Manual reaktor 6 free. Native Instruments Reaktor 6 manual

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

The fuel channels consist of welded zircaloy pressure tubes 8cm in inner diameter with 4mm thick walls, led through the channels in the center of the graphite moderator blocks. The top and bottom parts of the tubes are made of stainless steel , and joined with the central zircaloy segment with zirconium-steel alloy couplings. The pressure tube is held in the graphite stack channels with two alternating types of 20mm high split graphite rings; one is in direct contact with the tube and has 1.

The pressure tubes are welded to the top and bottom plates of the reactor vessel. While most of the heat energy from the fission process is generated in the fuel rods, approximately 5. This energy must be removed to avoid overheating the graphite.

The rest of the graphite heat is removed from the control rod channels by forced gas circulation through the gas circuit. There are fuel channels and control rod channels in the first generation RBMK reactor cores. The seal plug has a simple design, to facilitate its removal and installation by the remotely controlled online refueling machine. The fuel channels may, instead of fuel, contain fixed neutron absorbers, or be filled completely with cooling water.

They may also contain silicon-filled tubes in place of a fuel assembly, for the purpose of doping for semiconductors. These channels could be identified by their corresponding servo readers, which would be blocked and replaced with the atomic symbol for silicon. The small clearance between the pressure channel and the graphite block makes the graphite core susceptible to damage.

If a pressure channel deforms, e. The fuel pellets are made of uranium dioxide powder, sintered with a suitable binder into pellets The material may contain added europium oxide as a burnable nuclear poison to lower the reactivity differences between a new and partially spent fuel assembly.

A 2mm hole through the axis of the pellet serves to reduce the temperature in the center of the pellet and facilitates removal of gaseous fission products.

The rods are filled with helium at 0. Retaining rings help to seat the pellets in the center of the tube and facilitate heat transfer from the pellet to the tube. The pellets are axially held in place by a spring.

Each rod contains 3. The fuel rods are 3. The fuel assemblies consist of two sets “sub-assemblies” with 18 fuel rods and 1 carrier rod. The fuel rods are arranged along the central carrier rod, which has an outer diameter of 1. All rods of a fuel assembly are held in place with 10 stainless steel spacers separated by mm distance.

The two sub-assemblies are joined with a cylinder at the center of the assembly; during the operation of the reactor, this dead space without fuel lowers the neutron flux in the central plane of the reactor.

The total mass of uranium in the fuel assembly is The total length of the fuel assembly is In addition to the regular fuel assemblies, there are instrumented ones, containing neutron flux detectors in the central carrier. In this case, the rod is replaced with a tube with wall thickness of 2. The refueling machine is mounted on a gantry crane and remotely controlled. The fuel assemblies can be replaced without shutting down the reactor, a factor significant for production of weapon-grade plutonium and, in a civilian context, for better reactor uptime.

When a fuel assembly has to be replaced, the machine is positioned above the fuel channel: then it mates to the latter, equalizes pressure within, pulls the rod, and inserts a fresh one. The spent rod is then placed in a cooling pond. The capacity of the refueling machine with the reactor at nominal power level is two fuel assemblies per day, with peak capacity of five per day.

The total amount of fuel under stationary conditions is tons. Most of the reactor control rods are inserted from above; 24 shortened rods are inserted from below and are used to augment the axial power distribution control of the core.

With the exception of 12 automatic rods, the control rods have a 4. The role of the graphite section, known as “displacer”, is to enhance the difference between the neutron flux attenuation levels of inserted and retracted rods, as the graphite displaces water that would otherwise act as a neutron absorber, although much weaker than boron carbide; a control rod channel filled with graphite absorbs fewer neutrons than when filled with water, so the difference between inserted and retracted control rod is increased.

When the control rod is fully retracted, the graphite displacer is located in the middle of the core height, with 1. The displacement of water in the lower 1. This “positive scram” effect was discovered in at the Ignalina Nuclear Power Plant. The narrow space between the rod and its channel hinders water flow around the rods during their movement and acts as a fluid damper, which is the primary cause of their slow insertion time nominally 18—21 seconds for the reactor control and protection system rods, or about 0.

After the Chernobyl disaster, the control rod servos on other RBMK reactors were exchanged to allow faster rod movements, and even faster movement was achieved by cooling of the control rod channels by a thin layer of water between an inner jacket and the Zircaloy tube of the channel while letting the rods themselves move in gas. The division of the control rods between manual and emergency protection groups was arbitrary; the rods could be reassigned from one system to another during reactor operation without technical or organizational problems.

Additional static boron-based absorbers are inserted into the core when it is loaded with fresh fuel. About absorbers are added during initial core loading. These absorbers are gradually removed with increasing burnup. The reactor’s void coefficient depends on the core content; it ranges from negative with all the initial absorbers to positive when they are all removed. The moisture and temperature of the outlet gas is monitored; an increase of them is an indicator of a coolant leak.

