Globals include pitch and voice settings, output, and effects.

1. Globals

The PITCH module sets the global pitch characteristics for all oscillators; each oscillator can then have its own pitch settings in multiple voicing modes. The PITCH module also contains a global MODE list for tuning real-time play.

1.1. MODE

Selects overall polyphonic/monophonic mode:

  • POLY: Most often, MODE is set to "Poly" so the instrument plays fully polyphonically.
  • MONO, LEGATO: All the notes from envelopes and MIDI are combined into one monophonic playline. In legato modes, a new trigger while the gate for the last note is still high causes a pitch change without retriggering envelopes. In multi modes, a new note also retriggers the envelopes regardless whether their previous state.
  • HIGH, LOW, RCNT - These set the pitch when there is more than one MIDI. If HIGH, the highest pitch is played. If LOW, the lowest pitch is played. If RCNT, the most recent pitch is played. RCNT also remembers the order of played notes, so, if the most recent note ends while others are still playing, the pitch shifts to the next-most recent note (RCNT will not shift to another pitch if the released note is not the most recent).

Note that the poly/mono settings only affect the envelopes. The LFOs and S&H module are still polyphonic.


Applies microtuning after pitch shift, but before fine tuning and glide, for global pitch and osc1/2. The default mode is equal tempered. Descriptions of the other microtune scales are available in the B panel. Microtuning is applied after pitch transposition. Microtuing sets the microtonal scale before fine-tuning, voice spread, and glide.


The SHIFT knob applies a semitone transposition. SCALE MAP and KEY remap pitches to a keyscale. Remapping is after SHIFT, but before fine tuning and glide.

For example, if pitch shift is +6, then a C3 would normally transpose to F#. However if the scale is C Major, then the C3 note would remap to G.

* For a glissando effect, you can enable scale remapping and send a large modulation from the LFO saw waveform (or other source) to the SEMITONE destination.

* For large smooth transpositions, with remapping enabled, send the pitch modulations to the oscillators instead.

1.4. SPRD

SPRD applies a small pitch offset to each voice, useful for adding breadth in monophonic modes. Spread is applied after microtuning and scale remapping.

1.4.1. Glide Lists

Glide is fully polyphonic, occurring between the last note and the current note. Moreover the synthesizer calculates glide for each envelope, and for notes from the unisono module, separately. See the snaps for an example.

The Target list selects the envelopes (ENV1, ENV2, ENV3) to which glide is applied. For example if set to 1, then notes from env1 have glide, and notes from the other oscillators do not. Set GLIDE to -- in either list box to disable glide.

Glide is not applied to global pitch. Rather, it is routed to the oscillators. Glide can also be disabled in each oscillator set individually with the GLIDE buttons in the oscillator panels.

NOTE: the PITCH panel sets the glide source; the oscillators also have little buttons labeled GLI to enable the glide destination. To make glide audible, both a source envelope must be enabled in the PITCH panel, *and* one or more destinations must be enabled by turning on the GLI buttons in the oscillators.

For example, if two envelopes are playing one oscillator through different filters: you can turn on glide for just one of the envelopes (and turn on glide for the oscillator). Then only notes from one of the filters and envelope combinations will have glide.

Alternatively, you could enable glide for only one of two oscillators, which is especially useful for FM modulation and effects.

The lower GLIDE list sets the glide time as a tempo value. All notes have the same glide time no matter the distance between the notes.

Matrix modulation can attenuate glide time to create detuning effects during glide, or to enable glide selectively from a foot pedal or sequencer.

Filters receive global pitch (P) pre-glide. Sometimes you do not want the glide to affect the filter pitch tracking, and sometimes you don't. To apply glide to filter pitch tracking, select an oscillator which has glide enabled as the pitch tracking source. Note the oscillator itself can be turned off, so you can apply glide from a deactivated oscillator to filter pitch tracking but not the oscillator pitch itself.

2. Unisono

The unison module (also called CHORDGEN) lets you generate two or three additional notes from each note passed to one of the envelopes 1-3. As a result, sequencers, MIDI and so on can generate chords from single notes.

