TRanz8ight4 User Guide
Hover over the images to explore.
The user guide is built into the ensemble and is accessed by selecting the REAKTOR INFO button on the top right, by placing the mouse cursor over each Controller and Text Header of the ensemble, the user guide will pop up.
To use this guide select a page with the buttons above, and then move your cursor over the image, use the return arrow to go back to MoGi's main page.
The user guide is built into the ensemble and is accessed by selecting the REAKTOR INFO button on the top right, by placing the mouse cursor over each Controller and Text Header of the ensemble, the user guide will pop up.
To use this guide select a page with the buttons above, and then move your cursor over the image, use the return arrow to go back to MoGi's main page.
Sequencer Oscillators
The TR-84 has 8 oscillators per sequencer.
The oscillators consist of 4 sine wave generators and 4 pulse wave generators, to blend the waveforms use the OSC SHAPE windows.
The oscillators will interact with each other if the modulation dials are active. (see frequency / ring modulation)
The sequencer select bar (ABCD 1 to 16) selects which of the oscillator(s) and or generator(s) are triggered at each position in the loop cycle.
The oscillators consist of 4 sine wave generators and 4 pulse wave generators, to blend the waveforms use the OSC SHAPE windows.
The oscillators will interact with each other if the modulation dials are active. (see frequency / ring modulation)
The sequencer select bar (ABCD 1 to 16) selects which of the oscillator(s) and or generator(s) are triggered at each position in the loop cycle.
Noise Generators
The TR-84 has 4 noise generators and 24 tuned pulse wave oscillators (PWO's) per sequencer. (see the noise intonation section for more info)
The noise signal consists of a full bandwidth noise generator and 6 pre-tuned pulse wave oscillators.
The noise element of the signal is passed on to the filter (EQ) giving a variable noise signal from High to Low.
The PWO's are unfiltered and merge with the noise signal at the pre-gain stage.
The sequencer select bar (ABCD 1 to 16) selects which of the generator(s) and or oscillator(s) are triggered at each position in the loop cycle.
The noise signal consists of a full bandwidth noise generator and 6 pre-tuned pulse wave oscillators.
The noise element of the signal is passed on to the filter (EQ) giving a variable noise signal from High to Low.
The PWO's are unfiltered and merge with the noise signal at the pre-gain stage.
The sequencer select bar (ABCD 1 to 16) selects which of the generator(s) and or oscillator(s) are triggered at each position in the loop cycle.
Noise Intonation
Intonation adds 6 pre-tuned tones to the noise signal and by adjusting the master pitch, width, balance and shape they can add a harmonic or discordant overtone to the noise. (the noise can be removed leaving just the overtones)
The level of first 3 tuned pulse wave oscillators is set with the dial's N1, N2 and N3. (N = Noise) The shape is set as part of the Noise dial.
The level of the second 3 tuned pulse wave oscillators is set with the dial's T1, T2 and T3. (T = Tone) The shape is set as part of the Tone dial.
The tone oscillators are tuned to a different interval than the noise oscillators.
By using different amounts of noise decay and tone decay will produce an evolving overtone to the noise signal.
The pitch dial in the noise generator sets the master pitch. (the tones are preset at fixed intervals).
The level of first 3 tuned pulse wave oscillators is set with the dial's N1, N2 and N3. (N = Noise) The shape is set as part of the Noise dial.
The level of the second 3 tuned pulse wave oscillators is set with the dial's T1, T2 and T3. (T = Tone) The shape is set as part of the Tone dial.
The tone oscillators are tuned to a different interval than the noise oscillators.
By using different amounts of noise decay and tone decay will produce an evolving overtone to the noise signal.
The pitch dial in the noise generator sets the master pitch. (the tones are preset at fixed intervals).
Frequency Modulation
All of the oscillators can send modulating signals and receive modulator signals , by adjusting the in and out dials they will interact with each other.
The envelope(s) of the sender and the receiver have to fall on the same beat or overlap in order for this to have an effect.
By setting different amounts of senders and receivers, all of the oscillators will interact with each other as different beats and envelopes in the sequence overlap.
The envelope(s) of the sender and the receiver have to fall on the same beat or overlap in order for this to have an effect.