The reactor has two independent cooling circuits, each having four main circulating pumps three operating, one standby that service one half of the reactor. The cooling water is fed to the reactor through lower water lines to a common pressure header one for each cooling circuit , which is split to 22 group distribution headers, each feeding 38—41 pressure channels through the core, where the coolant boils.

The mixture of steam and water is led by the upper steam lines, one for each pressure channel, from the reactor top to the steam separators , pairs of thick horizontal drums located in side compartments above the reactor top; each has 2. The resulting feedwater is led to the steam separators by feedwater pumps and mixed with water from them at their outlets. From the bottom of the steam separators, the feedwater is led by 12 downpipes from each separator to the suction headers of the main circulation pumps, and back into the reactor.

The turbine consists of one high-pressure rotor cylinder and four low-pressure ones. Five low-pressure separators-preheaters are used to heat steam with fresh steam before being fed to the next stage of the turbine. The uncondensed steam is fed into a condenser, mixed with condensate from the separators, fed by the first-stage condensate pump to a chemical ion-exchange purifier, then by a second-stage condensate pump to four deaerators where dissolved and entrained gases are removed; deaerators also serve as storage tanks for feedwater.

From the deaerators, the water is pumped through filters and into the bottom parts of the steam separator drums. Each pump has a flow control valve and a backflow preventing check valve on the outlet, and shutoff valves on both inlet and outlet.

Each of the pressure channels in the core has its own flow control valve so that the temperature distribution in the reactor core can be optimized. Each channel has a ball type flow meter.

With few absorbers in the reactor core, such as during the Chernobyl accident, the positive void coefficient of the reactor makes the reactor very sensitive to the feedwater temperature. Bubbles of boiling water lead to increased power, which in turn increases the formation of bubbles. If the coolant temperature is too close to its boiling point, cavitation can occur in the pumps and their operation can become erratic or even stop entirely.

At low reactor power, therefore, the inlet temperature may become dangerously high. The water is kept below the saturation temperature to prevent film boiling and the associated drop in heat transfer rate. The reactor is tripped in cases of high or low water level in the steam separators with two selectable low-level thresholds ; high steam pressure; low feedwater flow; loss of two main coolant pumps on either side. These trips can be manually disabled.

The level of water in the steam separators, the percentage of steam in the reactor pressure tubes, the level at which the water begins to boil in the reactor core, the neutron flux and power distribution in the reactor, and the feedwater flow through the core have to be carefully controlled.

The level of water in the steam separator is mainly controlled by the feedwater supply, with the deaerator tanks serving as a water reservoir. The reactor is equipped with an emergency core cooling system ECCS , consisting of dedicated water reserve tank, hydraulic accumulators, and pumps. ECCS piping is integrated with the normal reactor cooling system. The ECCS has three systems, connected to the coolant system headers.

In case of damage, the first ECCS subsystem provides cooling for up to seconds to the damaged half of the coolant circuit the other half is cooled by the main circulation pumps , and the other two subsystems then handle long-term cooling of the reactor. The short-term ECCS subsystem consists of two groups of six accumulator tanks, containing water blanketed with nitrogen under pressure of 10 megapascals 1, psi , connected by fast-acting valves to the reactor. The third group is a set of electrical pumps drawing water from the deaerators.

The short-term pumps can be powered by the spindown of the main turbogenerators. ECCS for long-term cooling of the damaged circuit consists of three pairs of electrical pumps, drawing water from the pressure suppression pools; the water is cooled by the plant service water by means of heat exchangers in the suction lines.

Each pair is able to supply half of the maximum coolant flow. ECCS for long-term cooling of the intact circuit consists of three separate pumps drawing water from the condensate storage tanks, each able to supply half of the maximum flow.

Some valves that require uninterrupted power are also backed up by batteries. The distribution of power density in the reactor is measured by ionization chambers located inside and outside the core. The physical power density distribution control system PPDDCS has sensors inside the core; the reactor control and protection system RCPS uses sensors in the core and in the lateral biological shield tank.

The external sensors in the tank are located around the reactor middle plane, therefore do not indicate axial power distribution nor information about the power in the central part of the core. There are over radial and 12 axial power distribution monitors, employing self-powered detectors.

Reactivity meters and removable startup chambers are used for monitoring of reactor startup. Total reactor power is recorded as the sum of the currents of the lateral ionization chambers. The moisture and temperature of the gas circulating in the channels is monitored by the pressure tube integrity monitoring system. The RCPS system consists of movable control rods.

Both systems, however, have deficiencies, most noticeably at low reactor power levels. Below those levels, the automatic systems are disabled and the in-core sensors are not accessible. Without the automatic systems and relying only on the lateral ionization chambers, control of the reactor becomes very difficult; the operators do not have sufficient data to control the reactor reliably and have to rely on their intuition.

During startup of a reactor with a poison-free core this lack of information can be manageable because the reactor behaves predictably, but a non-uniformly poisoned core can cause large nonhomogenities of power distribution, with potentially catastrophic results.

