Parsec Spectral Synthesizer Rack Extension

Transcript

Parsec Spectral Synthesizer Rack Extension - Instrument Parsec Spectral Synthesizer is a Dual-sound engine Additive Synthesizer, which can produce up to 512 sine waves. Each of the sound engines come equipped with 2 modulators, pitch controls, and combined lowpass/high shelf filter. In addition, there is an 8-line Modulation Bus Routing Section (similar to Thor), Reverb & Delay FX, 2 LFOs, 2 Envelopes, and a shared Amp Envelope & Balance control between the 2 sound engines. Additive Synthesis is the opposite to Subtractive Synthesis. Instead of frequencies removed by filters, additive synthesis adds frequencies on top of each other and modulates them in a variety of ways. At a Glance: • 2 Sound Engines with 2 Modifiers (Filters) each. • Phase Sync • Shared Balance / Amp Env. / Reverb & Delay FX • 2 LFOs / 2 Envs - user assignable • MBRS (8 busses) “Source > Dest 1 & Dest 2 > Scale” configuration Pros: • • • • • • Device Type: Instrument Patch Capability: Yes Cost: $119 USD Manufacturer: Propellerhead Web: www.propellerheads.se/ Tutorials: -- Device Front Patch Controls: Click the Patch Name Label window or Browse Patch folder icon to open the Reason browser where you can search for & load a patch. Use the Up / Down arrows to select the previous / next patch in the current folder. Click the Disk icon to open the “Save As” dialog to save the current front panel settings as a patch (Opt / Alt + Click to resave the current settings without opening the “Save As” dialog. Cons: • Brings a Propellerhead-style Addi- • Spread functionality a little mystetive synth into the Reason rack rious, depending on the generator • The Generators in combination used, but makes for nice experiwith the Modifiers sound very mentation overall. stunning with many possibilities • Would prefer dedicated Amp Env • MBRS is a really nice touch for each Generator, though you • Audio In. Use external audio as 4 can add a second Parsec as a parallel sound engine modifiers workaround. Modifiers: Each Balance: Sets the balance between Generator A and Generator B. You could also use this as an Amp Cutoff control if only 1 Generator is in effect. Sound Generator has 2 Modifiers that are applied in series to the audio after the Generator and Filter, but before the Balance control. Select from 25 possible Modifiers, or keep the modifier “Off” (disabled). Modifiers are explained in more detail on the next page. When a Modifier is enabled, 2 rotary controls (X & Y) can be used to alter the modifier parameters -- listed beneath each rotary. These parameters change, depending on the modifier selected. Global Output Controls: The Spread lets you separate the voices being produced by the Generators in the stereo field, and works differently, depending which Generator is selected. Note that it does not spread the two generators, as the Malstrom spreads its two oscillators. So spread can be used even if only 1 Generator is in effect. Volume is the final stereo amplitude output from Parsec. Generator Section: Both sound Generators A & B use common settings, except Generator B needs to be explicitly turnd “On” via the Sound Engine B button (above the B Modifiers. Click the downward triangle to select from 1 of the 12 Generators. When enabled, the Generator label is listed at the top of the window, and the Generator Parameter is listed at the bottom of the window - above the Generator Parameter rotary. Click the Phase Sync button to ensure that the current generator’s waveforms are in sync with each other (start at same time). Pitch controls allow you to change the pitch range as follows: Oct (Octave; 0-4), Semi (Semitone; 0-12), and Tune (Fine Tune; -50 to +50). Kbd tracks Pitch along the range of your keyboard (0-100% range). At 100%, each key is 1 semitone distance from the next up or down. At 0%, all keys play the same pitch. Filter controls apply a combined Low Pass / High Shelf Filter to the Generator. The Filter is applied after the Generator and before the Modifiers. Slope determines the low pass curve and high shelf gain (range: >100 dB/Octave to +12 dB high shelf gain). At 50%, the Filter is neutral and has no effect. Freq (Frequency) is the cutoff frequency for the Filter (range: 130.8 Hz 16.74 kHz). Kbd tracks the Filter Cutoff along the keyboard (0-100% range). At 100%, the filter is tracked along the entire keyboard range. At 0%, all keys use the same Filter Frequency. Performance Parameters: Standard Performance wheels (Pitch Bend & Mod). The Pitch Bend alters the pitch of the notes during perfomance. You can set the Range by click + dragging up or down on the Range window, or use the Up / Down arrows to set the range (0-24). Note that you need to use the MBRS to assign parameters to the Mod Wheel. You can also assign parameters to the Pitch Wheel using the MBRS, if you wish. This can allow you to override the connection between Pitch modulation and the Pitch Bend Wheel. Modulation Bus Routing Section (MBRS): There are 8 busses (lines) in the MBRS that can assign one source from Parsec to 2 destinations (Destination 1 & Destination 2). Then each line can be scaled (attenuated or gained) by another source. Sources and Scales provide the same options. Destination 1 & 2 similarly provide the same options. All options are outlined on the next page. The 3 Amount settings on each bus are bipolar (+/- 100). This MBRS operates in the exact way as the Thor Synth’s MBRS busses operate (in Thor, there are 4 equivalent busses found at the top right side of its MBRS - lines 8 to 11). ©2015 - Robert Anselmi Reason101.net Play Controls: Keyboard Mode determines how the synth is played on your keyboard. Polyphony can be up to 32 voices (depends on the Generator & Modifiers used). Mono Retrig plays the synth monophonically (single note) and retriggers all envelopes with each new note. Mono Legato is the exact same as Mono Retrig, but each subsequent note played while another is already held down, does not retrigger the envelopes. Portamento offers glide or Glissando to your playing style. Range is 0-100%. When Off, there is no glide from one note to the next. When On, glide always occurs. When Auto is selected, in Polyphonic mode, glide only occurs if more than one note is played. In Legato mode, only the legato notes have Portamento applied. In Mono Retrig mode, Portamento occurs on every consecutive note. Reason101 Visual Guide to the Reason Rack 1 Parsec Spectral Synthesizer Rack Extension - Instrument Device Front (Cont’d) Amp Envelope: The Amp envelope is shared by both Generators. This means that both generators will keep pace with their sounds in tandem over time. Gain sets the maximum level of the Amp, just like the Level slider on the Subtractor, or Gain rotary on Thor. It is a standard ADSR (attack, decay, sustain and release) envelope with the following stages and ranges: Attack: 0-3 s; Decay: 0-15 s; Sustain: 0-100% of Gain amount; Release: 0-15 s. Envelope 1 & 2: As with LFO 1 & 2, the Envelope 1 & 2 can be used as a source to modulate any number of Parsec destinations (see the chart below). Envelope 1 is a standard ADSR envelope with the following stages & ranges: Attack: 0-3 s; Decay: 0-15 s; Sustain: 0-100%; Release: 0-15 s. LFO 1 & 2: Both LFOs are capable of producing 9 different LFOs: Sine, Triangle, Square, Sawtooth, Random, Slope, 3 Steps, 4 Steps, 4 Steps Up / Down. Both LFOs have a Rate rotary, to determine how fast the LFO operates (.10 Hz - 150.3 Hz range). LFO 1 also has a Delay rotary, which lets you add a pre-delay before the LFO starts (range: 0-4 s). LFO 1 cannot be synced. LFO 2 has a sync button. When enabled, the LFO is synced to the song tempo (the Rate can now be set in synced timing from 32/4 - 1/64; there is 1 triplet option: 1/8T as well). Effects Section: The Reverb can be turned on or off with the button to the left of its label. Use the Size rotary to go from a small space (left) to a large space (right). Decay sets the length of the Reverb / reverb tail. Damp sets up the dampening. At lower settings more high end is let in. As you move the rotary right, more high end content is dampened. Level sets up the balance between the original (dry; left) and reverb effect (wet; right). All rotaries are 0-100% range. The Delay can be turned on or off with the button to the left of its label. With the Sync button on, the Delay Time is synced to the song tempo. Time determines how long between delays (range: 1/16 - 2/4 synced or 0-1 