Propellerhead Reason - 4.0 Instrukcja Operacji Pobierz pdf (Strona 189)

SUBTRACTOR SYNTHESIZER

187

Here follows a brief description of the Subtractor waveforms:

! Please note that the descriptions of the waveforms sound or timbre is

merely meant to provide a basic guideline, and shouldn’t be taken too lit-

erally. Given the myriad ways you can modulate and distort a waveform

in Subtractor, you can produce extremely different results from any given

waveform.

Setting Oscillator 1 Frequency - Octave/Semitone/

Cent

By clicking the corresponding up/down buttons you can tune, i.e. change the fre-

quency of Oscillator 1 in three ways:

D In Octave steps

The range is 0 - 9. The default setting is 4 (where “A” above middle “C” on your

keyboard generates 440 Hz).

D In Semitone steps

Allows you to raise the frequency in 12 semitone steps (1 octave).

D In Cent steps (100th of a semitone)

The range is -50 to 50 (down or up half a semitone).

Waveform

Description

Sawtooth This waveform contains all harmonics and produces a bright and rich

sound. The Sawtooth is perhaps the most “general purpose” of all the

available waveforms.

Square A square wave only contains odd number harmonics, which produces

a distinct, hollow sound.

Triangle The Triangle waveform generates only a few harmonics, spaced at

odd harmonic numbers. This produces a flute-like sound, with a

slightly hollow character.

Sine The sine wave is the simplest possible waveform, with no harmonics

(overtones). The sine wave produces a neutral, soft timbre.

5 This waveform emphasizes the higher harmonics, a bit like a sawtooth

wave, only slightly less bright-sounding.

6 This waveform features a rich, complex harmonic structure, suitable

for emulating the sound of an acoustic piano.

7 This waveform generates a glassy, smooth timbre. Good for electric

piano-type sounds.

8 This waveform is suitable for keyboard-type sounds such as harpsi-

chord or clavinet.

9 This waveform is suitable for electric bass-type sounds.

10 This is a good waveform for deep, sub-bass sounds.

11 This produces a waveform with strong formants, suitable for voice-like

sounds.

12 This waveform produces a metallic timbre, suitable for a variety of

sounds.

13 This produces a waveform suitable for organ-type sounds.

14 This waveform is also good for organ-type sounds. Has a brighter

sound compared to waveform 13.

15 This waveform is suitable for bowed string sounds, like violin or cello.

16 Similar to 15, but with a slightly different character.

17 Another waveform suitable for string-type sounds.

18 This waveform is rich in harmonics and suitable for steel string guitar-

type sounds.

19 This waveform is suitable for brass-type sounds.

20 This waveform is suitable for muted brass-type sounds.

21 This waveform is suitable for saxophone-like sounds.

22 A waveform suitable for brass and trumpet-type sounds.

23 This waveform is good for emulating mallet instruments such as

marimba.

24 Similar to 23, but with a slightly different character.

25 This waveform is suitable for guitar-type sounds.

26 This is a good waveform for plucked string sounds, like harp.

27 Another waveform suitable for mallet-type sounds (see 23-24), but

has a brighter quality, good for vibraphone-type sounds.

28 Similar to 27, but with a slightly different character.

29 This waveform has complex, enharmonic overtones, suitable for

metallic bell-type sounds.

30 Similar to 29, but with a slightly different character. By using FM (see

page 190) and setting the Osc Mix to Osc 1, this and the following

two waveforms can produce noise.

31 Similar to 30, but with a slightly different character.

32 Similar to 30, but with a slightly different character.

Waveform

Description

1 2 ... 184 185 186 187 188 189 190 191 192 193 194 ... 401 402

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