The reactor emergency protection system EPS was designed to shut down the reactor when its operational parameters are exceeded. However, the slow insertion speed of the control rods, together with their design causing localized positive reactivity as the displacer moves through the lower part of the core, created a number of possible situations where initiation of the EPS could itself cause or aggravate a reactor runaway.

Its purpose was to assist the operator with steady-state control of the reactor. Ten to fifteen minutes were required to cycle through all the measurements and calculate the results. SKALA could not control the reactor, instead it only made recommendations to the operators, and it used s computer technology. The operators could disable some safety systems, reset or suppress some alarm signals, and bypass automatic scram , by attaching patch cables to accessible terminals.

This practice was allowed under some circumstances. The reactor is equipped with a fuel rod leak detector. A scintillation counter detector, sensitive to energies of short-lived fission products, is mounted on a special dolly and moved over the outlets of the fuel channels, issuing an alert if increased radioactivity is detected in the steam-water flow.

In RBMK control rooms there are two large panels or mimic displays representing a top view of the reactor. One display is made up mostly or completely in first generation RBMKs of colored dials or rod position indicators: these dials represent the position of the control rods inside the reactor and the color of the housing of the dials matches that of the control rods, whose colors correspond to their function, for example, red for automatic control rods.

The other display is a core map or core channel cartogram and is circular, is made of tiles, and represents every channel on the reactor. Some of these payment methods might not be supported in your country. Learn more. Capturing every nuance in spectacular detail, this is the holy grail of analog modeling. Years of meticulous research capture every nuance of the synth at the center of four decades of popular music. Reactor start up criticality is achieved by withdrawing control rods from the core to raise core reactivity to a level where it is evident that the nuclear chain reaction is self-sustaining.

This is known as “going critical”. Control rod withdrawal is performed slowly, as to carefully monitor core conditions as the reactor approaches criticality. When the reactor is observed to become slightly super-critical, that is, reactor power is increasing on its own, the reactor is declared critical. Rod motion is performed using rod drive control systems. This allows a reactor operator to evenly increase the core’s reactivity until the reactor is critical.

Older BWR designs use a manual control system, which is usually limited to controlling one or four control rods at a time, and only through a series of notched positions with fixed intervals between these positions. Due to the limitations of the manual control system, it is possible while starting-up that the core can be placed into a condition where movement of a single control rod can cause a large nonlinear reactivity change, which could heat fuel elements to the point they fail melt, ignite, weaken, etc.

As a result, GE developed a set of rules in called BPWS Banked Position Withdrawal Sequence which help minimize the effect of any single control rod movement and prevent fuel damage in the case of a control rod drop accident.

Then, either all of the A control rods or B control rods are pulled full out in a defined sequence to create a ” checkerboard ” pattern. Next, the opposing group B or A is pulled in a defined sequence to positions 02, then 04, 08, 16, and finally full out Transition boiling is the unstable transient region where nucleate boiling tends toward film boiling.

A water drop dancing on a hot frying pan is an example of film boiling. During film boiling a volume of insulating vapor separates the heated surface from the cooling fluid; this causes the temperature of the heated surface to increase drastically to once again reach equilibrium heat transfer with the cooling fluid.

In other words, steam semi-insulates the heated surface and surface temperature rises to allow heat to get to the cooling fluid through convection and radiative heat transfer. Nuclear fuel could be damaged by film boiling; this would cause the fuel cladding to overheat and fail. In essence, the vendors make a model of the fuel assembly but power it with resistive heaters. These mock fuel assemblies are put into a test stand where data points are taken at specific powers, flows, pressures.

Experimental data is conservatively applied to BWR fuel to ensure that the transition to film boiling does not occur during normal or transient operation. To illustrate the response of LHGR in transient imagine the rapid closure of the valves that admit steam to the turbines at full power. This causes the immediate cessation of steam flow and an immediate rise in BWR pressure.

This rise in pressure effectively subcools the reactor coolant instantaneously; the voids vapor collapse into solid water. So, when the reactor is isolated from the turbine rapidly, pressure in the vessel rises rapidly, which collapses the water vapor, which causes a power excursion which is terminated by the Reactor Protection System. If a fuel pin was operating at The FLLHGR limit is in place to ensure that the highest powered fuel rod will not melt if its power was rapidly increased following a pressurization transient.

Abiding by the LHGR limit precludes melting of fuel in a pressurization transient. APLHGR, being an average of the Linear Heat Generation Rate LHGR , a measure of the decay heat present in the fuel bundles, is a margin of safety associated with the potential for fuel failure to occur during a LBLOCA large-break loss-of-coolant accident — a massive pipe rupture leading to catastrophic loss of coolant pressure within the reactor, considered the most threatening “design basis accident” in probabilistic risk assessment and nuclear safety and security , which is anticipated to lead to the temporary exposure of the core; this core drying-out event is termed core “uncovery”, for the core loses its heat-removing cover of coolant, in the case of a BWR, light water.

