Reason 13.1 Operation Manual
DAW | Rack Plugin
#Loading and saving patches
Loading and saving patches is done in the same way as with any other internal Reason device, see “Loading patches” and “Saving patches” for details.
#The Delay section
The Delay section features parameters relating to delay time, tempo sync, feedback, wobble and stereo behavior.
#Sync, Keep Pitch and Dual Delay buttons
*
Click the Sync button to enable Tempo Sync, which affects the “Delay Time” parameter(s).
*
Click the Keep Pitch button to eliminate pitch changes when the delay times are changed.
Note that the pitch will change if you are changing Multiply values, though (see “Multiply”)
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Click the Dual Delay button to get separate delay times for the Left and Right channels (see below).
#Delay Time
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Drag up/down in the display, or turn the Time knob. to change the delay time. Alternatively, repeatedly click the Tap button to manually tap the desired delay time.
Range: 2-5000 ms. In Sync mode, the range is 1/128 to 8/4.
*
In Dual Delay mode, drag up/down in the respective L/R display, or set the time for the respective channels with the Time L and Time R knobs.
Alternatively, repeatedly click the Tap buttons to manually tap the desired delay time for the Left and Right channels respectively.
Range: 2-5000 ms. In Sync mode, the range is 1/128 to 8/4.
#Multiply
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Set the Multiply selector to 1/2 to reduce the delay Time(s) and Offset by half, or to X2 to double the Time(s) and Offset values.
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Note that changing the Time Multiply parameter always re-pitches the delayed signal (one octave up or down), regardless of the Keep Pitch parameter setting. This simulates the characteristic “octave effect” found in old delay effects.
#Offset
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Set the delay time offset between the left and right channels.
Setting a delay offset is perfect for creating stereo delay effects.
#Feedback and Freeze
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Turn the Feedback knob to set the number of delay repetitions.
At zero Feedback there will only be a single repeat. Unity gain is achieved at 100%, where the delay repetitions will be infinite. If you increase the Feedback beyond 100% the gain will increase for every repeat so a distorted signal is produced. You can limit the level/distortion using the “The Feedback Limiter”.
Range: 0-130%
*
Click the Freeze button to freeze the audio currently in the delay buffer.
This will cause infinite repeats of the delay repetitions and also stop new audio from entering the delay buffer - great for temporary stutter/loop effects, and also for creating special time/pitch effects using the “Multiply” function.
#Wobbler
This emulates a tape speed wobbling effect where the speed of the “tape” (and consequently, the pitch of the signal) wobbles randomly.
*
Set the wobble amount with the knob.
Note that the pitch will always wobble, regardless of if the Keep Pitch function is active or not.
#Ping Pong
With Ping-Pong enabled, the stereo position of each delay repeat will alternate between the left and right channels. The Pan knob determines the stereo width as well as the position of the initial repeat. When the Pan knob is set to full Left, the first delay repeat will be panned hard Left, the second will be panned hard Right, the third repeat will be panned hard Left, and so on. When the knob is set to full Right, the order is reversed (R > L > R etc).
#Delay Width
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Set the desired stereo width of the Delay output signal with the Delay Width knob.
#The Feedback Filter section
The Feedback Filter makes it possible to filter the delay repeats so that each repeat is filtered slightly differently. A great example of this is the “dub delay” effects you could achieve with tape echo effects back in the day.
The Feedback Filter has two (internal) modes:
•
Band mode
The Band mode features eight fixed bandpass filters where you can control the level of each band.
•
Hi-Lo mode
The Hi-Lo mode features a single bandpass filter, where you can set the lower and upper cutoff frequencies to create a filter band.
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It’s also possible to process the feedback signal by connecting external devices to the “External Feedback Loop Send & Return L&R” jacks on the rear panel. Any added effects device(s) will be connected in series before the Feedback Filter, i.e. they will not bypass the Feedback Filter.
#The Band mode
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Click or drag the level bars of each frequency band to get the desired initial frequency response of the delay repeats.
Note that for each repeat the frequency response is altered slightly.
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Note that setting high levels (above the center line) of the bands will increase the volume for each “loop”, which could cause loud volumes! As a protection, you can use the Feedback Limiter function, see “The Feedback Limiter”.
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Turn the Freq Shift knob to shift all the filters up or down in frequency, changing the character of the feedback signal.
This parameter can also be modulated from the “The Modulation Matrix”, for phaser-like sweeps and special effects.
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Turn the L/R Offset knob to offset the frequencies of the Left and Right channels, to create a stereo effect.