By setting different amounts of senders and receivers, all of the oscillators will interact with each other as different beats and envelopes in the sequence overlap.
Ring Modulation
Ring modulation produces a signal suitable for producing bell-like or otherwise metallic tones.
For this to work you need to multiply two signals, so turning up just one dial won't work.
In order for this to have an effect, the envelope(s) of the sender and the receiver have to fall on the same beat or overlap.
Long sine wave oscillator decay times will show this effect more clearly.
By setting different amounts of senders and receivers, all of the oscillators will interact with each other as different beats and envelopes in the sequence overlap.
For this to work you need to multiply two signals, so turning up just one dial won't work.
In order for this to have an effect, the envelope(s) of the sender and the receiver have to fall on the same beat or overlap.
Long sine wave oscillator decay times will show this effect more clearly.
By setting different amounts of senders and receivers, all of the oscillators will interact with each other as different beats and envelopes in the sequence overlap.
Dynamic Filter
The Dynamic Filter is a 2 pole low pass filter with resonance followed by a 1 pole high pass filter.
The low pass filter can sense and respond to the input signal.
The LFO modulation is free running and adds variation to the cutoff.
The Drive control adds saturation (distortion) before sending the signal to the output gain.
The top 9 dials of the filter receive the SEQ 1 Oscillator signals and the bottom 9 receive the Noise Generator signals.
The output pan for each filter is located in the Oscillator Effects section.
The low pass filter can sense and respond to the input signal.
The LFO modulation is free running and adds variation to the cutoff.
The Drive control adds saturation (distortion) before sending the signal to the output gain.
The top 9 dials of the filter receive the SEQ 1 Oscillator signals and the bottom 9 receive the Noise Generator signals.
The output pan for each filter is located in the Oscillator Effects section.
Sequencer Jammer
The sequencer jammer is used to alter the order of the sequencer steps and is split into two parts. (improvise and intercept)
Improvise changes the number of steps that the sequencer is playing, placing them in a random order, whilst still retaining a 16 beat loop that is in sync.
The Variation dial will cause the sequencer to slip in time, but the sequencer must catch up or it will go out of sync.
This is achieved by forcing the beats through a 16 beat grid, if they slip they won't play on that beat, depending on the settings the missing beats will bunch together elsewhere in the loop cycle. (the loop cycle will grow in size. (a 16 beat loop may become a 64 beat loop)
The Jammer adheres to a complex equation based on the fundamental laws of physics, (if you nick something from somewhere you have to put it back somewhere else) Otherwise the whole universe would disappear from existence and I would have waisted my time designing it. (not good)
The Chance dial randomly changes the order of the sequencer steps.
Intercept forces change to the tempo of the sequencer, whilst still taking it's cue from the master clock. (this is very useful in stand-alone mode when building loops for use as samples or playing against your song tempo)
The Reduce dial slows down the clock rate in intervals from 1 (no change) to 16 (100bpm will become 6.25bpm or 16 beats will = 256 beats)
The Increase dial speeds up the clock rate from 1 (no change) to...... Bonkers!
If the Sequencer Jammer is used to the extreme it'll just sound wrong, but it will still be in time with the master clock.
The gate clock of the sequencer can be used to control the LFO Filter Banks. (more later)
Improvise changes the number of steps that the sequencer is playing, placing them in a random order, whilst still retaining a 16 beat loop that is in sync.
The Variation dial will cause the sequencer to slip in time, but the sequencer must catch up or it will go out of sync.
This is achieved by forcing the beats through a 16 beat grid, if they slip they won't play on that beat, depending on the settings the missing beats will bunch together elsewhere in the loop cycle. (the loop cycle will grow in size. (a 16 beat loop may become a 64 beat loop)
The Jammer adheres to a complex equation based on the fundamental laws of physics, (if you nick something from somewhere you have to put it back somewhere else) Otherwise the whole universe would disappear from existence and I would have waisted my time designing it. (not good)
The Chance dial randomly changes the order of the sequencer steps.