BWR designs incorporate failsafe protection systems to rapidly cool and make safe the uncovered fuel prior to it reaching this temperature; these failsafe systems are known as the Emergency Core Cooling System. The ECCS is designed to rapidly flood the reactor pressure vessel, spray water on the core itself, and sufficiently cool the reactor fuel in this event. However, like any system, the ECCS has limits, in this case, to its cooling capacity, and there is a possibility that fuel could be designed that produces so much decay heat that the ECCS would be overwhelmed and could not cool it down successfully.

So as to prevent this from happening, it is required that the decay heat stored in the fuel assemblies at any one time does not overwhelm the ECCS. APLHGR is monitored to ensure that the reactor is not operated at an average power level that would defeat the primary containment systems.

Their approach is to simulate worst case events when the reactor is in its most vulnerable state. During the first nuclear heatup, nuclear fuel pellets can crack. The jagged edges of the pellet can rub and interact with the inner cladding wall.

During power increases in the fuel pellet, the ceramic fuel material expands faster than the fuel cladding, and the jagged edges of the fuel pellet begin to press into the cladding, potentially causing a perforation. To prevent this from occurring, two corrective actions were taken. The first is the inclusion of a thin barrier layer against the inner walls of the fuel cladding which are resistant to perforation due to pellet-clad interactions, and the second is a set of rules created under PCIOMR.

This means, for the first nuclear heatup of each fuel element, that local bundle power must be ramped very slowly to prevent cracking of the fuel pellets and limit the differences in the rates of thermal expansion of the fuel. PCIOMR analysis look at local power peaks and xenon transients which could be caused by control rod position changes or rapid power changes to ensure that local power rates never exceed maximum ratings.

From Wikipedia, the free encyclopedia. Type of nuclear reactor that directly boils water. For the equation of state, see Benedict—Webb—Rubin equation. This section does not cite any sources. Please help improve this section by adding citations to reliable sources.

Unsourced material may be challenged and removed. July Learn how and when to remove this template message. Main articles: Nuclear reactor core and Fuel rod. Main article: Boiling water reactor safety systems. In the foreground is the lid of the drywell or primary containment vessel PCV. Main article: Advanced boiling water reactor. This section needs attention from an expert in Nuclear technology. The specific problem is: technical section has been alleged by an editor to contain certain factual inaccuracies.

See the talk page for details. WikiProject Nuclear technology may be able to help recruit an expert. December Retrieved Morgan, Exelon Nuclear 15 November Retrieved 20 March Managing water addition to a degraded core.

 
 

 

Manual reaktor 6 free. Reaktor 6.4 lets all builders make their own Blocks for Racks – hello, more modular toys

 

Racks fixed that, but only for official NI Blocks or licensed modules. Everything is included in Reaktor 6. Reaktor 6. The Reaktor User Library is already full of tons of amazing user-created stuff.

Now it benefits from all the features of working in Racks. And working inside Racks tends to solve some confusing parameter mapping that happens with Reaktor patches. Builders making their own Blocks need to update their creations to add front-panel patches which of course is the whole fun of this. See below. Primary also includes a built-in library of pre-defined Macros, most of which include GUI elements and so provide another quick way to assemble effects and synths.

Core is where you get down to the nitty-gritty of things. Core modules can only be created inside of a Core Cell and allow a deeper level of control over proceedings, and complex DSP routines to be created. After a Core Cell has been edited, Reaktor compiles the structure into efficient-to-run machine code.

While Core editing looks similar to Primary editing, and Core contains many useful modules and its own library of pre-built Macros, it is in fact much more akin to writing program code due to the concepts it uses. Terminals on the left of a module are inputs, while those on the right of a module are outputs. Connecting the modules is simply a case of dragging between inputs and outputs to create signal paths. This means the event terminals run at a lower data rate than do audio terminals, and so the two can generally not be interconnected without using a converter module in-between there are some exceptions to this, but using them can weigh heavily on CPU usage.

Step 1: Fire up Reaktor in standalone mode, create a new Ensemble, and adjust the split-screen layout to taste. Step 2: Click an empty area of the editor and hit [Enter] or [Return] to open the Searchbox. Take a moment to hold the mouse pointer over the new ports and their terminals to read the popup hint text.

Right-click in the editor and select New Macro from the popup menu. O is mono, 1 is original stereo, 2 is extra stereo. Tresh Sets the point at which the compressor will begin to work in db. Levels below this threshold remain unprocessed. Ratio Adjusts the ratio of the input level to the output level after compression. Think of it as a slope control for the attack time. Drives the band into saturation. Link Activates stereo linking of the two input channels.

When active, the com- pressor takes the max of the left and right peak levels and uses it for both channels. This preserves a clean stereo image and is lighter on CPU cycles. Att This dial adjusts the attack time. It is the time the compressor takes to react to an above-threshold signal. Rel With this control you set the release time. This is the time the compres- sor takes to return the signal to normal when it falls below the compres- sion threshold. Out Gain Sets the amount of amplification applied to the compressed signal of the specific band before it gets mixed with the other bands.

