Operation Manual
Table Of Contents
- Table of Contents
- Common Operations and Concepts
- Audio basics
- Sounds, Devices and Patches
- Routing Audio and CV
- The Sequencer
- The ReGroove Mixer
- Remote - Playing and controlling Reason devices
- Advanced MIDI - the External Control Bus inputs
- Using Reason as a ReWire Slave
- Synchronization
- Song File Handling
- Optimizing Performance
- Transport Panel
- Reason Hardware Interface
- The Combinator
- The Mixer
- The Line Mixer 6:2
- Redrum
- Subtractor Synthesizer
- Thor Polysonic Synthesizer
- Malström Synthesizer
- NN-19 Sampler
- NN-XT Sampler
- Introduction
- Panel Overview
- Loading Complete Patches and REX Files
- Using the Main Panel
- Overview of the Remote Editor panel
- About Samples and Zones
- Selections and Edit Focus
- Adjusting Parameters
- Managing Zones and Samples
- Working with Grouping
- Working with Key Ranges
- Setting Root Notes and Tuning
- Using Automap
- Layered, Crossfaded and Velocity Switched Sounds
- Using Alternate
- Sample Parameters
- Group Parameters
- Synth parameters
- Connections
- Dr. Rex Loop Player
- Matrix Pattern Sequencer
- RPG-8 Arpeggiator
- ReBirth Input Machine
- BV512 Vocoder
- The Effect Devices
- Common Device Features
- The MClass effects
- The MClass Equalizer
- The MClass Stereo Imager
- The MClass Compressor
- The MClass Maximizer
- Scream 4 Sound Destruction Unit
- RV7000 Advanced Reverb
- RV-7 Digital Reverb
- DDL-1 Digital Delay Line
- D-11 Foldback Distortion
- ECF-42 Envelope Controlled Filter
- CF-101 Chorus/Flanger
- PH-90 Phaser
- UN-16 Unison
- COMP-01 Auto Make-up Gain Compressor
- PEQ-2 Two Band Parametric EQ
- Spider Audio Merger & Splitter
- Spider CV Merger & Splitter
- Menu and Dialog Reference
- Index
MALSTRÖM SYNTHESIZER
231
D To activate/deactivate a filter, click the On/Off button in the top left cor-
ner.
When a filter is activated, the button is lit.
An activated filter
Filter types
To select a filter type, either click the Mode button in the bottom left corner or click di-
rectly on the desired filter name so that it lights up in yellow:
D LP 12 (12 dB lowpass)
Lowpass filters let low frequencies through and cut off high frequencies. This filter
type has a roll-off curve of 12dB/Octave.
D BP 12 (12 dB bandpass)
Bandpass filters cut both high and low frequencies, leaving the frequency band in
between unaffected. Each slope in this filter type has a 12 dB/Octave roll-off.
D Comb + & Comb –
Comb filters are basically delays with very short delay times with adjustable feed-
back (in Reason controlled with the Resonance knob). A comb filter causes reso-
nating peaks at certain frequencies.
The difference between “+” and “–” is in the position of the peaks, in the spec-
trum. The main audible difference is that the “–”-version causes a bass cut.
The Resonance parameter in both cases controls the shape and size of the peaks.
D AM
AM (Amplitude Modulation) is often referred to as Ring Modulation. A Ring Modu-
lator works by multiplying two signals together. In the case of the Malström, the fil-
ter produces a sine wave which is multiplied with the signal from osc:A or osc:B.
Resonance controls the mix between the clean and modulated signals. The Ring
Modulated output will then contain added frequencies which are generated by the
sum of, and the difference between the two signals. This can be used for creating
complex, non-harmonic sounds.
Filter controls
Each filter contains the following four controls:
D Kbd (keyboard tracking)
By clicking this button so that it is lit, you activate keyboard tracking. If keyboard
tracking is activated, the frequency of the filter will change according to the notes
you play on your keyboard. That is, if you play notes higher up on the keyboard, the
filter frequency will increase and vice versa. If keyboard tracking is deactivated, the
filter frequency will remain at a fixed value regardless of where on the keyboard
you play.
Comb + Low Resonance Comb + High Resonance
Comb – Low Resonance Comb – High resonance