s free-running). F.Back (Feedback) sets how much of the singal is fed back into itself (range: 0-100%. Dry/Wet lets you set the balance between the original (dry; left) and Delayed (wet; right) signal (range 0-100%). Envelope 2 has the same stages as Envelope 1, and all the same ranges apply. However, there is an additional Delay stage that can be set in the range of 0-1 s, and offers a pre-delay before the Attack stage. There is also a Hold stage between the Attack and Decay, where the envelope holds for between 0-1 s. After that point, the Decay stage starts in. Lastly, Envelope 2 can use the Loop button to loop the Envelope from the start of the Delay stage to the end of the Decay stage. However, Envelope 2 cannot be synced to the song tempo, which is a bit of a shame. Modulation Bus Routing Section (MBRS) Assignments: The following chart outlines the MBRS assignments. Note that the LFO 1 & 2, as well as Envelope 1 & 2 require MBRS assignments to function. The following outlines the Sources / Scales and Destinations that can be used, along with a brief explanation of each. Note that Sources and Scales contain the same options. Destinations are different. Highlighted entries are pre-assigned in the Init Patch, but can be changed. All sources will modulate the destination parameter relative to how it is set on the front of Parsec (same as with Thor’s MBRS). Source / Scale Explanation Destination Explanation Off Source / Scale is not in use Off Destination is not in use Velocity How hard or soft keys are played A Cutoff Modulates the Generator A Filter Frequency cutoff Envelope 1 Uses the envelope 1 ADSR stages as a source A Slope Modulates the Generator A Filter Slope Envelope 2 Uses the envelope 2 DAHDSR stages as a source A Pitch Modulates the Generator A Pitch Amp Envelope Uses the amp envelope’s ADSR stages as a source A Generator Modulates the Generator A parameter rotary LFO 1 Uses the LFO 1 wave as a mod source A Mod1 X Modulates the Generator A Modifier 1 X Rotary LFO 2 Uses the LFO 2 wave as a mod source A Mod1 Y Modulates the Generator A Modifier 1 Y Rotary Mod Wheel Uses the Mod Wheel to affect the destination A Mod2 X Modulates the Generator A Modifier 2 X Rotary Pitch Bend Uses the Pitch Bend Wheel to affect the destination A Mod2 Y Modulates the Generator A Modifier 2 X Rotary Breath Uses breath (Normally breath controllers) as a source B Cutoff Modulates the Generator B Filter Frequency cutoff Expression Uses Expression pedal as a source B Slope Modulates the Generator B Filter Slope Aftertouch Uses key pressure after initial attack B Pitch Modulates the Generator B Pitch Sustain Pedal Use an attached sustain pedal as a mod source B Generator Modulates the Generator B parameter rotary Note Number Uses key tracking (key range) as a mod source B Mod1 X Modulates the Generator B Modifier 1 X Rotary Random A random value is sent out with each new key press B Mod1 Y Modulates the Generator B Modifier 1 Y Rotary CV Input 1 Uses CV 1 Input on device back as a mod source B Mod2 X Modulates the Generator B Modifier 2 X Rotary CV Input 2 Uses CV 2 Input on device back as a mod source B Mod2 Y Modulates the Generator B Modifier 2 X Rotary Gain Modulates the Amp Envelope’s Gain (Level) Balance Modulates the Balance between Generator A & B Env1 Attack Modulates the Attack stage of Envelope 1 Env1 Decay Modulates the Decay stage of Envelope 1 Env1 Release Modulates the Release stage of Envelope 1 Env2 Delay Modulates the pre-delay of Envelope 2 Env2 Decay Modulates the Decay stage of Envelope 2 Amp Attack Modulates the Attack stage of the Amp Envelope Amp Decay Modulates the Decay stage of the Amp Envelope Amp Release Modulates the Release stage of the Amp Envelope LFO1 Rate Modulates the Rate of LFO 1 Signal Flow: In Parsec, the Audio Routing works as follows. Note that both signals below flow in parallel, and are combined together at the Balance stage. Generator A > Filter > Modifier 1 (or Audio In) > Modifier 2 (or Audio In) > Balance > Amp Envelope > Reverb > Delay > Volume > Audio Out (L / R). Generator B > Filter > Modifier 1 (or Audio In) > Modifier 2 (or Audio In) 2 Reason101 Visual Guide to the Reason Rack ©2015 - Robert Anselmi Reason101.net Parsec Spectral Synthesizer Rack