Bypass Bypasses the compressor for the respective band. Mute Turns the sound of the respective band off. Solo Turns all other bands off, leaving only the signal of the soloed band. Use it to fine tune single compressor bands. For clean mastering purposes we recommend a limiter threshold setting of about -3 to -4 db and a peak setting at Odb. Should pumping ef- fects be desired, adjust the threshold to more extreme values. Control Function Thr Adjusts the threshold of the limiter. Levels above this value get processed.

Peak Adjusts the hard limit of the signal. No signal will exceed this limit. Rel This adjusts the release time. It is the time the limiter takes to return the signal to normal when it falls below the limiting threshold. If you want compression without amplification set it to O and make sure there is no change in lev- el when toggling the Bypass button. Flatblaster combines four frequency-specific compressors with a full-spectrum peak-limiter.

Each of the compressors has a saturator, so you could saturate just the upper- mid frequencies, for instance, without muddying the bass. It also makes an excellent de-esser and sibilant reducer.

A full range of presets shows off its capabilities and gives good starting points for tweaking the effect for your sound.

Try experimenting with muting, soloing, and by- passing each individual band so you can carefully hear what the ‘blaster’s doing. Be careful when adjusting the saturation of each band! The sound can potentially get very loud if you don’t first reduce the make-up gain the knob labeled Gain to the right of the Sat knob. Each frequency band is processed by an independent, identical compressor. Each band can be muted, soloed, and bypassed no compression. The signal is summed be- fore going through a full-band peak limiter, which can also be independently bypassed.

The master bypass for the effect is located to the right of the input meters, above the crossover set- tings. In fact, they have to be! If they weren’t, then unwanted phase shifts could creep in. Each compressor gives control over saturation, sat- uration makeup gain, threshold, compression ratio, adjustable knee, attack, release, and out- put makeup gain. Note that the Ratio has to be higher than O for the compressor to have any effect – at a Ration of 1 maximum , the compressor acts as a limiter.

The red meters show the amount of peak reduction. The Attack and Release knobs control how the compressor responds to transient signals. The Threshold slider controls when the peak limiter will start working. With Threshold at O, the peak limiter will have no effect. For mastering, it’s recommended to have the Threshold set to around -3 or -4 dB. Severe Threshold settings will lead to pumping, which may or may not be desirable.

The Attack and Release knobs control how the peak limiter responds to transient signals. The final Peak slider sets the output level of the signal. When Peak is set to its maximum O dB, then the audio will be as loud as possible. There’s really no reason to ever set Peak lower than this, unless you needed to ensure a certain amount of headroom. Two distinct diffusion engines are chained to- gether to create an extremely wide range of effects.

Each finely-tuned diffusion engine consists of four stereo modulation delays and an innovative graphical display that shows the actual de- lay time for each delay. Just five controls control the core parameters of each diffusion engine. This preset only uses the Chor Fusion diffusion engine. Play with the Diff Dly knob – note how the graphic dis- play constantly updates to show you the current delay times.

Stop the incoming audio to listen to the sound’s decay. Play with Dly Mod and Speed to see what effect they have on the sound and the graphic. Be sure to check out all the other presets to see how versatile this effect can be! It’s important to note that the two en- gines are similar but not identical – they each offer unique sound-shaping capabilities. The first diffuser, Chor Fusion, is the simpler of the two and is designed for early reflections, cho- ruses, and atmosphere.

If offers a high and low shelf EQ, with a graphical display of the EQ curve. The second diffusion engine, Echo Fusion, adds a feedback delay before the diffusion delays.

The diffusion delays in the Chor and Echo engines are identical. Echo Fusion is per- fectly tailored to late reflections, long delays, and long reverbs. A highpass filter HP cuts the low frequencies after the delay and before the diffusors, while a lowpass filter LP can reduce the brightness at the last step. The input to the Echo Fusion engine can be switched between the dry signal, and the signal coming out of Chor Fusion.

Each section can also be switched on or off to save CPU. As mentioned above, Echo fusion adds a single feeback delay before the diffusion delays, but the operation of the diffusion delay section is identical per effect. Each diffusion delay consists of four ster- eo modulation delays and an innovative graphical display that shows the actual delay time of each delay. The main delay time is controlled by the Diff Dly knob. Speed controls the speed of the LFO.

Stereo sets the stereo spread of the delays, and Diffusion sets the inaccuracy of the delay times. The sum effect of these five knobs is graphically shown in the display underneath, where each “pendulum” represents the delay time of a single delay. Taking advantage of Reaktor 4’s grain cloud delay module, GrainStates lets you create granular soundscapes in realtime. You can even freeze the live audio – imagine playing a guitar into Grainstates, freezing the audio, then playing a counterpoint to the granular texture.

