The B panelset lets you view and edit settings for all channels at once. It also includes preferences and configuration panels.
On the left side of all panels in the B Panelset are some shared controls, available in all B panels. At the top left, there is the selection list to choose which B panel to show in the right-hand area.
In the middle left are clock and volume controls, for controlling the music while in the B panelset. When the clock is on, the most useful clock buttons appear.
At the bottom left is the snapshot panel, with controls the same as described for the A panelset.
Here you can you to set up preferences as you like. All these controls are snap isolated.
Sometimes when changing settings, you'd prefer the notes to continue playing until they end naturally. Other times you'd like them to end immediately. For example, when composing you may notes from other channels to end at once when you press the solo button, but during performance you may want to let notes end themselves and add solos for effect. The clipping controls provide you with such options.
CLIP AT NOTE OFF
Enables immediate clipping of sound when the clock is turned off. If on, all notes continue for their own durations.
CLIP AT SNAPSHOT CHANGE
When changing snapshots to another with the same switch setting, any playing notes can sustain for their natural duration, or end immediately. If there is a switch change, Reaktor disrupts the audio stream, which can cause note hangs, so the instrument always clips notes if a snap change results in a switch change.
CLIP AT MUTE ON
Enables immediate clipping of notes from the current channel when a sequencer channel is muted.
CLIP AT SOLO ON
Enables immediate clipping of notes from other channels when a sequencer channel is soloed. If on, all notes continue from other channels until their duration ends.
CLIP AT MIDI OUTPUT OFF
When enabled, and a crosspoint in the MIDI output matrix is disabled, then notes from the corresponding sequencer channel which are playing on that MIDI channel are immediately turned off. Notes from the same sequencer channel to other outputs are unaffected.
These controls permit CPU optimization for your machine.
If on, the panels cycle when the snap loads and at power up. If you have very slow graphics, you can try enabling this control to accelerate graphics caching of the display, generally though, this control should be off.
Allows spread of processing for simultaneous notes over separate event cycles, reducing CPU peaks but limiting timing accuracy.
For optimal switch action, set this just over your audio soundcard's latency setting, as set in the Reaktor menu.
See the I/O section for more information on MIDI.
Enables transmission of MIDI Song Position.
Enables sending and receiving of program change messages, to change the snapshot in the current bank. Reaktor does not support bank select messages.
Enables MIDI CC#7 to be tied to the instrument's main volume knob.
Selects the MIDI channel for program change and volume messages.
The AUTO ADVANCE control can be set here, as well as in the snapshot subpanel. See the A panelset help on snapshots for more information.
Only a few clip preferences were available in v098. There are many more preferences in v099.
Jitter applies a random variation to output notes. The global controls tune the jitter amount for each target. Jitter is available for clock rate, notes, and chords. A small amount of jitter provides a more realistic feel to a sequence, especially if it plays chords. Larger amounts totally randomize the output.
Jitter values are stored with the snapshot. The controls are as follows:
Also available in the A panel's clock section, this control sets the base amount of randomization. The global jitter setting scales the amount of single random source applied to all jitter destinations:
- Knob settings in the range 0~25% set jitter in the range 0~0.15.
- Knob settings in the range 25~50% set jitter in the range 0.15~0.5.
- Knob settings in the range 50~75% set jitter in the range 0.5~4.
- Knob settings in the range 75~100% set jitter in the range 4~14.
This is the only panel switch in the Husserl instrument. Enabling it turns on a high-resolution delay line for delaying the start of notes. Turn this off on lower-performance machines to save CPU.
The button enables the application of jitter randomization to the global clock. At higher jitter settings the clock randomly skips cycles. The slider linearly scales the amount of global jitter applied to this destination.
These controls set the amount of randomization applied to primary notes (not chord notes). Separate amounts of jitter may be applied to the note start, duration, and velocity.
The button enables delay jitter applied to primary note start, and the slider linearly scales the amount of global jitter applied to this destination. The jitter delay line must be enabled for this control to have effect.
The button enables random variation of note length. The slider linearly scales the amount of global jitter applied to this destination.