#The Low/High mode
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Drag either edge of the band horizontally to set the cutoff frequencies.
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Drag the entire “frequency band” horizontally to change the band’s position.
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Drag the Low Cut and Hi Cut “boxes” up/down to change the cutoff frequencies.
#The Feedback Limiter
The Feedback Limiter is useful if you have set high levels of the bands in Band mode (see “The Band mode”). Activating Feedback Limiter will reduce the levels of any “overdriven” filter bands. The Feedback Limiter also prevents loud volumes in external feedback loops (see “External Feedback Loop Send & Return L&R”).
#The Reverb section
The Reverb section contains a lush stereo reverb with selectable routing and width control.
*
Set the reverb level with the Amount knob.
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Set the reverb time with the Decay knob.
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Set the reverb “room size” with the Size knob.
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Click the Parallel button, or the routing image, to switch between Serial and Parallel processing of the delay and reverb effects.
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Set the desired stereo width of the reverb signal with the Space Width knob.
#The Noise section
The Noise section allows you to add noise to the signal - or to amplitude-modulate the signal by noise - to simulate the noise of old hardware echo machines, for example. At the bottom of the Noise section you can choose where to apply the noise in the signal chain.
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Set the noise level with the Amount knob.
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Set the noise frequency content with the Character knob.
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Add high-frequency noise (before running the signal through the Noise Type section) with the Hi End knob.
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Select noise type with the Noise Type selector.
The hand-crafted Noise Types simulates various types of noises, spanning from High Frequency (HF) noise down to Low Frequency (LF) Noise.
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Click the Stereo button to get the noise effect in stereo.
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Click the triangular routing selector to choose one of the following destinations for applying the noise:
“Input” applies the noise to the audio inputs of Ripley Space Delay.
“Feedback” applies the noise to the Feedback Filter section.
“Delay Out” applies the noise to the Delay Out signal.
“Space Out” applies the noise to the Reverb Out signal.
“Output” applies the noise to the main output signal.
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See the “Signal flow” picture to see the patch points.
#The Distortion section
The Distortion section allows you to distort the signal. At the bottom of the Distortion section you can choose where in the signal chain the distortion should be applied.
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Set the distortion character with the Tone knob.
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Set the distortion mix level with the Dry/Wet knob.
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Set the overdrive amount with the Drive knob.
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Click the triangular routing selector to choose where to insert the distortion to the signal:
“Input” applies the distortion to the audio inputs of Ripley Space Delay.
“Delay Out” applies the distortion to the Delay Out signal.
“Space Out” applies the distortion to the Reverb Out signal.
“Output” applies the distortion to the main output signal.
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See the “Signal flow” picture to see the patch points.
#The Digital section
The Digital section allows you to add digital distortion (sample rate and bit reduction) to the signal. At the bottom of the Digital section you can choose where in the signal chain the distortion should be applied.
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Set the sample rate with the Rate Crush knob.
Setting a lower sample rate will cause aliasing, which adds inharmonic overtones to the signal.
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Set the bit depth with the Bit Crush knob.
The lower the bit depth, the more digitally distorted the signal.
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Click the triangular Output routing selector to choose where to apply the bitcrushing:
“Input” applies the rate/bit crushing to the audio inputs of Ripley Space Delay.
“Delay Out” applies the rate/bit crushing to the Delay Out signal.
“Space Out” applies the rate/bit crushing to the Reverb Out signal.
“Output” applies the rate/bit crushing to the main output signal.
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See the “Signal flow” picture to see the patch points.
#The EQ section
The EQ section features low and high shelving bands with fixed frequencies, plus a parametric mid band. At the bottom of the EQ section you can choose where in the signal chain the EQ should be applied.
•
Low Gain
Defines how much the level of the fixed frequency low band should be boosted (positive values) or lowered (negative values).
Range: +/-18 dB
•
Freq
This determines the center frequency of the EQ mid band, e.g. at which frequency the level should be decreased or increased.
Range: 61.0 Hz to 12.69 kHz
•
Gain
Specifies how much the level of the mid band (Freq) should be boosted (positive values) or lowered (negative values).
Range: +/-18 dB
•
Q
This governs the width of the affected area around the set mid band (Freq) frequency. The higher the value, the narrower the affected frequency range.
•
High Gain
Defines how much the level of the fixed frequency high band should be boosted (positive values) or lowered (negative values).
Range: +/-18 dB
*
Click the triangular Output routing selector to choose where to apply the EQ to the signal:
“Input” applies the EQ to the audio inputs of Ripley Space Delay.
“Delay Out” applies the EQ to the Delay Out signal.
