(itch) input of VCO2.

Now the synthesizer can be played properly. Pitch is recognized and used correctly and even the use of pitchbend and modulation wheel on the MIDI keyboard show the proper response because the Pitch + LFO module is set up to handle those tasks also.

4. Arranging the Panel

Have a look now at the Instrument-Panel window. You see a bunch of knobs that are wrapped up with frames to form groups. Each frame corresponds to one of the macros that we have inserted, so we know exactly which controller belongs to the VCF, which to VCO2 etc.

Now you can start polishing the panel design. For example, at the moment the controllers for VCO2 are still hiding those for VCO1. To change this click the left mouse button on the label VCO2 at the top of the frame, keep it pressed and drag the VCO2 block to some part of the window that you regard as suitable. You can do the same for all the other functional blocks.

Once you are happy with the layout you can freeze it in its current state to make sure that knobs or frames aren’t ever moved inadvertently. You achieve this by simply clicking on the padlock icon in the toolbar of the Instrument-Panel - bingo.

5. A Touch of Luxury

In case you start to feel like adding more features after some time of playing around with your new synthesizer, rest assured that GENERATOR isn’t going to limit your urge for experimentation. How about the possibility of detuning the second oscillator relative to the first? Or instead of the adder that combines the two oscillator signals installing a mixer that allows smooth control over the level ratio? Have a look at the synth Classic 2-VCO which is included with the Demo and you will find that it has all that kind of thing.

2. Basic Operation

The REAKTOR SERIES user interface follows the conventions of the operating system, so it is easy to get used to the software for someone who has already worked with  MacOS or ÿ  Windows 95/98. Nevertheless we want to explain some particular characteristics and draw your attention to some features that may be new to you.

1. Context Menus

Context menus are lists of commands that always appear in the spot where you need them. So, if you want to perform an action on an object or you need information about it, click on it with the right mouse button (ÿ  Windows) or ctrl key + mouse button ( MacOS). A menu appears whose entries relate to the selected object. With a click of the left mouse button you activate the desired menu item. The menu disappears and the operation is carried out. For example, you can delete a module by selecting the entry Delete in its context menu.

1. Toolbars

 MacOS: The Toolbar appears at the top left of the screen. The top half is the Ensemble Toolbar, the bottom half is the Instrument Toolbar.

ÿ Windows: The Toolbars appears at the top of the main window. At the top is the Ensemble Toolbar, below that the Instrument Toolbar.

1. Ensemble Toolbar

• With the three buttons New, Open and Save you create a new ensemble, open an existing ensemble, or store the current ensemble with all changes.
• The main switch is used to start and stop all audio processing in REAKTOR. It has the same function as the entry Run/Stop Audio in the System menu. Audio processing can be stopped to reduce the CPU load when no sounds are being played. Switching audio on and off also causes an initialization (reset) of all audio processes.
• The CPU Load Display shows the CPU time (in percent) used by the audio process which generates the sound. In case of overload the display shows Over. The value that can be reached in smooth, undisturbed operation is normally between 60% and 80%, in any case well below 100%. The reason is that the transfer of audio data to the soundcard, MIDI and event processing, and graphic display also take up some CPU time. Furthermore, enough CPU time must be left over for the operating system and possibly other programs (e.g. a sequencer) to function. You can find the limit for your computer by raising the number of voices for an ensemble until the CPU overload message appears.
• The In level meter is used to display the level of the audio input. If it appears gray, no driver is opened as audio input.
• The Out level meter is used to display the level of the audio output. If it appears gray, no driver is opened as audio input.
• The selector for the Sample Rate displays REAKTOR's internal sample rate, which can be changed by selecting from the list. Which sample rates are available depends on the installed soundcard.
• The global MIDI lamp lights up blue whenever REAKTOR receives a MIDI event from one of the installed MIDI in-ports.
• The Show Hints button (icon with arrow and question mark) activates hints.
• The Close All Panels button (icon with a cross above three light blue windows) closes all panels.
• The Close All Structures button (icon with cross above three dark windows) closes all structure windows.
• The All Panels to Front button (icon with three panels) raises all open panel windows to the front.
• The Stop button stops the Master Clock
• The Start button starts the Master Clock
• The Tempo selector adjusts the rate of the internal Master Clock in beats per minute (BPM)