Extension - Instrument Device Front (Cont’d) Sound Generators: The following chart outlines the Sound Generators you can use within Parsec. Note that the way Parsec works is by adding waveforms together to create its sound. The Overtones and partials are the building blocks for the sound you are generating (much like Oscillators are in the other synths). Many of the waveforms found here are familiar (Sine, Square, Sawtooth), while others are specialty waveforms, such as the Perc 1 & 2, and Sparse waves. Sound Generator (selects overtone content) Parameter Rotary (Range: 0-100%) Explanation (P = Parameter Rotary) Saw -> Square Mix When P = 0%, the wave is a Saw. When P = 50%, the wave is a Saw-Square mix. When P = 100%, wave is square. Pulse Phase 2 short pulses with all harmonic overtones. Phase = timing between the 2 pulses. When P = 0%, pulses in sync. FM Modulation one sine frequency-modulated by another. A pure sine exists when P = 0%. Moving P toward 100% increases FM Dual Saw Detune 2 Saw waves. When P = 0%, a single Saw exists. When P = 100%, the 2 Saw waves are 1 Octave apart. String Stretch Simulates taut string vibrations. 0% P = harmonic overtones. 100% P = inharmonic overtones Sparse Position P shifts between 8 harmonic series (each with 16 partials). Series transitions are soft. Sparse Inharmonic Position P shifts between 8 inharmonic series (each with 16 partials). Series transitions are continuous from one to the next. Ratio Ratio Several 100s of Sine waves (partials). P sets the distance between partials from 1:1 (0%; pure sine) to 2:1 (100%) Noise Bandwidth Amplitude Modulation of partials with Noise. P sets the coloration from tonal noise (0%) to white noise (100%) FM Noise Modulation Frequency Modulation of partials with Noise. P sets the coloration from tonal noise (0%) to white noise (100%) Perc 1 Tune Less overtones. Produces percussive and metallic percussion sounds via variable dissonant frequency spectra. Perc 2 Tune More overtones. Produces percussive and metallic percussion sounds via variable dissonant frequency spectra. Device Back Sequencer Control: Parsec offers 4 Sequencer Control CV inputs that let you play Parsec from another Reason device (usually a Matrix or RPG-8). The Gate receives Gate On / Off & Velocity information. The CV input receives pitch information. The Pitch Bend & Mod Wheel CV inputs receive a signal used to control these performance parameters. The Pitch Bend & Mod Wheel have Trim rotaries to the left of their inputs, used to scale the incoming CV signal. CV Modulation: There are 5 CV inputs used to control aspects of Parsec from other Reason device source parameters. Amp Level receives a signal to control the Gain parameter of the Amp envelope. LFO 2 Rate receives a signal to control the speed of LFO 2. Balance receives a signal to control the Balance Rotary between Sound Generator A & B. CV 1 & CV 2 are user-assignable CV inputs that can control any of Parsec’s available MBRS destinations. Note that you must set up these modulations in the MBRS on the front of Parsec. Amp Level, LFO 2 Rate, and Balance have Trim rotaries to the left of the inputs, used to scale the incoming CV signal. Engine A & B Modulation: These 4 CV inputs are used to control the X & Y rotaries of the 4 modulators in Parsec. Odd that the Modulators are not labeled “1” and “2” (for example: X1 / Y1, X2, Y2), but they follow the same positions found on the front of the device. Modulator 1 is on the left, and 2 on the right. You can send any CV output signal from source parameters in other Reason devices into these CV inputs to modulate the rotaries (destinations). Audio Input / Output: Parsec has a mono Audio Input, and Stereo (left / right) audio output. The Input is used when you set the Generator 1 & 2 to “Audio In.” This way, you can use any external audio you send into Parsec as a modifier for the Sound Engines A & B. The Audio input is split into 4 possible audio streams internally in Parsec (Modifier A1, A2, B1, & B2) This is an incredibly powerful feature, since it opens you up to using any external audio as a Parsec modifier. The left / right Audio Output sends the final output signal from both Generators out of Parsec. ©2015 - Robert Anselmi Reason101.net