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. Native Instruments. 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. Currently 4. Absynth - Sounds Vol. Currently 0 Stars.
Battery 90? I have some great wav file drum sounds. I know how to load the sounds to the cells. But, how do y Battery 3 90? Currently 5. Battery2 90? FM7 90? FM7 Sounds Volume 1 90? FM8 90? Komplete Audio 6 90? Currently 2. Sandra, it's good to see you here. No, my pet troll is nowhere near as ineittsreng as the BFL, I Maschine 90?
Maschine MK2 Black 90? Ni-Spectral Delay 90? Ni-Spectral Delay EN 90? PRO 5 90? Reaktor 3 90? Currently 6. Reaktor 4 90? Reaktor 5 90? Traktor Kontrol F1 90? 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, Thank you! I have done just that, and will hope for a reply back. Aaron McPherson , Jan 1,
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