The button enables random variation of note volume. The slider linearly scales the amount of global jitter applied to this destination.
CHANNEL for Jitter
This control also the addition of random variation based on the sequencer channel number. The addition is applied across all other jitter notes.
These controls are the same as for note jitter, but apply to additional notes from the chord generator. The Jitter calculations also include a slightly different variation for each note in the chord, scaled by the jitter amount controls.
Jitter was added in v099.
Access the setup panel by selecting I/O in the B panel. Each MIDI channel can go to one or more sequencer channels.
There are a number of options for connecting your own instruments outside Reaktor. In all cases, the basis is MIDI. Husserl receives and sends MIDI note on, note off, controller, pitch bend, and channel aftertouch messages. Additionally, the instrument can receive MIDI clock and program change messages.
Be careful not to create 'MIDI loopback' where transmitted data arrives back on an input port. Many MIDI drivers detect this loopback and turn themselves off, requiring restart to enable the MIDI connection.
Because Husserl can route triggers from one channel to another, you only need to receive MIDI on one sequencer channel. Other channels can then be triggered by notes from the first sequencer channel. To do so, you can set the receiving sequencer in step mode. Also, input filters can split MIDI input across multiple channels.
MIDI Channels and Reaktor
Reaktor sends and receives the same MIDI data on all enabled ports in its setup menu.
Each MIDI port has 16 channels. The single-channel version of Husserl receives and transmits on one MIDI channel. The multichannel version can receive and transmit on different MIDI channels simultaneously, but the system must be configured to make sense of the different MIDI channels.
MIDI Keyboard Connection
MIDI notes can trigger and modulate sequences, so Husserl is also a performance instrument. The input port must be enabled, and it should not be receive MIDI in any way from Husserl's output port(s).
Some MIDI keyboards send velocity off values. Husserl contains internal logic which filters the velocity off values and replaces them with gate off events.
Husserl also receives note information from its own mouse keyboard, and the computer's QWERTY keyboard (which is always on MIDI channel 1). For this reason, it makes sense to configure Husserl so it receives on MIDI channel 1, and transmits on other MIDI channels.
MIDI Input Channel
Selects destination for external MIDI input. The instrument receives MIDI from all MIDI input ports which are enabled in the Reaktor menu. MIDI notes from the computer QWERTY keyboard by default route to MIDI channel 1, but MIDI input channels can be connected to different sequencer channels. There are the following options:
TOOLBAR (MIDI in)
The channel selected in the instrument toolbar is sent to sequencer channel 1 only.
OMNI (MIDI in)
Input from all MIDI channels routes to all sequencer channels.
MULTI (MIDI in)
MIDI input routes only to the sequencer channel with the same number as the MIDI channel number.
CURRENT (MIDI in)
MIDI input from all channels routes only to the sequencer channel currently displayed in the A panel.
1-16 (MIDI in)
All MIDI input is routed to this single sequencer channel only.
Just setting MIDI input to a sequencer channel does not necessarily have any effect. A sequencer channel can react in different ways to MIDI input. So, the sequencer channel must be configured to do something with the MIDI input in order for any result to be heard.
Mouse Keyboard Channel
Selects destination for the on-screen mouse keyboard. You can click on the on-screen keyboard (in the pattern subpanel) to send notes with the mouse. Mouse keyboard input mode is saved with the snapshot, so different snapshots can react to mouse notes in different ways. There are the following options:
OMNI (Mouse in)
The mouse keyboard routes to all sequencer channels.
CURRENT (Mouse in)
The mouse keyboard routes to the currently displayed sequencer channel only.
1-16 (Mouse in)
The mouse keyboard routes to this single sequencer channel only.
The mouse keyboard sends notes to the sequencer channels as MIDI notes, which are combined with those received from external input. Just setting the mouse keyboard to a sequencer channel does not necessarily have any effect, in the same way as for external MIDI input.
This is a utility to assist with setting up MIDI connections. The polyphonic MIDI monitor XY display shows a vertical bar for each note, with the height corresponding to the MIDI note pitch. The channel, pitch, and gate, are displayed below the XY display. The MIDI monitor does not display notes from the mouse keyboard.