“Space Out” applies the EQ to the Reverb Out signal.
“Output” applies the EQ to the main output signal.
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See the “Signal flow” picture to see the patch points.
#The Output section
The Output section consists of a Dry/Wet knob and an Output Gain knob.
*
Set the relation between the unprocessed and the processed signal with the Dry/Wet knob.
If you use Ripley Space Delay as a send effect, set the Dry/Wet knob to 100% Wet.
*
Set the output level with the Output Gain knob.
Range: -Inf to +18.1 dB
#The Ducker section
Ducking attenuates the level of the Wet (processed) signal until the amplitude of the Dry signal drops, at which time the Wet signal is faded back in. This is useful for adding the effect to the silence that comes after you have played/sung your lovely lead line. The effect will be attenuated while you are still playing/singing so you will avoid muddling up the sound.
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Set the ducking level of the effect signal with the Amount knob.
At 100%, the effect signal will be completely silent as long as there is a signal coming into Ripley Space Delay. The ducking attenuation level is shown by the orange bar below the Amount knob.
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Click the triangular Output routing selector to choose where to apply the ducking effect:
“Delay Out” applies the ducking to the Delay Out signal.
“Space Out” applies the ducking to the Reverb Out
“Output” applies the ducking to the main output signal.
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See the “Signal flow” picture to see the patch points.
#The Modulation and Modulation Matrix sections
The Modulation and Modulation Matrix section consists of two separate LFOs, one Envelope Follower and a Macro & Matrix section. All four sections can be active at the same time.
#LFO 1 & LFO 2
An LFO (Low Frequency Oscillator) is used for generating cyclic modulation. The LFO section features two separate general purpose LFOs, that can be assigned to control selectable Destination parameter(s) in the Modulation Matrix section, see “The Modulation Matrix”.
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Click the LFO 1 or LFO 2 buttons to access the parameters for the respective LFO.
LFO 1 and LFO 2 are identical in functionality.
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Select an LFO waveform by clicking the spin controls to the right of the waveform display, or by dragging up or down in the display.
Besides the standard waveforms (sine, triangle, pulse, etc.) there are random, slope and stepped waveforms. The shape of the waveforms are shown in the display.
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All LFO signals are bipolar (+/-), except for the Exponential Pulse, which is unipolar (+).
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Set the LFO frequency with the Rate knob.
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Click the Beat Sync button to sync the LFO to the main sequencer Tempo.
The Rate parameter now controls time divisions.
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Turn the Phase knob to adjust the phase of the LFO waveform.
Range: +/-180 degrees
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Assign the desired Destination parameters in the Modulation Matrix, as described in “The Modulation Matrix”.
The LFO signal affects the assigned Destination parameters of the Modulation Matrix according to the orange bipolar level indicator. The center of the indicator represents the zero level of the LFO signal:
#Follow
The Envelope Follower allows for modulation based on the level of an audio signal. The modulation can be assigned to control selectable Destination parameter(s) in the Modulation Matrix section, see “The Modulation Matrix”.
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Select modulation source from the Source drop-down.
The sources are: Input signal, Delay Out signal, Space Out signal, the Freeze Button and the Macro Button.
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Set at which input signal level the envelope follower should trig with the Sens knob.
Set to a low value, the envelope follower will react as soon as there is any signal present at the selected Source. Set to a high value, the envelope follower will react only to loud input signals - or when triggered from the Freeze button or Macro button signal, if any of these are selected as Source.
Range: +/-12 dB
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Set how fast the envelope follower should react after the input signal has reached above the Sens value with the Rise knob.
Note that the Rise time can only be increased compared to the input signal - never shortened.
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Set how fast the envelope follower should drop back to zero after the input signal has decreased below the Sens value with the Fall knob.
Note that the Fall time can only be increased compared to the input signal - never shortened.
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Assign the desired Destination parameters in the Modulation Matrix, as described in “The Modulation Matrix”.
The envelope follower signal affects the assigned Destination parameters of the Modulation Matrix according to the orange unipolar level indicator. The center of the indicator represents the zero level of the envelope follower signal:
#Macro & Matrix
The Macro & Matrix allows for modulation controlled by the Macro Button and Knob, or by a number of other selectable Sources. The modulation can be assigned to control selectable Destination parameter(s) in the Modulation Matrix section.
1.
Select the desired Source(s) in the Modulation Matrix:
2.
Select the desired Destination parameters and modulation Amounts in the Modulation Matrix:
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Click the Button to activate, or click the LED above the Button to trigger momentarily.