Intercept forces change to the tempo of the sequencer, whilst still taking it's cue from the master clock. (this is very useful in stand-alone mode when building loops for use as samples or playing against your song tempo)
The Reduce dial slows down the clock rate in intervals from 1 (no change) to 16 (100bpm will become 6.25bpm or 16 beats will = 256 beats)
The Increase dial speeds up the clock rate from 1 (no change) to...... Bonkers!
If the Sequencer Jammer is used to the extreme it'll just sound wrong, but it will still be in time with the master clock.
The gate clock of the sequencer can be used to control the LFO Filter Banks. (more later)
Matrix Mixer Sends
MIXER SENDS
The Mixer sends the output from the Dynamic Filters to the Matrix Patch Bay via sends 1 and 2, the sends can be pre gain (PS 1 - PS 2) or post gain.
If pre gain is selected you can mix in or remove the post gain signal using the PS Mix dial. (D = dry W = wet)
The effect returns for the sends are located at the bottom right of the TR-84 along with the return for the LFO Filter Bank 1. (see the effects section for information about the filter banks)
The effects configuration of the TR-84 allows a very varied mix balance, with just a few tweaks to the Gain, Sends and the LFO Filter dial, will greatly alter the focus and balance of the stereo image.
MATRIX PATCH BAY
The matrix patch bay allows you to route the effects in any order and has 2 stereo buses.
Bus 1 (L & R) receives it's signal from send 1, bus 2 = send 2.
The effects are simply chained together out to in.
You can swap the stereo signals and mono the effects.
The Mixer sends the output from the Dynamic Filters to the Matrix Patch Bay via sends 1 and 2, the sends can be pre gain (PS 1 - PS 2) or post gain.
If pre gain is selected you can mix in or remove the post gain signal using the PS Mix dial. (D = dry W = wet)
The effect returns for the sends are located at the bottom right of the TR-84 along with the return for the LFO Filter Bank 1. (see the effects section for information about the filter banks)
The effects configuration of the TR-84 allows a very varied mix balance, with just a few tweaks to the Gain, Sends and the LFO Filter dial, will greatly alter the focus and balance of the stereo image.
MATRIX PATCH BAY
The matrix patch bay allows you to route the effects in any order and has 2 stereo buses.
Bus 1 (L & R) receives it's signal from send 1, bus 2 = send 2.
The effects are simply chained together out to in.
You can swap the stereo signals and mono the effects.
LFO Filter Bank
The filter banks will sync to the jammer, free run with a choice of waveforms or the LFO can be switched off turning the filter bank into 8 variable bandpass kill filters. (all dials down no signal will get through)
The 8 stereo filters are made up from 32 single pole HP and LP combined filters (16 left and 16 right), the filters are equally spaced from low to high, the position that each filter sits is set by the Shift dial (LFO phase linked), so as the LFO travels through it's range the filters will move up and down the spectrum and across the stereo field. (if the LFO is synced to the jammer the filters will jump in frequency and around the stereo field on each beat.
Filter Bank 1 is hard-wired pre-gain before the output of each dynamic filter and has it's own send and return settings. (zeroing the gain on the dynamic filter lets you use the filter bank as an eq, (providing you turn up the send and return dials) or as a type of phaser effect....... I'll let you work that one out.
Filter Bank 2 can be patched using the Matrix Patcher, giving you a wide choice of how the filters can affect the effects.
When using the sequencer(s) to sync the filter banks they will sync to the beat that is being triggered, pushing the phase on each beat, so you need to set the phase and filters to suit the sounds being triggered. (I think that makes sense, it's a play with and see what happens kind of thing)
One more thing - The Oscilloscopes do their best to show you whats going on with the waveform phase, they don't show you what the filters are doing, for that you need a pair of ears. (don't blame me if you spend hours watching the screens, I do and whats worse is I have a real CRT green screen oscilloscope, it's better than TV. (bragging)
One more, more thing - Filter Bank 1 gets it's sync from sequencer 1 and FB-2 gets it's from SEQ-2.
The 8 stereo filters are made up from 32 single pole HP and LP combined filters (16 left and 16 right), the filters are equally spaced from low to high, the position that each filter sits is set by the Shift dial (LFO phase linked), so as the LFO travels through it's range the filters will move up and down the spectrum and across the stereo field. (if the LFO is synced to the jammer the filters will jump in frequency and around the stereo field on each beat.