Eight scenes – each scene storing information about grain size, density, pitch, pitch spread, and more – are sequentially recalled in sync with the master tempo. A dual-frequency delay adds depth to the sound by letting you specify independent delay and feedback times for the high and low frequencies.

GrainStatesFX is an effect using the grain cloud delay that works on live input, while GrainStatesSP is centered around the grain cloud sampler module.

Since the sound passes through the ensemble, how- ever, there’s no way to save the sound data with the preset. GrainStatesSP stores the sample with the preset so it can easily be recalled at a later time, but you must first load your sound into the grain cloud sampler. To freeze the buffer, press the Freeze button to the left of this graphical display.

If you stop the system clock, the sound will continue, but the scenes won’t advance. GrainStatesSP: Start the system clock and step through the presets. GrainStatesFX is based on two for true stereo operation grain cloud delay modules, while GrainStatesSP is based on a single grain cloud sampler module. Both the grain cloud delay and grain cloud sampler have identical controls, with the grain cloud delay adding the ability to freeze the sound. All of GrainState’s controls with the exception of the 2Band Delay are used to control the grain cloud.

A master sequencer runs through eight scenes are run through sequentially, with each scene providing control over various granular parameters. Every scene can have its own length, setta- ble by the Ln slider, whose units are set in the Seq Control macro.

You can also set the total number of scenes NrSt , and if you want to disable the scene sequencer simply click on “man” and you can select a scene manually with the SelS knob. Each scene provide control over pitch jitter PJ: amount of pitch randomization, in semitones , pitch shift PS: in semitones , transposition TP: in semitones , volume Lvl , and an XY panel lets you set two parameters graphically at once: The horizontal axis sets the start position of the grain relative to the graphical display on top of the internal buffer , while the vertical axis sets the length of the grain.

Three additional knobs provide control over the smoothness of scene transitions, and the grain density smear Smr.

Res adjusts the resonance of both filters, while Byps disables the filter. The output of the filters is fed back into the grain cloud delay, with feedback independently adjustable per scene with the FB slider to the right of the XY control. The feedback is only ac- tive then the grain cloud delay is not frozen.

When the grain cloud delay is frozen, it ignores any signal to its inputs. The cutoff and resonance of the filter that splits the two bands is determined by the Frq and Res knobs. In the global parameters, you can set the global attack and decay of the grains, and the amount of pan jitter stereo randomization. GrainStatesFX only: the Move macro controls a built-in ramp oscillator that controls the delay time.

The Steady knob is the amount of delay modulation – when at zero, then the ramp oscil- lator does not change the delay time. In GrainStates, however, all notes are the same length, regardless of pitch. When “mSel” is active, each scene is map- ped onto a note pitch between 48 and 59 only the white keys of a keyboard ; by pressing one of the notes the respective scene is selected. With the Split knob you can specify another key- range that recalls scenes.

Longflow In Longflow, all controls that are vertically mirrored are separate controls for left and right. Left is the top channel, and R is underneath. Use mid position for no level change. Together with the lowpass filter that is controlled by the higher bounding frequency, they perform a bandpass filter- ing.

Together with the highpass filter that is controlled by the lower bounding frequency, they perform a bandpass filter- ing. The display shows the delay time in 16th notes accord- ing to the MIDI tempo. Turn right for higher rates, i. Turn right for higher amplitudes, i.

Turn right to enhance very quiet signals, esp. Be careful with this knob as also quiet noise and clicks etc. Its effect increases if the drive knobs are turn to the left. Quick Start As an effect unit, Resochord requires an input signal. Signal-flow Overview First the input signal passes through an optional high-pass filter and is then routed to the main resonators. The output from the resonators is passed on to a high shelf equalizer Refresh and a dynamic range controller Norm before it is mixed again with the dry, unprocessed input sig- nal and sent to the output.

Regardless of the control method, the pitch of the resonators is al- ways displayed in the 6 values at the top of the Chord Structure menu. This mode enables live play as with any keyboard instrument. Direct Pitch Manual enables the 6 large pitch knobs at the bottom of the Chord Structure section. The Slot modes allow the user to store and recall the pitch of the resonators in 6 memory slots.

This offers an alternative method of live performance especially for those with lesser keyboard skills! Alternatively, in Slot Manual mode, the 6 slots can be recalled by the 6 slot buttons on the panel. To store a pitch configuration to a slot, select Record to Slot, then select the desired destination slot by clicking on the appropriate slot button.

In Manual mode, firstly configure the desired 6 pitches using the knobs in the Chord Structure section, and then press Store. As mentioned above, the 6 values at the top of this section display the current pitch- es of the resonators. The 6 knobs at the bottom are used for defining the 6 pitches in manual pitch modes. The main window allows configuration of various parameters for the 6 resonators.