Reason101 Visual Guide to the Reason Rack 3 Parsec Spectral Synthesizer Rack Extension - Instrument Sound Modifiers: The following chart outlines the Sound Modifiers that can be used in Parsec. The Modifiers are used to shape the Sound Generators, much like Filters do in the other Reason synths. Audio In is a special Modifier that uses an incoming Mono Audio signal to modify the Sound Generator. The signal can be sent in parallel to the four available Modifier “slots” if you wish, to affect the Sound Generator. Note: Sourced from the Parsec Operation Manual. Sound Modifier X Parameter Rotary (Range: 0-100%) Explanation Off (sound bypassed) -- -- X = Frequency This simulates a standard 12dB/octave lowpass filter. The filter works individually on each voice and affects the frequency content in the sound. Y = Resonance X = Frequency Y = Resonance X = Frequency Y = Resonance X = Frequency Y = Resonance X = Frequency Y = Separation X = Frequency of first peak / Spacing between peaks. This simulates a standard 24dB/octave lowpass filter. The filter works individually on each voice and affects the frequency content in the sound. This simulates a standard 24dB/octave highpass filter. The filter works individually on each voice and affects the frequency content in the sound. This simulates a standard 12dB/octave bandpass filter. The filter works individually on each voice and affects the frequency content in the sound. This simulates two 12dB/octave bandpass filter routed in parallel. The filter works individually on each voice and affects the frequency content in the sound. This simulates a comb filter with a positive feedback loop - but without feed forward - ideal for flanger and phaser types of effects. The filter works individually on each voice and affects the frequency content in the sound. Y = Resonance X = Frequency of first notch / Spacing between notches. This simulates a multi notch filter, great for phaser types of effects. The filter works individually on each voice and affects the frequency content in the sound. Y = Bandwidth X = Center Frequency Y = Gain / Cut X = Tune Y = Mix of the generated harmonics and the original signal in the “synced” sound. X = Pulse Width Y = Modulation Amount and Rate X = Carrier Frequency Y = Modulation Amount X = Start Y = Bandwidth X = Start Y = Bandwidth 4 This simulates a single band parametric EQ with a fixed bandwidth. The EQ works individually on each voice and affects the frequency content in the sound. This simulates the frequency spectra of a “synced” oscillator, i.e. an oscillator (slave) that is constantly restarted at the rate of another oscillator (master). The Sync modifier creates this effect by multiplying the partials of the original signal with a factor and then interpolating and generating new harmonic partials above the original partials. The sound of a “synced” signal is very characteristic, especially when the pitch of the slave oscillator is constantly changed, and thus changes the overtone character in the sound. This simulates the frequency spectra you get from traditional pulsewidth modulation, i.e. when the pulsewidth of a square wave is constantly changed. Depending on what type of signal you have selected with the “Waveform/ signal selector”, the character of the sound will be different. If you use a sawtooth signal the effect is almost the same as with traditional (square wave) pulsewidth modulation. The FM Filter modifier creates a “virtual filter” which has the spectral characteristics of a frequency modulated signal. This simulates a brick wall bandpass filter, i.e. a bandpass filter with completely vertical slopes. Only the partials in the passband “window” pass through. The filter works individually on each voice and affects the partials in each voice. This simulates a brick wall notch filter, i.e. a notch filter with completely vertical slopes. Only the partials outside the notch pass through. The filter works individually on each voice and affects the partials in each voice. Reason101 Visual Guide to the Reason Rack ©2015 - Robert Anselmi Reason101.net Parsec Spectral Synthesizer Sound Modifier X Parameter Rotary (Range: 0-100%) X = Detune Y = Noise Modulation Threshold X = Detune Y = Start (The partial where