Best of Reaktor User Library august 2006
Effects
32 Band Eq Stereo & Mono v1.1
By Soarer #1
Gui mod +2 new features for the factory 32 Band Eq -Stereo & Mono
New gui for the 32-band graphical Eq. I have added a link feature that links the right channel sliders to the left channel sliders and now it's possible to draw the eq curve freehand.
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Cotton Crunch v1.0
By Mark Bonnington
Guitar distortion effect
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Grauverb v1.0
By Dieter Zobel
sounds not spectacular,but good in the mix
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greydelay v1.0
By Florian Erdle
a graindelay
4 voice graindelay with filter sequencer.
use the show hints function for controller description
on panel b are the sample-window and the int/ext switch
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teMpus fuGato v1.0
By rick scott
time/timbre skewer
Delay based (includes chorus, reverb, flanger, phaser, etc.)
good for grooves or pretty much any audio you want to skew.
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Sequencers
AR MK III - Slight Return v1.1
By staver espen
remix of armk3
I liked Colin-Patrick Charles upload so much because of its flexibility and CPU friendliness, I just had to tamper with it!
I havent done that much really, but I have assembled some things from a couple of synths in the library:
a sequencer (from OKI computer), an output section (also from OKI computer) and a gate trigger thing (from Carbon).
This probably means that the synth no longer is that much of an arp odyssey clone, but hey, its all good ;-)
I have also had some fun creating a new GUI for it, aswell as some new snaps (these are located in the second bank,
the first bank still contains the old snaps).
Because of automation purposes, I opted to keep the switch-less on/off activation of the output section,
but a switch should be easy to implement if you would like the option to save some CPU.
Oh, and there seemed to be a broken quickbus connection inside the structure (mainly the lfo modulation of the filter), which has been renamed. Also, dont be confused by the voice setting (4), which has to do with a change of the legato - to make it behave a more like a hardware synth - Its still a mono synth, and the voice setting do not affect CPU.
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MegaTone v2.3
By Don Dailey
Mod of Megaklon
This modified version of Megaklon features a new look and sound and a new bank of snaps by Don Dailey.
Megatone has a somewhat limited use, but might be just the thing where you want to add a little rhythmic pizazz with a hint of tonality.
Thank you to: Rick Scott - a mighty fine teacher; Christoph Jaeger - creator of Megaklon; Vera Kinter - for the knobs (thanks to Bernd Keil for uploading them).
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Synthesizers
bleedsplatter
By ant stewart
psychopathic bumblebee from Mars sounds
this is a modification of weedwaker that makes it more usable for pads and lead sounds-better keyboard scaling and timbers.
Watch out for the volume:)
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Dubby Red Planet v1.3
By Peter Dines
Retooling of a dubby LeboZobel soundmachine
Update: added a control to attenuate FX mix, extra controls to scale FM amount, and more sensible values for the impulse oscillator sync, plus some more snaps.
Note that the impulse oscillators will not trigger if the reset (knis 1/2 tempo control) is happening faster than the impulse frequency (knis 1/2 pitch control).
This instrument began life as LeboZobel's Pole-onaise.
I've modernized the sequencers, added automated faders, and made a few changes under the hood.
There's a lot of mystery in this instrument - I spent a good amount of time dissecting the original Pole-onaise and learning how to create snapshots for it. I think I still haven't gotten to the bottom of it in some ways; maybe it's because it was designed for an older version of Reaktor...?
There are two types of faders: XY and Y faders that allow you to set loop length and other parameters, and smaller XY faders whose loop length is determined by how long you drag the mouse across their surface, up to 64 16th notes.
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Hammy v1.1
By Chet Singer
Hammond organ with Leslie, reverb, lots of snapshots
This is a model of a Hammond organ, and includes drawbars, foldback, harmonic percussion, key click, and an 8-stage scanner.
The ensemble includes Tim Schwerdtfeger’s excellent Leslie speaker cabinet and the Space Master 2 reverb. I had made my own Leslie, but I thought Tim’s sounded much better than mine, so I included his in the upload.
I realize there are good Hammond-style organs already in the library, such as Gary Hess’s Organic, but I nevertheless wanted to try building one from scratch. So to add value to this instrument, I did two things. First, the drawbars are calibrated in 3dB steps, just like a real Hammond. So if you have a registration you like, such as 86 8000 005, you can just match the drawbars in the ensemble to the numbers in the registration. Second, the snapshots include the complete sets of Standard and Theatrical Hammond presets supplied with the original instruments, both Great and Swell, along with two complete sets of presets designed by Paul Schnellbecher for church and recital work.
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Hume v1.1
By Ernest Meyer
Unique sampling sequencer and morphing oscillators
This (small in size yet large in sound) ensemble is a fresh version of an old ensemble which somehow got lost in the library.
Hume's unique sampling sequencer and morphing oscillators create complex, delicate, and rich timbres, both in sonorous pads and in complex rythmic patterns.
The instrument has three main sections: sound generators, sampling sequencers, and audio post processing.
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SOUND GENERATORS
With an XY panel, you can adjust the mix of 4 oscillator sources. There is one oscillator in each corner--the center of the panel is an even mix of all four.