Filter Bank 1 is hard-wired pre-gain before the output of each dynamic filter and has it's own send and return settings. (zeroing the gain on the dynamic filter lets you use the filter bank as an eq, (providing you turn up the send and return dials) or as a type of phaser effect....... I'll let you work that one out.
Filter Bank 2 can be patched using the Matrix Patcher, giving you a wide choice of how the filters can affect the effects.
When using the sequencer(s) to sync the filter banks they will sync to the beat that is being triggered, pushing the phase on each beat, so you need to set the phase and filters to suit the sounds being triggered. (I think that makes sense, it's a play with and see what happens kind of thing)
One more thing - The Oscilloscopes do their best to show you whats going on with the waveform phase, they don't show you what the filters are doing, for that you need a pair of ears. (don't blame me if you spend hours watching the screens, I do and whats worse is I have a real CRT green screen oscilloscope, it's better than TV. (bragging)
One more, more thing - Filter Bank 1 gets it's sync from sequencer 1 and FB-2 gets it's from SEQ-2.
Send Effects
BOUNCE DELAY FLANGER
Stereo delay with variable left and right delay times, linked to a stereo flanger. (the flanger is actually 1st in the chain)
ATMOS SPACE
Stereo reverb with a pre delay and delay symmetry, low - mid - high eq followed by low and high cutoff filters, the pre delay, eq and filters give this reverb the ability to occupy a different space to the signal that it is receiving.
A technique that I have used more than once in the studio is to place a guitar amp on an effect send, mic it up as the return then use it as a pre send on the desk for the reverb and delays, a great way to turn a beautiful Atmos Space into a NastyVerb.
ROOM DESIGNER
Stereo reverb with independent control of the early and late reflections, plus modulation.
COMPRESSOR LIMITER
The Compressor is placed after the Channel Mixer on the stereo bus, before the Master Limiter.
The In dial sets the compression threshold, the Vu Meter behind the dial shows the amount of compression being applied to the audio signal. (the Vu can be switched from input level to gain reduction)
The out dial (with Vu) sets the Master Output Gain.
The Automatic Clip Limiter after the Compressor is just doing it's thing, no need to worry about it.
Stereo delay with variable left and right delay times, linked to a stereo flanger. (the flanger is actually 1st in the chain)
ATMOS SPACE
Stereo reverb with a pre delay and delay symmetry, low - mid - high eq followed by low and high cutoff filters, the pre delay, eq and filters give this reverb the ability to occupy a different space to the signal that it is receiving.
A technique that I have used more than once in the studio is to place a guitar amp on an effect send, mic it up as the return then use it as a pre send on the desk for the reverb and delays, a great way to turn a beautiful Atmos Space into a NastyVerb.
ROOM DESIGNER
Stereo reverb with independent control of the early and late reflections, plus modulation.
COMPRESSOR LIMITER
The Compressor is placed after the Channel Mixer on the stereo bus, before the Master Limiter.
The In dial sets the compression threshold, the Vu Meter behind the dial shows the amount of compression being applied to the audio signal. (the Vu can be switched from input level to gain reduction)
The out dial (with Vu) sets the Master Output Gain.
The Automatic Clip Limiter after the Compressor is just doing it's thing, no need to worry about it.
Activate MIDI Input
MIDI in is always active, just connect anything that transmits MIDI notes and all 16 generators will be at your fingertips.
SEQ 1 OSC
SEQ 1 GEN
SEQ 2 GEN
SEQ 2 OSC
OSC A = C3
OSC B = C#3
OSC C = D3
OSC D = D#3
OSC B = C#3
OSC C = D3
OSC D = D#3
Noise A = E3
Noise B = F3
Noise C = F#3
Noise D = G3
Noise B = F3
Noise C = F#3
Noise D = G3
Noise A = C4
Noise B = C#4
Noise C = D4
Noise D = D#4
Noise B = C#4
Noise C = D4
Noise D = D#4
OSC A = G#3
OSC B = A3
OSC C = A#3
OSC D = B3
OSC B = A3
OSC C = A#3
OSC D = B3
You can play whilst the sequencers are running adding beats to the loop in real time.