Propellerhead Reason - 4.0 Provozní příručka stáhnout pdf (Strana 293)

DR. REX LOOP PLAYER

291

Filter Frequency

The Filter Frequency parameter (often referred to as “cutoff”) determines which area

of the frequency spectrum the filter will operate in. For a lowpass filter, the frequency

parameter could be described as governing the “opening” and “closing” of the filter. If

the Filter Freq is set to zero, none or only the very lowest frequencies are heard, if set

to maximum, all frequencies in the waveform are heard. Gradually changing the Filter

Frequency produces the classic synthesizer filter “sweep” sound.

! Note that the Filter Frequency parameter is usually controlled by the Fil-

ter Envelope (see page 291) as well. Changing the Filter Frequency with

the Freq slider may therefore not produce the expected result.

Resonance

The filter resonance parameter affects the character of the filter sound. For lowpass

filters, raising the resonance will emphasize the frequencies around the set filter fre-

quency. This produces a generally thinner sound, but with a sharper, more pro-

nounced filter frequency “sweep”. The higher the resonance value, the more resonant

the sound becomes until it produces a whistling or ringing sound. If you set a high

value for the resonance parameter and then vary the filter frequency, this will produce

a very distinct sweep, with the ringing sound being very evident at certain frequencies.

• For the highpass filter, the resonance parameter operates just like for the lowpass

filters.

• When you use the Bandpass or Notch filter, the resonance setting adjusts the

width of the band.

When you raise the resonance, the band where frequencies are let through (Band-

pass), or cut (Notch) will become narrower. Generally, the Notch filter produces

more musical results using low resonance settings.

Envelope Section

Envelope generators are used to control several important sound parameters in ana-

log synthesizers, such as pitch, volume, filter frequency etc. In a conventional synthe-

sizer, envelopes govern how these parameters should respond over time - from the

moment a note is struck to the moment it is released. In the Dr.Rex device however,

the envelopes are triggered each time a slice is played back.

There are two envelope generators in the Dr.Rex, one for volume, and one for the filter

frequency (and/or pitch). Both have the standard four parameters; Attack, Decay,

Sustain and Release

! Please refer to the Subtractor chapter for a description of the basic enve-

lope parameters.

Amplitude Envelope

The Amp Envelope governs how the volume of a slice should change over time, from

the time it is triggered (the slice note starts) until the slice note ends. This can be used

to make a loop more distinct (by having a snappy attack and a short decay time) or

more spaced-out (by raising the attack time).

The Level parameter acts as a general volume control for the loop.

Filter Envelope

The Filter Envelope can be used to control two parameters; filter frequency and over-

all loop pitch. By setting up a filter envelope you control how the filter frequency and/

or the pitch should change over time for each slice.

The Amount parameter determines to what degree the filter frequency will be affected

by the Filter Envelope. The higher the Amount setting, the more pronounced the effect

of the envelope on the filter.

✪ Try lowering the Frequency slider and raising Resonance and Envelope

Amount to get the most effect of the filter envelope!

LFO Section

LFO stands for Low Frequency Oscillator. LFOs are oscillators in the sense that they

generate a waveform and a frequency. However, there are two significant differences

compared to normal sound generating oscillators:

• LFOs only generate waveforms with low frequencies.

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