W R A I T H - FBxi
Polyphonic Modular Analog Synthesis
The Vintage Generator has two main oscillators, each with two simultaneous waveform generators.
Oscillator A uses a sine-wave generator and a choice of triangle, saw or pulse, whilst oscillator B uses pulse and a triangle generators.
Each oscillator has a variable shape, it is also possible to add drift to the waveform adding greatly to the harmonic content.
The outputs of both oscillators are hard wired to a Ring Modulator with its own output to the mixer.
The Vintage Generator is a polyphonic design, total polyphony is set within Reaktor allowing adjustments to best match the host CPU, but the way that the oscillators respond to midi data can be changed between Poly, Mono and Unison.
Switchable hard sync will lock oscillators A and B together in phase, but still allow the modulation and sync sources to take effect.
VLF stands for Very Low Frequency, this is not a general LFO although it can be used as one, it's an oscillator with a lower range than the main oscillators, it is also polyphonic with two independent outputs to the mixer.
The VLF's two waveform generators produce triangle/sine (switchable) and pulse (de-tuneable) and have the same variable shape and drift capabilities.
This module generates white and pink noise and has it's own gain control, the pink noise can be passed through a variable band-pass filter.
This is a gate and pitch generating sequencer, when active it will disable gate and pitch information received via midi.
Any step can be switch in to activate a trigger at that point.
Each step has control over gate, touch and timbre.
Clock rate is adjustable against the main tempo and the direction of the sequencer is also adjustable.
Any number of steps can be set from 1 to 16, plus you can offset the start position and activate random.
This is a pitch shifting sequencer and is always active whether running or not, it will effect the pitch of the whole synth regardless, including midi input.
Each of the 8 steps alters the glide and pitch of any note information active at that point, each step length can be altered from 1 to 64 beats giving a maximum 512 beats.
This is actually three separate processors that are independently switchable, first in line is Extract.
Extract is four 2-pole filters working against each other to produce a band-pass and a simultaneous band-reject filter, both with resonance, adjusting both the high and low filters will create a band-pass state, by altering the invert dial the filter will crossfade over to a band-reject state.
The output of both the high and low filters are then passed onto two mono phasers each with its own LFO and feedback switch.
Three different 4-pole ladder filters, switchable Diode, Transistor and OTA-1, with variable cutoff and resonance, each filter has a different feel and response curve.
OTA-2 is placed after the main filters in series and can be switched in to produce an additional 8-pole 48db filter stage.
The filters can be set to follow tracking using the F-Mode switch and also follow the path of the ADSR.
Modulation of the cutoff frequency is set with the MOD-IN dial.
Ladder Mode is hard wired to the ADSR it's response is altered with the ADSR dial.
The ADSR receives gate and pitch, when triggered it will follow the amplitude path set by the dials, the way it responds to gate and pitch depends on the settings of the touch and timbre dials.
This is a six stage design with two decays and a variable slope, the ADSR is also hard wired to the Ladder Mode Filter.
A very simple mixer with inputs from the oscillators, ring modulator and noise generator.
Each input has gain, pan, on/off and a solo switch.
The delay uses 8 diffusers to produce stereo delay and reverb effects with switchable feedback regeneration plus low and high filters in the feedback chain.
FBXI FILTER BANK
The 8 stereo filters are made up from 32 single pole high pass and low pass filters, the filters are combined to produce 16 band pass filters, the band pass filters are equally spaced from low to high spanning eight octaves, the position that each filter sits in the spectrum is set by the DISPLACE dial, when MODUS is on the filters will move up and down the spectrum and across the stereo field.
MODUS (Modulation Bus)
MODUS modifies the modulation LFO that alters the placement of the FILTER BANK via the DISPLACE dial.
It also has an effect on the FLANGER and the PHASER sections of BOUNCE.
The BOUNCE DELAY receives its signal from the MODUS FILTER BANK.
The flanger section of the delay can be influenced from MODUS ACTIVITY.
The PHASER is a stereo vintage analog design with a twist, the LFO of the phaser receives its clock source from the MODUS bus, this has the effect of speeding up and slowing down the phaser producing a wah-wah effect.
The signal is then passed onto the ATMOS SPACE effect if the parallel switch is set to off.
How BOUNCE and ATMOS are connected to each other is determined with the parallel-series switch, when in series the output of Bounce is connected directly to the input of Atmos, and the two effects run in series, when switched to parallel both effects receive their input from the FILTER BANK, both of the effects are then combined before being passed onto the MOVEMENT processor.
The first process is the pre-delay, this allows a small amount of space to be place to the front end of the ROOM, the pre delay is stereo and the left and right delay times can be offset adding a shift to the image.
Next is the 3 BAND EQ, the equalisers are wired in parallel, the first is a 1 pole LOW shelf filter, the second is a 2 pole parametric MID and the third is a 1 pole HIGH shelf filter, each one of the eq's can be set to cut or boost the signal.
The signal then enters the ROOM, this sets the overall size of the space, at the lowest settings and with careful adjustment of the equalisers and filters you can effectively reproduce the body of an instrument, as you move this dial to the right the reflections will become more spaced producing a larger ambience.
MOVEMENT receives its signal from ATMOS and BOUNCE.
This unit has two independent mono LFO modulated panning circuits allowing the left and right signals to be independently positioned in the stereo field with modulation applied.
Hopefully it will give you a good idea of the sound, WRAITH is a modular synth so the possibilities for sound creation are very wide, the kind of synth that will keep me happy for a long time.
WRAITH is playing everything in the demo track, generating the notes, sounds and the effects all in Logic, absolutely no other processing is involved, no Pre or Post-Eq, Mastering-Compression or Normalising... This is a raw mix-down.
The second track contains a few loops created with WRAITH sqr using the built-in sequencers, the loops were recorded direct to HD in stand-alone mode and then imported into Logic for trimming and crossfading, a Multi-Band Compressor was added to the master output to keep the crossfades in check.
Screen Size - 1662 x 1128
Reaktor 5.8.0 upwards
Screen Size - 862 x 538
Reaktor 5.8.0 upwards
Screen Size - 1662 x 898
Reaktor 5.8.0 upwards
In stand-alone mode with polyphony set to 3 cpu = approximately 29% - P6 = 41% - P12 = 62%