Around the XY panel, morph controls can modulate the mix from dozens of modulation sources, and you can see the resulting waveform in the panel at all times. When the morph sliders are centered, the sound is constant. When molved to the left of right, the morph modulator acts as a mobile vector mixer.
On the LEFT of the morph control are two width-modulated oscillators, with up to 4 waveforms each, and patchable modulation sources for the width and pitch.
On the RIGHT are two FM oscillators with up to 5 waveforms each, and patchable FM source, AM source, and pitch mod source. For each oscillator you can make one waveform audible, and use any of the others as AM or FM sources. So the oscillators by themselves are capable of alot of different sounds--for example, you can use a osc1's pulse oscillator in the sound mix, and also use osc1's triangle oscillator as an FM modulation source for oscillator 3. You could theoretically use all 18 oscillators at once.
The morphed output is mixed with a separate noise generator (with its own amplitude and color modulation); then vibrato and tremolo may be applied to the entire sound from any modulation source. A primitve glide is available.
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METASEQUENCER
It took a while to work out how to describe this one. This design is diferent from other sequencers in a special way. This is, the sequencer itself doesnt generate triggers or gates. Instead, there are two envelopes which *sample* the sequencer and put out a note with whatever pitch and velocity the sequencer has at that point in time.
There is a also separate pitch transposer that works like an arpeggiator.
The envelopes, sequencer, and transposer all run independently of each other, each with a DIV control that divides down the trigger source.
For example, if an envelope DIV is 2 and the sequencer DIV is 4, then the envelope plays each note from the sequencer twice. If it's the other way around--the DIV is higher for the emvelope than the sequencer--then the envelope skips notes from the sequencer. By setting uneven div rations, you can create all sorts of patterns.
In addition, there are two trigger sources for the sequencer, transposer, and two envelopes: a shuffle clock and beat sequencer. The shuffle clock can use a switchable internal/external clock source and adds swing to odd or even triggers. The shuffle clock directly runs the 12/16-step beat sequencer. The beat sequencer is a simple cyclic on/off trigger for each of 12 or 16 steps.
Either the beat sequencer or clock can trigger the microsequencer. The microsequencer has up to 8 steps, with pitch and velocity controls for each. The microsequencer can run at various divider ratios of the shuffle clock, or on high triggers from the beat sequencer. It can run forwards, backwards, and in two reversible modes.
The sequencer pitch is fed into a transposer which can transpose the 4 notes at variable intervals, over variable ranges, in various directions. The interval is again a settable division of the shuffle clock or high triggers from the beat sequencer.
The sequencer pitch passes though a pitch remapping unit, which can optionally force notes to a particular scale, and microtuning, before it's sent to the envelope samplers.
When an envelope samples pitch and velocity data, it sends the resulting pitch and gate information out as MIDI data, which is routed back into the same instrument. So you can also play notes from a MIDI keyboard, for example, even when the sequence is running.
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POST PROCESSING
The oscillators feed a parametric saturated filter, designed for low CPU usage while offering rich harmonics. More than a dozen filter modes are available. Patchable modulation sources can control frequency, Q, and saturation. The saturation and Q response curves are shaped for highly resonant timbres.
The filter output is summed to a monophonic source, then feeds a simple compressor and reverb chain. The reverb's mono output is moved around in a stereo field using pan modulation, which then feeds a stereo echo with tempo and modulation delay.
Modulation sources include:
- Three LFOs with shape, staircase, sync, and AM modulation controls.
- Two ADSR envelopes which may be triggered both by the microsequencer and incoming notes. Velocity can modify the output level, attack, and (for sequenced notes) gate width. A gate divider circuit can control the frequency at which the envelopes are triggered and (on sequenced notes) adjust the gate width.
- A compound matrix modifer provides mixing of colntinuous and real-time modulation sources.
The delay lines can also act as a chorus stage which --in combination with the morphing sound source--give you scintillating, wide, fat, pads for novel sonic soundscapes.
The overall result is an endlessly changing, morphing waveform source, capable of both analog-style and FM-style sound generation in an intuitive interface. After sonic and dynamics enhancement by the filter, compressor, and reverb, infintiely changing sounds are layered over themselves by the microsequencer and tempo delay in exciting rythmic patterns, either pure or mean, and it's all easy to adjust dynamically. Intended for real-time tweaking and joy.
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Hume v2.0
By Ernest Meyer
Hume 2 adds a color UI; adds a B panel with keyboard and controllers; fixes some bugs; and reduces CPU.
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intonarumori rmx v1.0
By Dieter Zobel
remix of the great intonarumori machine
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Lurquette v1.0
By Benjamin Robertshaw
Delay Based Synthesizer/Effect
Meet my baby... Her name is Lurquette. She's the logical evolution of my previous release (tune delay). It's pretty much the exact same idea only more efficient and verstile (and built in core instead of primary). The basic idea is that you replace the occilator section of a subtractive synth with delays which loop with 100% feedback, you then cram a couple of distortions and filters into the feedback loop and see what comes out.
Signal flow is as follows.