The MIDI monitor moved to ts logical location, on the input panel, in v099.
Access the output panel by selecting I/O in the B panel. The instrument ignores settings in the Reaktor toolbar for MIDI output. MIDI output is instead set in this setup panel, which is saved with the snapshot, so different snapshots can control MIDI in different ways.
Despite all best design practices, it is still possible to have occasional hanging notes in Reaktor, if you change snapshots very quicky. This is because snapshot updates by the snapshot module have at least a 60msec latency. So if you change between snapshots very quickly, the previous snaphot does not finish loading, and you may have some hung notes as a result.
Also, if you have hung notes, make sure you are not sending less voices to an instrument than it is configured to support. The other instrument may reassign notes and sustain them over snap changes when you'd rather the notes had ended.
MIDI Output Matrix Pins
Selects destination for external MIDI output (notes, MIDI controller messages, pitch bend, and channel aftertouch) for the snapshot. Enabled channel outputs go to all MIDI ports which are enabled in the Reaktor setup menu.
The 16x16 output matrix lets any sequencer channel output send to any combination of MIDI output channels. Click on a cell in the matrix once to toggle it on and off.
When a note is being sent to any channel, a highlight ring briefly appears around the matrix pin for the sequencer channel which originated the note.
Sets the number of voices allocated to the output channel. The available settings are 1,2,4,6,16,4, and 32. It is advised to set this number to the same number of voices as for the target instrument.
Controls retriggering when the instrument generates two notes of the same pitch. This setting is available for each MIDI channel. If ON , the note retriggers; if not, the note sustains.
The note duration is set to the last note off of all notes of the same pitch.
AUX Output Matrix Pins
Routes any of the 16 MIDI channels to any of 4 other instruments in the Reaktor ensemble.
Each row is highlighted yellow if the AUX output is enabled, or black if disabled. The currently assigned output is indicated with a filled-in box, and the disabled outputs with hollow rings.
To stop duplicated notes being sent to any channel, the instrument only sends one MIDI channel from the output matrix to each MIDI output. This configuration also lets you change the sequencer channels sent to a MIDI instrument with a single click, simply by changing to a different MIDI output channel which is configured to send different sequencer channels.
For each of the four AUX outputs, click a different column to select a different MIDI channel which is to be sent to an AUX output. Clicking on a hollow cell always switches the AUX output to that MIDI channel and turns the output on. If another AUX instrument was previously set to receive notes from the same MIDI channel output, the previous AUX connection will be turned off automatically.
To toggle an AUX output on and off, click on the filled-in box in the row.
Sustaining Notes across Snaps
If two snapshots have the same switch positions, when you change snaps, any current playing notes from the previous snap can continue to play until they naturally end. This lets the sound from two snaps overlap, which is the reason why many Husserl sequences can sound so great. It is a unique ability in the Reaktor world.
If you want the sounds to overlap for a most natural transition, the settings in Husserl's I/O matrix generally should not change. After the snap changes, any differences in Husserl's sequencer channels only affect new notes, but changes to controls in audio instruments (other than switch changes) between the snaps take effect immediately on any playing notes. Changing some audio settings for a playing sequence by changing snaps, while keeping some sequencer channels playing the same and changing others, can produce very pleasing sounds.
See also the snap-isolated controls in the options panel (described in detail under the B panel's help for "Snap Isolated Options."
Husserl itself contains only one switch in its panels, but switches in other instruments can cause clicks when changing them.
If you change between two snaps which have different switch settings (causing Reaktor to generate an audio click), Husserl clears the current playing notes and any sustained notes are turned off. Because audio sound can still be playing from the soundcard hardware buffer immediately after a snap change, Husserl performs multiple resets after a snap change, clearing both the soundcard buffer and notes which are sent during its clearing which otherwise could hang.
The Options panel contains a knob to set the delay on these resets. Set it just over the latency of your soundcard (as set in the Reaktor system menu) for optimal performance on snap changes.
Enables storage, copying, and pasting of output configurations between snapshots. To access a preset, select one of the four presets in the list panel.
