This section also contains the LFOs, credits, and release notes.


The LFOs contain the following identical controls:


This is useful for monitoring the sound without the LFO being applied. Turn unused LFOs off to save CPU.


Frequency is adjustable over a scaled range of 0 to 110Hz. Frequencies above 10Hz are generally not effective for the output mixer, because of its internal smoothing (to reduce clicks on large value changes).


When above zero, sets the amount that the frequency is attenuated for each individual voice, so that the LFOs are all at different frequencies.

Wave Type

The LFOs provide sine (actually parabolic), triangle, saw, pulse, and random outputs.


The XY display provides attenuation of overall output amplitude.


The width control does not affect saw waveform output. Otherwise it provides width ratio control in the range 0% to 100%. The random waveform is sampled by the LFO’s pulse output, so changing the width introduces a shuffle into the timing of the random waveform output.


Sets the phase at which the LFO starts upon sync and envelope start.


When above zero, causes all the LFO voices to have a different phase.


Selects the sync and gate source for the envelope.

  • Off:the envelope and sync is disabled.
  • Env1/2/3: The LFO syncs when the respective envelope starts, and the LFO’s envelope is gated by the envelope source. Note if the gating envelope source has a short gate, and the attack phase for the LFO’s own envelope is long, the fade in may not complete and the LFO amplitude will remain low.
  • S1/2/3/4step: The LFO syncs when the respective sequencer advances one step. For the envelopes, the gate duration is half the step duration. Step sync and gate is polyphonic.
  • S1/2/3/4loop: The LFO syncs at the first step of the respective sequencer.
  • LFO1/2/3: The other LFO triggers this LFO when it passes above zero. The gate remains high while the other LFO remains above zero.


When GATE is on, sets the attack duration (in tempo units) while the gate source is high. If the attack duration is more than the gate duration, then the attack phase of the envelope will not complete, and the LFO’s output amplitude will be correspondingly lower.

If GATE is on but ATTACK is disabled, then the LFO and envelope output starts at full amplitude upon receiving a trigger.


When GATE is on, sets the release duration (in tempo units) when the gate source goes low. This has the effect of fading out the LFO output. If GATE is on but RELEASE is disabled, then the LFO output does not fade out.

There are two sample and hold sources. The panel for sample and hold lets you set the modulation source and the sampling source for each.

The first list box sets the modulation source, which may be any of the LFOs, sequencers, envelope, and MIDI.

The second list box sets the sampling source. Triggers from the sampling source cause the modulation source values to be resampled. For example, if the modulation source is an LFO and the sampling source is an envelope, then whenever that envelope is triggered, the LFO values are resampled for that source.

The following sampling sources are available:

  • Env1/2/3: The sampling occurs for each voice individually upon envelope gate-on events.
  • S1/2/3/4step: the sampling occurs for each voice individually when the respective sequencer advances one step.
  • S1/2/3/4loop: the sampling occurs for all voices when the respective sequencer starts its first step.
  • LFO1/2/3: the sampling occurs for each voice individually when the value for the voice in the corresponding LFO passes from 0 to one.

It’s possible to select the same source for sampling and modulation, for example an LFO could sample itself upon crossing zero. This could be useful to generate triggers for other modules, but generally would not be used. However setting the same source introduces an event loop, which could crash Reaktor. The sample& hold logic therefore includes a single-cycle event delay (2.5msec by default) to stop Reaktor from crashing should you set the same modulation and sampling source.

The B panel includes a shaper to set the aftertouch response curve. See the Getting Started section and the tooltips for more information on MIDI.


The single tempo knob sets the division rate applied to the internal or external clock source. The tempo division is then applied to the times for:

  • Sequencer steps
  • Envelope 1-3 hold and predelay/repeat
  • Envelope 4-6 attack and release
  • Glide times

Other timing parameters, such as delay time and LFO frequency, are not changed by the tempo control.

When the external MIDI clock is off (or the Reaktor tempo control in the application toolbar is stopped), then the instrument automatically uses its own internal 1/96 clock.If tempo is set to 4, the tempo exactly matches the 1/96 clock from external midi. Regardless whether an external clock is on or off, the tempo control divides down the clock rate. Matrix 2 can also modulate tempo in any desired manner.

The instrument can both receive song position, and also transmit its internal song position counter if MIDI out is enabled. The ENABLE button in the sequencer resets the song position to zero.


The scope has an input list to monitor voice 1 of any source. Turn off the scope to reduce CPU usage.

The “Auto” switch automatically adjusts the amplitude so it fits in the window, otherwise the Y gain can be adjusted manually. FREQ controls the refresh rate.

Output Mixer

Env1/2/3, ECHO, CHOR

These buttons enable/mute the respective channels.

Lvl, Trim

Click and drag up and down in the TRIM numeric display to adjust the relative amplitude of the three envelope outputs so they are all equal, then use the LVL knob to fade in and out the envelope outputs.


The pan control adjusts channel mix to left and right outputs. The internal design removes the –6dB drop in output level when pan is centered.