In the module controls, you can apply a transposition, detune, and velocity offset to these extra notes.

Matrix 2 can modulate the pitch and velocity values for each unisono note, individually.

Note that the modulations are polyphonic. Unison works slightly differently depending on the poly/mono setting in the global pitch panel. Internal logic ensures that polyphonic glide is applied correctly to notes generated by the unison module.


In polyphonic mode, unisono pitch and velocity values are sampled when a note is received from the env1-3 source. Each enabled unisono note plays one voice.

for example, if unison is set to 3 for env1, then three notes are created for each note passed into env1, the latter two using the pitch and amplitude offsets from the unison panel. However, notes from env2 and env3 still only create one note. This means, for example, a sequencer can generate chord pads on one envelope, another envelope can play a bass sequence, and the third envelope can play live notes from MIDI.

When subsequent notes arrive, and the maximum polyphony is already playing, then the unison notes are deallocated before the source note, so that the best possible effect is preserved.


In monophonic mode, the unisono effect is applied to as many voices as available. For example, if unision is set to 2, then odd voices play the original note, and even voices play the unison note. Similarly, if unision is set to 3 and there are 6 voices, then two voices play each unison voice.

In mono and legato modes, pitch is applied immediately, so that polyphonic matrix modulations can be applied to individual voices in the unision. Velocity modulations are only applied when a new gate-on event arrives, in the same way as for polyphonic unison.

3. Switchless Event Matrix

The switchless matrix lets 30 different event sources modulate 120 different sound parameters. The matrix is a full butterfly implementation, which means different amounts of multiple modulations can affect the same parameter. For example, any number of envelopes, LFOs, sequencer vales, and MIDI controllers can all modulate filter frequency by a different amount for each souurce.

The matrix is divided in two, to reduce ensemble size and to make the destination lists shorter.

  • Matrix 1 provides modulation of all the audio parameters.
  • Matrix 2 provides output and recursive modulation. The instrument can modulate its own modulation sources--LFOs, envelopes, and sequencers. Internally the instrument stops feedback (when sources modulate themselves in some way) from crashing Reaktor. Matrix2 also provides modulations of the output mixer.

3.1. Matrix Range Settings

To set up an event route, select a source (from the FROM list), a destination (from the TO list), and set the amount of modulation. To make it more readable the amount of modulation is shows as a percentage (0% to 100%).

The matrix panels also have a + button letting you invert the modulation, and a +/- button to change its range. By default modulations are in the range 0 to 1. Turning off the + button causes the modulation to be in range 0 to -1. Turning on the +/- button causes the modulation to be in range -1 to +1.

3.2. Sources

All event sources range between 0 and 1 (with pitch values scaled so that middle C is 0.5) unless otherwise noted.

Unless otherwise noted, the sources are polyphonic (monophonic sources take their values from voice 1).

  • LFO: Polyphonic LFOs.
  • ENV: Envelope amplitudes.
  • VEL: The velocity of each active note after they have been allocated by the instrument's internal logic.
  • SPRD: A spread between 0 and 1 depending on the voice number.
  • SHAPER: The event output of the waveshaper module.
  • S&H1/2: Values from the sample and hold modules.
  • TRACK: The pitch of each active note. Pitch track is taken from global pitch, after scaling, microtuning, transposition, glide, and modulation. For filters, oscillator and envelope pitch track is also available:
    • The oscillator pitch is the pitch of the oscillators after their own transposition, scaling, and modulation.
  • The envelope pitch is post-scaling by the envelope's own pitch tracking controls.
    MIDI PITCH: Pitch of last midi note (monophonic).
  • SEQ1/2/3/4/5 PITCH: Last pitch from respective sequencer (monophonic). Values between 0 and 1 when modulating non-pitch destinations. When modulating oscillator or sequencer pitch, each single LVL scales the sequencer pitch by one semitone (if set to 1, each row up in the sequencer raises pitch by 1 semitone; if set to 12, each row changes pitch by one octave; and so on).
  • SEQ1/2/3/4 VEL: Last velocity from respective sequencer (monophonic).
  • WHL: Mod wheel, from MIDI controller 0 (monophonic).
  • BND: Pitch bend, from MIDI. Center value of 0.5; use the +/- button to get bipolar range (monophonic).
  • TOUCH: Channel aftertouch from MIDI (monophonic).
  • SUS: MIDI sustain pedal, cc#64 (monophonic).
  • LIN: The AMOUNT knob in the matrix directly sets the output value (monophonic).