Click the RECALL button to apply the currently selected preset to the current snapshot.
Click the SAVE button to store the current output configuration to the preset slot. Presets are saved with the ensemble, and are the same across all snapshots.
- I/O matrix - Versions prior to v098n did not include the I/O panel.
- AUX OUTPUT BUSSES - v098 shares the MIDI matrix for AUX channels. This makes it easy to switch between different configurations with a single click. The design is called a "double crossbar." To prevent note doubling, the crossbar implementation only permits one MIDI output connection to any one AUX instrument. If you set a second AUX channel to the same MIDI output, the first AUX channel is automatically turned off.
- RETRIG - This was added in v098.
- #VOICES - This was added in v097 and expanded to 32 voices in v098.
In Husserl, any sequencer channel can trigger and change the notes of any other sequencer. If a master sequencer channel triggers a slave, the slave can even trigger and modulate the master channel's note which triggered it. The modulation routings are enabled with single-click pins in a modulation matrix.
Matrix Modulation Panel
On the B panel, you can view and change all matrix pins at once, a total of over 1000 pins! Whenever a trigger or modulation is active from any channel, its highlight ring flashes. The flash occurs regardless whether the trigger or modulation is actively being used by the current channel, to show the input is available. The B panel also contains buttons to activate or turn off the matrix input to each sequencer channel. When turned off for any channel, the background is muted.
You can also view and change the matrix for individual sequencers, together with all other controls for each sequencer, on the A panel. Changes on the A panel appear on the B panel, and vice versa. On both the A and B panels, a highlight ring around the pitch pin indicates a change in the modulation value from each modulation source. Also, triggers from the modulation matrix are only available when the trigger type is MATRIX, so trigger pins are now hidden in other mode.
See the A panel reference for detailed information on the matrix columns.
v099 added the full modulation matrix view in the B panelset.
The B panelset's SNAPSHOT INFO section allows viewing of all sequencer channel tables at once. This is a lot of data, so you may experience a slight delay when you first view the panel after first loading the instrument. Subsequent views are immediate.
Snapshot Info Panel
The following tables are displayed for all channels:
- Pattern and bar pitch, velocity, and duration
- Bar repeats and tempo
The SNAPSHOT INFO also displays all MIDI and AUX output values, as well as the current pitches from any one sequencer channel.
DISPLAY CHANNEL (Output Monitor)
Selects the MIDI output channel for viewing in the rightmost pane.
MIDI OUTS (Output Monitor)
Indicates notes (horizontal, shade indicates sequencer channel) on each channel (vertical).
AUX OUT (Output Monitor)
Shows notes (horizontal, shade indicates pitch) to each AUX output (vertical).
PITCH SCOPE (Output Monitor)
Displays pitch of all playing notes for selected MIDI output as a vertical bar. There is one column for each voice.
VOICES (Output Monitor)
Displays the number of voices enabled for the selected channel.
Version v098 added the B panel snapshot view. Cursors for all channels were added in version v099.
This is a simple editor for creating and editing pitch maps. The left pane shows the maps in the ensemble and snapshot. The table on the right is a spare area to copy and paste maps. The labels next to the rows and columns assume a key of C.
Pitchmap Editor Panel
Selects the table to edit in the left pane. A description of the table appears next to it. The first 16 tables are the custom maps for each channel. The 17th map is the custom global map. The next 18 maps are the preset maps, which are shared and the same between custom and global settings.
The preset maps are permanent, that is, they are stored in the instrument rather than with the snapshot. With the pitchmap editor, you can change the instrument preset maps too, and changes will affect all snapshots that use the preset.
COPY TO BUFFER
Copies the pitchmap in the left pane to the editor in the right pane.
PUT IN SNAPSHOT
Copies the pitchmap in the right pane to the ensemble. It's assumed you only want to edit the custom maps, and not the presets, but if you press this button while the right pane shows a preset, it will overwrite the preset and affect all snaps in the ensemble.
v0.98 added the pitchmap editor in the B panelset.
1. Rounded to 5 ticks, for a 5/96 ratio.