Propellerhead Reason - 4.0 Instrukcja Operacji Pobierz pdf (Strona 228)

MALSTRÖM SYNTHESIZER

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Introduction

The Malström is a polyphonic synthesizer with a great number of different routing pos-

sibilities. It is based on the concept of what we call “Graintable Synthesis” (see be-

low), and is ideally suited for producing swirling, sharp, distorted, abstract special

effect types of synthesizer sounds. In fact, you could go so far as to say that the Mal-

ström can produce sounds quite unlike anything you’ve ever heard from a synthesizer.

For a complete run-down of the principles behind it and thorough explanations of the

controls, read on...

Features

The following are the basic features of the Malström:

D Two Oscillators, based on Graintable Synthesis.

See page 227 for details.

D Two Modulators, featuring tempo sync and one-shot options.

See page 229.

D Two Filters and one Shaper.

A number of different filter modes in combination with several routing options and

a Waveshaper makes it possible to create truly astounding filter effects.

D Three Envelope generators.

There is one amplitude envelope for each oscillator and a common envelope for

both filters. See page 228 and page 232 for details.

D Polyphony of up to 16 voices.

D Velocity and Modulation control.

See page 237.

D A number of CV/Gate Modulation possibilities.

See page 239.

D A variety of Audio Input/Output options.

You can for instance connect external audio sources for input to the Mal-

ström, and you can also control its output. See page 238 for more details.

Theory of operation

There are a number of different synthesis methods for generating sound. There is e.g.

Subtractive Synthesis (which is used in Reason’s other synth - the Subtractor), FM

Synthesis and Physical Modelling Synthesis to mention but a few.

To give you a clear understanding of the inner workings of the Malström, it might be in

order with a brief explanation of what we call Graintable Synthesis.

What we refer to as Graintable Synthesis is actually a combination of two synthesis

methods; Granular Synthesis and Wavetable Synthesis.

• In granular synthesis, sound is generated by a number of short, contiguous seg-

ments (grains) of sound, each typically between 5 to 100 milliseconds long. The

sound is varied by changing the properties of each grain and/or the order in which

they are spliced together. Grains can be produced either by a mathematical for-

mula or by a sampled sound. This is a very dynamic synthesis method with a lot of

variation possibilities, although somewhat hard to master and control.

• Wavetable synthesis on the other hand, is basically the playback of a sampled

waveform. An oscillator in a wavetable synth plays back a single period of a wave-

form, and some wavetable synths also allow the possibility of sweeping through a

set of periodic waveforms. This is a very straightforward synthesis method that is

easily controlled, but somewhat limited in variation possibilities.

The Malström combines these two into a synthesis method that provides a very flexi-

ble way of synthesizing sounds with incredible flux and mutability.

It works like this:

• The oscillators in the Malström play back sampled sounds that are subject to some

very complex processing and cut up into a number of grains. From here on, these

sounds will be referred to as Graintables

• This results in a set of periodic waveforms (a graintable) that, when spliced to-

gether, play back the original sampled sound.

• This can then be treated just like a wavetable. I.e. It is possible to sweep through it.

Move through it at any speed without affecting pitch. Play any section of it repeat-

edly. Use it to pick static waveforms. Jump between positions. Etc. etc.

• It is also possible to perform a number of other tricks, all of which are described

further on in this chapter.

Loading and Saving Patches

Loading and saving patches is done in the same way as with any other Reason de-

vice.

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