1. Instrument Toolbar

• The first element is a list for the selection of the instrument which is to be controlled by the Toolbar. The display will also be updated after the selection of an instrument in the windows.
• The Panel button opens the panel or raises the panel of the active window to the front.
• The Structure button opens the structure or raises the structure of the active window to the front.
• With the Info button, the Instrument Info of the active window is displayed.
• The Properties button opens the Instrument Properties.
• The Solo button directly connects the output of the selected instrument to the audio output. All instruments which lie upstream of the selected instrument in the structure remain active. All other instruments in the ensemble are muted. An example: A synthesizer signal is processed by a chorus effect. The chorus effect is switched to Solo. Then the synthesizer with the chorus effect is connected with the output, while all other instruments in the ensemble are muted.
• The Mute button mutes the selected instrument. All instruments upstream of the selected one are also muted.
• With this selector you can choose a snapshot to recall on the selected instrument.
• With the Store, Delete, Rename Snapshot... button (camera as icon) you open the dialog for snapshot management which is described in section 12.
• The Recall Last Snapshot button recalls the last selected snapshot, discarding all changes.
• The selector for the number of voices displays and changes the number of voices of the selected instrument. The number of voices can also be adjusted in the instrument properties.
• The next selector determines the (maximum) number of unison voices per note. The unison effect is enabled by selecting a value greater than one. The unison voices are detuned by a value which is set with Unison Spread in the instrument properties. The minimum number of unisono voices per note (Min Unison Voices) can be set there, as well.
• The MIDI Learn button allows you to easily assign a panel control to a MIDI-controller. You select the panel control, activate the MIDI Learn button, and then operate the MIDI Controller, e.g. the modulation wheel. In the Properties you can cancel this assignment by deselecting Remote.
• The Instrument MIDI Activity lamp shows the reception of MIDI events by the selected instruments.
• The Lock button protects all panel elements against accidental movement.

1. Ensemble

The ensemble is the highest structural level in the REAKTOR SERIES software. In an ensemble you store your complete work in its current state so that you can restore it later. As the name suggests, it is an assembly of different instruments.

1. Ensemble Structure



Ensemble with five instruments: four sound sources and a mixer. At bottom left is the Audio-In module.

The ensemble’s structure window gives a bird’s eye view of the entire environment, which consists of a number of instruments as well as the audio inputs and outputs representing the soundcard

1. Audio-In Module

The Audio-In module represents the audio input you have defined with In Port under Audio Settings... in the System menu. This module is a fixed part of the ensemble window and cannot be removed from it.

The Audio-In module has the two audio out-ports L and R. These correspond to the left and right inputs of the selected soundcard.

2. Audio-Out Module

The Audio-Out module represents the audio output you have defined with Out Port under Audio Settings... in the System menu. This module is a fixed part of the ensemble window and can not be removed from it.

The Audio-Out module has two event ports for control signals and some audio ports, whose number depends on the chosen soundcard.

The event input Tun is used to set the master tuning of the ensemble. At a value of zero, standard tuning is used with the note a3 (MIDI note 69) at 440 Hz. A value of ± 1 changes the tuning by ± 1 semitone or ± 100 cents.

The event input Lvl is used to set the master output volume of the ensemble in dB, i.e. negative values reduce the level, positive values increase it.

2. Ensemble Panel

Since the ensemble can combine several instruments, its panel can display the controls of several instruments. For this purpose, it is divided into sub-panels. A sub-panel with the label Ensemble is always visible. It contains controls of the ensemble’s top structure level. For each instrument in the ensemble there is an additional sub-panel with the name of the instrument visible in the title bar.



Ensemble-panel with the sub-panels of six instruments

2. Instruments

1. What is an Instrument?

An Instrument in REAKTOR is a module that has an internal structure, its own MIDI processing, a separate control panel and separate snapshots. Instrument modules can be recognized by their dark blue label and have an icon symbolizing a control panel (represented by three faders).



Instrument Module

An instrument can contain other instruments and macros in such a way that they form a hierarchical structure. The highest level in this hierarchy, i.e. the instrument that contains everything else, is the ensemble.

2. Creating Instruments

Instruments are added into a Structure (normally the ensemble) by loading them from the library which comes with the REAKTOR software. In the folder Instruments of the library there are numerous ready-made sound generators and effects. If you want to start developing a new instrument you first need to load an empty one from the library (Instruments\New\).

3. Macros

1. What is a Macro?

Macros have an internal structure just like instruments, but unlike instruments they do not have their own management of MIDI data, no separate panel and no snapshots. Macros have a gray label and can be recognized by an icon representing a structure (3 modules).

The main application for macros is the encapsulation of functional blocks to obtain a hierarchical and clearer layout of complex structures. Extensive structures should always be realized using macros. Macros are also a convenient way to build re-usable components.



Example for the integration of a macro into a structure.