#The Modulation Matrix
The Modulation Matrix section in Ripley Space Delay is derived from the one in other Reason instrument devices, so if you are familiar with Reason you will quickly find your way around in Ripley Space Delay’s Modulation Matrix.
There are three “Source –> Destination 1 –> Destination 2 –> Scale” buses.
A Source parameter can modulate two Destination parameters per bus. Each bus also has a Scale parameter that affects the relative modulation Amount for the Destinations.
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Note that the Source column is only available in the Macro & Matrix mode (see “Macro & Matrix”). In the other modes the LFOs and Envelope Follower are the default modulation Sources.
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Note that it is possible to assign the same source parameter as Source in several buses. This allows you to control more than one Destination parameter from the same Source.
1.
In Matrix & Macro mode, select the desired Source parameters by clicking the corresponding Source box and selecting from the list.
The following parameters can be used as modulation Sources:
| Parameter
| Description
LFO 1/2
This allows you to modulate parameters from LFO 1/2.
Env. Follower
This allows you to modulate parameters from the Envelope Follower signal.
Macro Knob
This allows you to modulate parameters from the Macro Knob.
Macro Button
This allows you to modulate parameters from the Macro Button.
Constant
This sends out a constant value.
Ducker Follower
This allows you to modulate parameters from the Ducker modulation signal.
CV1/2 Inputs
This takes the current value on the CV 1 and CV 2 inputs on the rear panel and sends to the desired
destination(s).
Modulation Matrix Source parameters
2.
Set the Amount for the Destination 1 by clicking and dragging vertically in the corresponding AMT box.
*
Note that the Amount range is +/-100. This means that the Amount value can exceed the modulated parameter’s range. When this happens, the modulated parameter simply stays at its extreme value until the Amount value gets within the parameter’s range again.
3.
Click the desired Destination box and select the Destination parameter from the list.
The following parameters can be used as modulation Destinations:
| Parameter
| Description
Delay: Delay Time
This affects the Delay Time parameter in “single delay” mode.
Delay: Time Offset L-R
This affects the Time Offset L-R parameter.
Delay: Time Multiplier
This affects the Time Multiplier parameter.
Delay: Feedback
This affects the Feedback parameter.
Delay: Feedback Offset L-R
This affects the “under the hood” Feedback Offset L-R parameter which allows the Left and Right delay
signals to have their own separate feedback.
Delay: Ping Pong Pan
This affects the Ping Pong Pan parameter (if Ping Pong is active).
Delay: Freeze
This affects the Freeze button. The Freeze parameter is activated as soon as the Source modulation level is >50% (>64).
Delay: Delay Level
This affects the “under the hood” Delay Level parameter, which controls the output level from the Delay
section.
Delay: Wobbler Amount
This affects the Wobbler Amount parameter (if Wobbler is active).
Delay: Delay Width
This affects the Delay Width parameter, which affects the delay stereo spread.
Delay Dual: Delay Time L
This affects the Delay Time L parameter in Dual Delay mode.
Delay Dual: Delay Time R
This affects the Delay Time R parameter in Dual Delay mode.
Delay Dual: Delay Pan L
This affects the “under the hood” Delay Pan L parameter in Dual Delay mode.
Delay Dual: Delay Pan R
This affects the “under the hood” Delay Pan R parameter in Dual Delay mode.
Delay Dual: Delay Level L
This affects the “under the hood” Delay Level L parameter in Dual Delay mode.
Delay Dual: Delay Level R
This affects the “under the hood” Delay Level R parameter in Dual Delay mode.
Feedback Filter: Lo Cut Frequency
This affects the Lo Cut Frequency parameter in Low/High mode in the Feedback Filter.
Feedback Filter: Hi Cut Frequency
This affects the Hi Cut Frequency parameter in Low/High mode in the Feedback Filter.
Feedback Filter: Hi & Lo Frequency Shift
This affects the Frequency Band position in Low/High mode in the Feedback Filter.
Feedback Filter: Band Frequency Shift
This affects the Frequency Shift parameter in Band mode in the Feedback Filter.
Feedback Filter: Band Offset L-R
This affects the Offset L-R parameter in Band mode in the Feedback Filter.
Feedback Filter: Band 1-8 Level
This affects the respective Band Level parameters in Band mode in the Feedback Filter.
Feedback Filter: Band Odd Level
This affects the “under the hood” levels of the odd (1-3-5-7) Bands in Band mode in the Feedback Filter.
Feedback Filter: Band Even Level
This affects the “under the hood” levels of the even (2-4-6-8) Bands in Band mode in the Feedback
Filter.