the Noise Modulation begins) Rack Extension - Instrument Explanation This is the perfect modifier for really dense pad sounds! The Ensemble 1 modifier simulates a type of chorus effect by utilizing noise modulation of the partials. The Ensemble 1 modifier is best suited for sounds with slow attacks, since the noise modulation always starts from zero and the transients are therefore “smeared out”. The modifier works individually on each voice and affects the partials in each voice. The Ensemble 2 modifier simulates a type of chorus effect by utilizing noise modulation of the higher partials, leaving the lower partials unaffected - or less affected. The Ensemble 2 modifier is suitable for sounds with fast attacks, since the noise mod always starts at full level, and preserves initial transients in the sound. At higher Y values the modifier is also very useful for generating “breath” and “wind” types of effects to the sound. The modifier works individually on each voice and affects the partials in each voice. X = Detune This modifier simulates several detuned voices by generating copies of the original partials in pairs on either side of the original partials. Y = Voices (up to 16 + original voice. Transitions are smooth from 0 to 2 to 4 to 8 to 16) X = Position of Filter in Formant filters that simulate body resonances (multi-peak+notch filters). The filters work individually the table (body sound) on each voice and affect the frequency content in the sound. This Modifier creates a wider, more open sound than the Body Narrow. Y = Amount (Resonance) X = Position of Filter in the table (body sound) Y = Amount (Resonance) X = Shift (Frequency sweep or body “size,” from large to small) Y = Amount (Resonance) X = Shift (Frequency sweep or body “size,” from large to small) Y = Amount (Resonance) X = Partial Variation Y = Density (Partial Attenuation, the rate of which can be variable) X = Harmonics (Harmonic overtone series selection) Formant filters that simulate body resonances (multi-peak+notch filters). The filters work individually on each voice and affect the frequency content in the sound. This Modifier creates a narrower, more closed in sound than the Body Wide. Formant filters that simulate body resonances (multi-peak+notch filters). The filters work individually on each voice and affect the frequency content in the sound. As opposed to the first two Body Modifiers (Body Wide & Body Narrow), the formant filter peaks and notches are at a fixed relative distance from each other. Formant filters that simulate body resonances (multi-peak+notch filters). The filters work individually on each voice and affect the frequency content in the sound. As opposed to the first two Body Modifiers (Body Wide & Body Narrow), the formant filter peaks and notches are at a fixed relative distance from each other. The Partial Filter modifier attenuates individual partials in the voice according to a number of preset variations. The filter works individually on each voice. The Harmonics modifier lets you alter between harmonic overtone series in the sound. The modifier works individually on each voice and affects the partials. Y = Amount (attenuation of remaining overtones) X = Frequency towards This modifier detunes all partials in the voice upwards and/or downwards towards one single frequency which to detune the other in the voice. partials in each voice Y = Amount (detuning of the other partials) X = Formant pitch shift amount (up or down) This modifier detects formants in a pre-recorded vocal sample in Parsec and applies the formants to the Generator signal. Y = Position within the pre-recorded sample X = Formant pitch shift amount (up or down) This lets you modify the Generator signal by modulating it from the Audio Input on the rear panel of Parsec; in practice this is a vocoder effect. The Audio Input signal is analyzed in real-time and the formants are applied to the Sound Generator. Note: Rapidly moving the Y (Lag) from 0-100% produces an audio Y = Lag (Delay & Sustain “freeze” on the modifier, which will continue as long as there is a signal being sent into the Audio Input. of signal). At 0%, the signal is immediate. ©2015 - Robert Anselmi Reason101.net Reason101 Visual Guide to the Reason Rack 5