Echo, Chor

These are post-fader send levels to the effects units.


RET1 sets the return level from echo, and RET2 the return level from chorus.

Out, Master

The OUT slider sets the output volume. The MASTER knob works like the channel TRIM controls, letting you set the relative overall volume output for your speakers or audio recording equipment.

Limit, Rel

The LIMIT switch enables monophonic limiting on the final output. The REL knob controls the limiter release/respond time when LIMIT is enabled.

Hicut, Freq

The HICUT switch enables hi-cut equalization on the final output. The FREQ numeric control sets the corner pitch of the output in MIDI note values.


The echo is a monophonic module with several modes.


MSec mode is a ping-pong dual delay with time set in milliseconds; SYNC is also a ping-pong dual delay, but time is set in tempo units. VRB is a simple reverb unit.

Time, Fbk

TIME sets the delay time and FBK the amount of feedback.


The LOCUT switch enables a low-pass filter in the MSEC and SYNC feedback paths, and a high-shelf EQ in the RVB feedback path. CUT sets the filter cutoff in MIDI note units.


Pan sets the panpot of the delay output.

AudioMod, Mod

AUDIOMOD enables audio-rate modulation of the delay time, and MOD sets the depth of audio-rate modulation.


MODDEST sets the parameter that can be modulated by events from matrix2.

Choir is a monophonic chorus unit with a couple of modes.


The 2X mode enables 2-band chorus; the 4X mode enables better sounding but more CPU intensive 4-band chorus.

Del, Deep, Speed, Sep

DEL sets the chorus delay time, DEEP the depth, SPEED the rate of modulation, and SEP the stereo separation.


MODDEST sets the parameter that can be modulated by events from matrix2.

Audio Recorder

The B panel contains a simple audio recorder on the output of the main mixer.

On, Wav-file

The ON switch enables audio recording. The WAV-file text field lets you set a file to which the audio recording is saved.

Record, Play

When the recorder is switched on, the RECORD and PLAY buttons let you capture audio and audition the recording.


Many thanks to the following folks for their assistance!

  • Herwig, Sakabeat, Pete Ascdi, Tom Watson, and David Coffin for their beta testing and snap contributions.
  • James Walker Hall, for his 3DEX instrument.
  • Nick Dan, for his microtune macro.
  • Laurent Veliscek, for his scale mapping macro.

v3.0 Release Notes

pre April 2005

  • Oscillators increased from 3 to 6.
  • Submixers increased from 6 to 12.
  • Unisono increased from 3-note to 4-note chords.
  • Polyphonic display and XY control of peak EQ unit.
  • Improved filter gain compensation at high Q levels.
  • Reduced CPU spikes on snap changes.
  • Improved load time: Osc remap to scale after transposition removed.

Bug Fixes

  • Output mixer: turning off ENABLE switch now mutes fx send when PRE-fader fx send is enabled.
  • Saturation no longer requires moving a knob after snap change.
  • Filt1 Saturation was miswired.
  • Oscillator FM depth settings adjusted.
  • X1 and X2 outputs now generate audio when routed through submixers.
  • Pitch bend negative range was not supported on matrix2.
  • Output mixer locut eq had red cross- fixed.

v2.0 Release Notes

January 2005

  • >200 snapshots
  • New "CPU" list in output panel limits CPU usage by continuous event modulations.
  • New "FAST" switch in output mixer provides faster channel modulation.
  • New "FM" modulation of EQ module.
  • Two additional audio-rate modulation switches in submixer.
  • New "GAIN" adjustment for each voice of unisono unit.
  • Oscillator and filter FM depth are now set in semitones (this lets LFO and envelope modulate filter at audio rates, for example).
  • Table copy/paste/clear now uses FROM and TO values to set step range.
  • New lists to select bank and snapshot in B panel.
  • OVERWRITE button in B panel stores current snapshot without opening snap window.
  • New table editor permutations: new FLIP control, improved SHIFT control.
  • Reduced CPU load when changing values and snaps.
  • Lower cpu utilization in FM filter modes.
  • Internal amplitude gain correction at high resonance added for NoiseQ oscillators.
  • Updated tooltips.
  • Fixed clicks in monophonic and legato modes when >2 active notes.
  • Fixed zippering in output mixer and submixers.
  • Glide in all legato modes now occurs only when >1 active note.
  • No longer hangs or stalls when changing from snap using PRE/RPT.
  • Event shaper now smooths correctly for event rates other than 1/96clk.
  • Fixed event shaper trigger modes.
  • Submixer AM switches now use linear mixing, same as when AM is off.
  • Sample&Hold 2: "sample with" source selector was miswired.
  • Env2 matrix modulation of ADR times was miswired.
  • Envelope velocity loopback bug has been fixed.
  • Sequencer MHLD mode to envelope with VSENS set to 1 now produces audio output.
  • Distortion units: turning on SAT now produces audio output without jiggling LVL.
  • Filter XY frequency settings centered properly.
  • Oscillator descriptions didn't always update properly on snap changes.
  • Other minor CPU optimizations throughout instrument.