Input section (live input, beatloop sampler or pitchformer sampler)->Feedback loop with filters(Allpass, Lowpass and Notch) and distortion (bitcrush and saturation)->Output filters (Two multimode filters which can be connected serially or in parralell)->FX (Compressor, Chorus, Reverb and Delay)
It also features a rather bloated modulation section featuring Two multi breakpoint envelopes, another AD envelope(whose triggering I can't think of how to describe) Two tempo synched LFOs and 6 table sequencers (on page B along with the voice mode macro).
Know issues:
1) You might need to switch back and forth between snapshots or voice modes to get some of the snapshots to play properly.
2) She can be a bit tempramental with high resonance setting in the feedback section, so be careful.
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ploke v1.0
By Charles Capsis IV
ploke is a standard monophonic subtractive synthesizer built around a "styling" section which allows one to play with portamento, true glissandos, effective glissandos, or standard settings.
waveforms shape selections can be modified with a slider or lfo, pitch adjusted, slightly thickened up, and then destroyed in a a nasty "dirty" section finally to be adjusted overall by a hi, band, or low-pass filter.
128 crazy and wacky patches are included.
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Stainless v1.1
By Paul Woodroffe
The Rust-Free Synthesizer
Pretty straight forward stuff really - three of everything (oscillator wise) in a stacked macro except for the effects where you have 4 of everything selectable in any combination.
50 snapshots to get you started.
Some notes for you.....
3 identical oscillators containing a volume envelope (VCA) sequenced or triangle LFO for PWM, multiwave osc, another envelope and LFO for filter modulation and A 2/4 pole filter.
Common to all is distortion and EQ.
You then have the filter box which has a set of 4x4 FX selectable in whatever order you require.
The Synth uses what I call "True Mono" in mono mode. I should have put that on my previous synths (if I'd thought of it....) because it makes the mono patches sound much better.
Build up new patches in stages using the SOLO button to audition each oscillator.
Latest revision:
HP filter added before effects to remove extraneous DC.
Distortion design revised (may affect sound of existing patches slightly)
back
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Whack It v1.1
By Chet Singer
Waveguide physical model of a slap bass
This is a physical model of a slap bass, containing a pair of waveguide strings which can hit a fret and buzz when struck hard enough.
The snapshots included in this instrument have been tuned for use with 44.1 kHz sample rate. Other sample rates may require retuning using the controls available on the “String” page.
The graphic control elements were created by Vera Kinter, URL http://www.artvera-music.com.
Some of the controls are self-explanatory, such as Tune, Transpose, Pitch Wheel Depth, and Output level.
“Number of Strings” can be set to either 1 or 2. When set to 1, legato playing can create clicks, and can also build up significant energy in the string, making it more likely to hit the fret. While this may be undesirable when playing a straightforward bass, it can add some nice body to the sound when playing a snapshot that whacks the fret heavily.
There are seven parameter pages: Thumb, String, Slap Fret, Pickups, 10-band EQ, Compressor, and Modulations:
Thumb:
This is the initial excitation of the string, and consists of a short burst of filtered noise. An attack/decay envelope generator controls the excitation’s shape, and a 1- or 2-pole lowpass filter controls the brightness. The Strength control determines how much energy is applied to the string. The pluck point can be moved along the string, or can be turned off. If turned off, the model resembles a Karplus-Strong string.
String:
The string is a standard waveguide model. The decay time and high-frequency loss are controlled by the Sustain and Tone controls. The Release control determines how long the string rings when a note is released. The sustain, tone, and pitch can be adjusted at every fourth semitone (C, E, and G#). These adjustments are useful when programming sounds that remain musical over a wide range of notes. They can also compensate for the tendency of waveguide models to go flat on high notes. Please note that changing the Tone control may make the string go flat or sharp, and require re-tuning.
Slap Fret:
This is a fret, which when hit by the string, causes the string’s energy to reflect back in the direction it came from. Parameters include the fret’s position on the fret board, the fret’s distance from the string, and the reflection’s gain. The distance between the fret and the string determines how easily the fret will be hit. A lamp indicates when the string and fret are in contact. A switch can disable the slap fret. To make an expressive slap bass, route key velocity to Thumb Strength, and adjust the distance between the fret and the string.
Pickups:
This is the output of the model. Three outputs are provided: an acoustic pickup at the bridge, a movable electric pickup, and the initial thumb excitation impulse.
10-Band EQ:
The 10-band equalizer is the standard Reaktor equalizer, stripped to a single mono channel. There are also two additional filters. The first is called Big Bottom, which tracks and emphasizes the note’s fundamental frequency. The second is called an Acoustic Filter, and is an array of bandpass filters that mimics the resonances in a string bass.
Compressor:
The compressor is the standard Reaktor compressor, stripped to a single mono channel.
Modulations:
MIDI modulations are programmed here. Six busses are provided. Each bus has a source, destination, curvature, modulation amount (both positive and negative) and on/off switch. Sources are various MIDI inputs (mod wheel, velocity, etc.). Destinations are various parameters of the model (attack time, thumb strength, fret position, etc.).
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