Space: Space Amount
Affects the Amount parameter in the Space section.
Space: Space Decay
Affects the Decay parameter in the Space section.
Space: Space Width
Affects the Space Width parameter in the Noise section.
Noise: Noise Amount
Affects the Amount parameter in the Noise section.
Noise: Noise Character
Affects the Character parameter in the Noise section.
Noise: Noise High End
Affects the Hi End parameter in the Noise section.
Noise: Noise Stereo
Affects the Stereo button in the Noise section.
Dist: Dist Dry-Wet
Affects the Dry/Wet parameter in the Dist section.
Dist: Dist Tone
Affects the Tone parameter in the Dist section.
Dist: Dist Drive
Affects the Drive parameter in the Dist section.
Digital: Digital Dry-Wet
Affects the Dry/Wet parameter in the Digital section.
Digital: Digital Bit Crush
Affects the Bit Crush parameter in the Digital section.
Digital: Digital Rate Crush
Affects the Rate Crush parameter in the Digital section.
EQ: Low Gain
Affects the Low Gain parameter in the EQ section.
EQ: Mid Frequency
Affects the Freq parameter in the EQ section.
EQ: Mid Gain
Affects the Gain parameter in the EQ section.
EQ: Mid Q
Affects the Q parameter in the EQ section.
EQ: High Gain
Affects the High Gain parameter in the EQ section.
Modulation: LFO 1/2 Rate
Affects the LFO 1/2 Rates
Modulation: CV 1/2
This sends out the source modulation value(s) to the CV1/2 Output on the rear panel.
Output: Ducker Amount
Affects the Amount parameter in the Ducker section.
Output: Dry-Wet
Affects the Dry/Wet parameter in the Output section.
Output: Output Gain
Affects the Output Gain parameter in the Output section.
Modulation Matrix Destination parameters
4.
Repeat the procedure from Step 2 for the AMT(2) and Destination 2 parameters.
5.
If desired, click the Scale box and select a Scale parameter.
The available Scale parameters are the same as the Source parameters, see “Modulation Matrix Source parameters”.
Selecting a source here means the modulation is scaled by that source.
For example, if you set up a modulation as follows:
Source
AMT
Destination 1
Scale
LFO 1
50
Delay: Feedback
Macro Knob
then the LFO will modulate the Feedback parameter in the Delay section, but the modulation will be scaled by the Macro Knob in the Macro & Matrix section. When the Macro Knob is at zero, there will be no modulation at all. Raising the Macro Knob will gradually increase the modulation up to the set Amount (50).
*
To clear an assigned Source, Destination or Scale parameter, hold down [Ctrl](Win) or [Cmd](Mac) and click the Source/Destination/Scale box. Alternatively, click the Source/Destination/Scale box and select “Off” from the list.
*
To reset an Amount value to 0, hold down [Ctrl](Win) or [Cmd](Mac) and click the desired Amount box.
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To clear an entire modulation assignment (a whole row), click the circular X button to the right of the corresponding Scale box.
#Audio jacks
#Input L&R
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Patch the main audio input signal(s) here.
If your input signal is in mono, connect only to the L (left) input.
#Output L&R
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Patch the main audio output signal(s) here.
If your input signal is in mono, connect only to the L (left) input.
#External Feedback Loop Send & Return L&R
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If you want to route the Feedback signal via external effects, connect the effect here.
The signal is tapped and returned before the Feedback Filter in Ripley Space Delay. Any added effects device(s) are connected in series before the Feedback Filter, i.e. they will not bypass the Feedback Filter. If you want to tap the signal in mono, connect only to the L (left) Send and Return input and output.
#CV Inputs
These CV inputs can be used for modulating various Ripley Space Delay parameters from external sources (devices). Each input also has an attenuator knob for tuning the modulation range.
#Delay Time
*
Modulate the Delay Time parameter (in “single delay” mode) by a CV signal patched to this input.
#Feedback
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Modulate the Feedback parameter by a CV signal patched to this input.
#Freeze
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Modulate the Freeze button by a CV signal patched to this input.
#Time Multiplier
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Modulate the Time Multiplier switch by a CV signal patched to this input.
#Dry/Wet
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Modulate the Dry/Wet parameter in the Output section by a CV signal patched to this input.
#CV1/2 In
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Connect the CV signals you want to assign as Sources in the Modulation Matrix.
#CV Outputs
#LFO1/2, Envelope Follower and CV1/2 Out
*
Patch these to the desired destinations to modulate parameters in external devices.
Note that all CV Outs can send bipolar signals, except for the Envelope Follower, which only sends positive signals.