Ad- justable parameters are Lev volume level , FB resonator feedback amount , Cut fil- ter cutoff , Fine fine pitch adjustment , LFO amplitude modulation depth by the LFO , and Pan position in the left-right stereo field. Then click and draw in the main window to edit the parameter for the 6 resonators. InitSel or InitAll reset the values for the 6 resonators for either the selected parame- ter, or all parameters respectively. The Clip lamp will light if the input signal is too loud.

Highpass This section applies a 12db highpass filter to each of the 6 resonators. Placement defines the filter’s position within the signal flow. It can be placed before the main comb filter section Pre or after it Post , or disabled altogether Off. Resonator Diffuse Feedback A resonator is essentially a feedback loop with a short delay time, the length of which determines the resonator pitch.

While the specific configuration of the 6 resonators is defined in the Chord Structure section, the Resonator section allows configuration of 2 global parameters — the Feedback Filter mode lowpass or notch and the method of Feedback Control, required to prevent overflow from the feedback.

Sat and Clip offer soft-curve, or hard-clipping of feedback above Odb, and both work on individual sam- ples, whereas Limit operates more akin to an analog compressor, reducing the volume of the feedback when the signal exceeds Odb.

The Diffuse Feedback unit applies an allpass filter to the feedback chain that adjusts the signal’s phase for interference effects. Color sets the center frequency As the filtered signal is added to the unfiltered one, some special interference effects be- come audible. Amount sets the amount of diffuse feedback.

This is a bipolar control — when cen- tered there is no feedback, at the right there is normal feedback, and at the left the feedback signal is inverted for special interference with the allpass filter. In essence it is an additional resonator stage without feedback for the output of each main resona- tors.

The Ratio knob adjusts the ratio between the original pitch and the additional har- monic pitch. It ranges from infinitely higher at hard-left to 1 octave higher i. Refresh Sets the amount of amplification Odb to 10db applied to frequencies above 1 kHz. Norm Enabling this section maximizes the volume of the output signal. Output W.

Srce Wet Source determines whether the output signal is taken from the begin- ning of the comb filter’s feedback loop Pre , or from the end Post. If the former, the dry, unprocessed signal is more prominent in the wet signal. Amp sets the amplitude of the wet signal before it is mixed with the dry signal. Global Pitch Coarse and Fine shift the overall pitch of the resonators in semitones.

PB sets the pitch bend range in semitones, and NP! Hold adjusts the length of the hold period of the envelope follower after an envelope peak in the input signal 1 to msec , and Release adjusts the length of the release period FB, Cut and Colour define the extent to which the envelope follower modulates resona- tor feedback, cutoff and diffuse feedback colour respectively. Note that as that FB is unipolar, setting to hard-left results in no modulation, where- as Cut and Colour are bipolar, and thus setting to centre results in no modulation.

Width sets the symme- try of the LFO shape. Delay specifies the amount to which the LFO modulates the resonators delay time i. Based on several diffusion delays, Space Master 2 can produce a wide array of high-quality natural or experimental ambiences.

The patch’s efficient set of reverb parameters include an early reflections section, a late reflections module and a post EQ. Dials for main reverb time, control of balance between the two reflection stages, and between dry and wet signal round off the controls. Symmetry Introduces a difference into the delay times for the right and left predelay channels. Use this to shift the signal around in the stereo image. The early stage commonly represents the direct response of the virtual space, whereas the late reflections define the sound when the early reflections have died away.

For dynamic reverb effects you can use the Modulation section. The LFO can enhance your reverb signal by adding liveliness. Higher values give the impression of larger spaces. Symmetry Introduces a stereo shift into the generated reflections. Diffusion Adjusts the perceived density of the generated reflections.

Dial for a sparser or fuller reverb sound. Depth This adjusts the LFO’s modulation depth. Higher values give you higher ampli- tude of the modulation. The Damping EQs are integrated into the reflection stages and influence their frequency responses. The Post EQ acts on the main out- put of the patch should be used to color the overall sound.

Section Control Function Frequency Low Frequency Low shelving filter that cuts into diffusion delay frequency re- Damping Dam sponse of both early and late reflections. Use the horizontal slid- P er to adjust cutoff frequency and the vertical slider to adjust cut or boost. High Frequency High shelving filter that cuts into diffusion delay frequency re- Dam sponse of both early and late reflections. Boost Use the horizontal slider to adjust cutoff frequency.

The vertical slider adjusts cut or boost. Use the horizontal slider to adjust cutoff frequency. Space- master uses two different Diffusion modules to achieve stunningly convincing room sounds. Quick Start To really get a feel for the kinds of lush atmospherics SpaceMaster can provide, it’s a good idea to either hook a beat looper or external sound source up to it, or, to utilize it in plugin mode in your favorite audio sequencer.

Stepping through the presets should give you a good impression of the kinds of real and imaginary spaces SpaceMaster can emulate. Adjusting the controls of the Early and Late Diffusion modules will have the most effect on the sound, and will give you an idea of how the two main components interact in creating ambiences – espe- cially since they can be arranged in serial or parallel signal paths.