2. Creating Macros

Macros are added into a Structure (often an Instrument) by loading them from the library which comes with the REAKTOR software. In the folder Macros of the library there are numerous ready-made utility and specialized components. If you want to start developing a new macro you first need to load an empty one from the library (Macros\New\).

4. Structures

1. What is a Structure?

REAKTOR is based on an open concept that allows the design and realization of any imaginable sound generator. In many respects it is similar to the classic modular synthesizer systems. That's why the most important basic building block you deal with in REAKTOR is the module.

A library of elementary modules is built into REAKTOR. These provides the basic building blocks for MIDI and audio signal processing. Complex signal processing structures can be created by connecting modules which carry out relatively simple tasks.

A window, where modules are placed and interconnected is called Structure



A structure window

2. Modules

A module is the smallest hierarchical unit in REAKTOR. It is displayed as a graphical object. Each module is marked with a label and an icon (e.g. showing its waveform for oscillators).



The pulse oscillator module

1. Creating

To create a new module use the context menu of the structure window. The sub-menu Modules creates an elementary module from REAKTOR's built in library. A popup menu with several levels appears:

3. Wires

The connection between the ports of two modules, shown as a line, is called a wire . Wires transport signals between the modules.

5. Panel

1. What is a Panel?

A Panel is the user interface of an instrument. It corresponds to the front panel of a hardware synthesizer or effects unit, where the knobs and switches for operating the device are located. REAKTOR SERIES panels are displayed in their own type of window, the Panel window.

2. What are Controls?

All the control sources and switches that are part of a structure also appear in the panel window in the form of controls. Depending on the type of source module, they are represented as faders, knobs, buttons or switches which are used for setting the output signal of the corresponding source module or in the case of switches for changing the signal flow.



On the left a panel with faders, on the right the structure with the corresponding control source modules

3. MIDI Control

1. MIDI Data Types

If Remote is activated in the Properties dialog window of a control element it can be remote controlled via MIDI. One of the following kinds of MIDI data can be used:

• MIDI Controller messages: The number of the MIDI controller assigned to the panel element is set with Controller/Note No in the properties or using the MIDI Learn function.
• MIDI Poly-Aftertouch messages: The MIDI note number of the message is set with Controller/Note No in the properties or using the MIDI Learn function.

Faders and Knobs move their position to follow the received MIDI data.

1. MIDI Learn

The MIDI Learn function is switched on with the button on the instrument toolbar with an icon representing a MIDI socket and the letter L. It is a very efficient tool for assigning MIDI messages to control elements on the panel.

Select the control element which is to be remote controlled, click on the Learn button and send the MIDI data that you want to use for controlling, e.g. by moving the hardware wheel, knob, fader, pedal or whatever – done. To MIDI-fy other controls just repeat the operation.

1. Snapshots

1. What are Snapshots?

Snapshots are REAKTOR’s sound settings and correspond to the memories of conventional synthesizers, called "programs" or "patches". A snapshot records the current setting of all the instrument's panel control elements and MIDI controllers. By recalling a snapshot all the settings are restored to the saved state. Each instrument can store 128 snapshots.

2. Recalling

Snapshots are recalled using the selection list in the instrument toolbar of the main window. This presumes that the window of the wanted instrument is active. You open the list of the snapshots by clicking the left mouse button on the box marked u , then you can choose a snapshot to recall. Just click on it and it becomes active. The snapshot that was last recalled is always shown in the toolbar. You can also recall snapshots by moving around the list with the cursor keys é /ê .

Snapshots can also be recalled using MIDI Program Change messages. Make sure that Program Change Enable is activated in the instrument's Properties, otherwise the MIDI messages have no effect. The number preceding the snapshot label, which indicates the snapshot's position in memory, is also the number of the MIDI Program Change that recalls the snapshot.

The last recalled snapshot can be recalled from memory once more by pressing the Reload button in the instrument toolbar (to the right of the button with the camera icon). This is very useful if you want to discards all the changes you have made since the first recall.

3. Storing

To store a snapshot, left-click with the mouse on the Store button (which has an icon representing a camera) in the instrument toolbar. The Snapshots dialog window opens up.



The dialog window used to store, delete, rename and copy snapshots.

With No you can assign a memory position (and MIDI Program Change number) to the snapshot. With Label you give the snapshot a name. Clicking on Store then saves the snapshot and closes the dialog window.

You can also replace the snapshot shown under Select (by default the current snapshot) with the current control settings by clicking on Overwrite. The snapshot is stored with the new settings but under the old name at the old location.

2. 4Control MIDI Unit

To make optimal use of the continuous rotary knobs, the REAKTOR SERIES has been equipped with the Incremental mode, which must be enabled for every panel element which is to be operated from the 4Control.