Read on below to learn about the specifics of the Quad and Surround flavors of SpaceMaster reverb. The PreDelay XY pad adds control for the center channel.

The signal for the forward speakers is referred to as the Front signal, while the signal for the rear speakers is referred to as the Surround, or Sur, signal. In the Input section, you can adjust the gain for Front and Sur signals to determine how much signal sour- ces reaches each signal chain. The overall PreDelay time can be controlled by the Time fader.

The Early Diffusion section is also simplified, offering only Size and high frequency Cut con- trols for both Front and Surround diffusion signals. Re- fer to the description above the learn how it works. The Diffusion modules can be combined together to create a complex impression of space. By adjusting the balance of the Early and Late diffusion mod- ules, you can precisely move the origin of the reflections from near to far or front to back , making SpaceMaster perfect for Surround mixing situations in which a truly room-filling reverb can be created.

The Input section, at the fat left, allows you to trim the input gain to avoid overloading the au- dio signal. The input is next processed by the PreDelay. Use this to add an initial delay to the wet signal. You can bypass the PreDelay with the Byps button. Next in the signal path, the Early Diffusion module, which is actually a series of up to 12 dif- fusion delays, provides the near reverb processing.

The Size control allows you to determine the range of space that the close reflections will be generated by. It changes delay time in mil- liseconds. The Diffusion knob lets you adjust the density of the reverb signal. To further adjust the reverb depth of the Early Diffusion module, the Mode switch allows you to select 6 or 12 diffusion modules. Watch your CPU load carefully to make sure your computer can handle the strain of processing with 12 or 24 diffusion modules.

The Damp knob controls the frequency of a 1-pole low pass filter for attenuating high frequencies. As in the PreDelay section, clicking the Byps button will take the Early Diffusion module out of the signal path. The Routing switch, located between the Early and Late Diffusion modules, lets you determine how the input signal will be routed through the two modules. The Ser button engages Serial mode, where the Early Diffusion module is simply routed directly into the Late module.

The Par switch engages Parallel mode, allowing the Early and Late modules to maintain separate signal paths, until they are mixed at the EQ module. This is a great way to change the percep- tion of location within a space, by shifting between the early and late reverb sounds to make seem like a sound is moving around inside of the “room”.

The Late Diffusion module provides the capabilities for creating a larger and more richly de- fined space. The Size and Diffusion knobs work the same way as those in the Early section, but there a few new options.

The RT knob controls a feedback loop, allowing you to stretch out the apparent reverb time, or the time it takes for the echo to return to the point of origin. You can modulate the delay time and apparent position of the reverb signal by using the modulation controls. You can create complex modulations by adjusting the balance of sine wave and random LFOs. The Freq knob controls the rate of both LFOs together. As in the Early section, 6 or 12 diffusion modules can be selected with the Mode switch.

This section can also be by- passed with the Byps button. The EQ consists of stereo low shelf, parametric, and high shelf filters. Starting at the left, the Lo knob lets you control at- tenuation or boost of the low frequency set with the Frq immediately above. The Mid knob con- trols the parametric EQ band. The Frq and Q knobs above it let you adjust the frequency and bandwidth of the parametric.

The Hi knob controls attenuation of the high shelf filter. Use the Frq immediately above the Hi knob to adjust the frequency. As in the other modules, the EQ can be taken offline with the Byps button.

Finally, the mixture of wet and dry signal can be adjusted to taste with the Mix knob in the output section. While Spring Tank isn’t exactly a physical model of a spring, it goes a long way toward recreating the spring reverb characteristics: dull, transducer-saturated, and boingy, with the familiar nonlinear reso- nating decay.

It allows control over the elements of the “spring’s” mor- phology, so you can design your own spring. High levels here can introduce transducer saturation which is not such a bad thing. The signal is then fed into the spring tank. Here, you can adjust the spring’s physical charac- teristics. The Damp knob sets high frequency damping for the spring. Turning the knob clock- wise increases the damping. Stiffness, which mimics the flexibility of the spring, gives bright- er, more resonant sounds at higher settings.

The Shape knob allows you to crossfade between a round spring shape to the left, and a rectangular one to the right. The round shape emphasized a ringing sound, while the rectangular shape creates less ringing but a more diffuse sound. The Thickness of the spring determines the virtual diameter of spring winding, and therefore the overall length of the spring.

Longer spring settings result in reduced brightness. The Length setting reflects global length. Turn this up to increase the shattering decay sounds. The Decay knob changes the length of the decays. It alters the amount of feedback in the system. Switching the Mono button off engages an additional short delay in one channel, resulting in the simulation of stereo. The Suspension section allows you to mimic the type of spring suspension in the system. When you turn the knob to the left, you increase the “softness” of the suspension material.

This will lengthen the decay rate of lower frequencies. Suspension will therefore also have an effect on the sound of the Transducer saturation. The Color knob lets you adjust a global tone control. Turn- ing this clockwise results in a brighter sound, and vice versa.

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