The three channels of the output mixer take their inputs from envelopes 1-3, respectively. It is designed for optimal CPU usage at all times, by changing internal modules entirely depending on which channels are enabled. So turn off the envelope AUDIO for unued channels if you need to reduce CPU usage; or leave them on if you plan to morph to a sound needing the currently unused channels.

4.1. ENV1/2/3

These buttons enable/mute the respective channels.

4.2. 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.

4.3. PAN

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.

4.4. Effects send and return

The send levels to the effects units are post-fader by default. Enable PRE to use Pre-fader levels.

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


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.


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

4.7. EQ

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.


5.1. On, Wav-file

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

5.2. Record, Play

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

6. FX1: Delay

FX1 is a delay effect with ping-pong, multitap, and reverb modes.

6.1. MODE

Switch to set delay type:

  • MSec: mode is a ping-pong dual delay with time set in milliseconds
  • SYNC: also a ping-pong dual delay, but time is set in tempo units.
  • 8X: an 8-tap delay line, with the output from the 8 taps selected by the audio modulation source.
  • VRB: a simple reverb unit.

6.2. TIME, FBK

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

6.3. CUT, FILT

The CUT 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.

6.4. PAN

Pan sets the panpot of the delay output.


For modes other than 8X, AUDIOMOD enables audio-rate modulation of the delay time, and MOD sets the depth of audio-rate modulation.

For 8X mode, AUDIOMOD selects the source for modulation of the 8-tap output delay. MOD sets the amount of modulation across the 8 taps.


Choir is a monophonic chorus unit with optional feedback.

LFO Tips:

* Use pitch tracking to modulate frequency or amplitude, so higher pitches have deeper modulation.

* Use an envelope with predelay to modulate LFO amplitude for fade-in or fade-out effects.

7.1. MODE

The 2X mode enables 2-band chorus; the 4X mode enables better sounding but more CPU intensive 4-band chorus; the 8X mode enables a further four bands, for only slightly more CPU than the 4-band mode.

The FLG2 and FLG4 are similar to 2X and 4X, but also provide feedback and cross-feedback options.


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


For flange modes only, sets the level of feedback and cross-feedback. Be careful with high levels of feedback!

7.4. LFOs

The three LFOs are all polyphonic. Envelopes 1-3 also contain envelopes 4-6 respectively, sharing the same gate and sync sources. The envelopes in the LFOs cause the LFO to fade in and/or fade out.

7.5. ON/OFF

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

7.6. FREQ

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).

7.7. FSPR

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

7.8. TYPE

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

7.9. AMP

The XY display provides attenuation of overall output amplitude.

7.10. WIDTH

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.

7.11. PHASE

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

7.12. PHSPR

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

7.13. TRIG

Selects the sync and gate source for sync or sample and hold.


The waveshaper module ("shaper") is probably the most unique module in the instrument. The shaper can be used in three different ways (simultaneously, if desired):

  • oscillator
  • audio shaper
  • event modulation source

8.1. Oscillator mode

You can draw your own oscillators in the EDIT table. To do so, select "Shaper" in the WAVE switches of oscillators 1-3 and draw the waves, selecting "step," "ramp", or "curve" for each. The oscillator CONTOUR then morphs to the next waveform as follows:

  • Osc1 morphs from wave1 when contour=0, to wave2 when contour=1.
  • Osc2 morphs from wave2 when contour=0, to wave3 when contour=1.
  • Osc3 morphs from wave3 when contour=0, to wave1 when contour=1.

For the oscillators, FM, hard sync, soft sync, and contour are available for the oscillator waveforms you draw.

8.2. Audio Shaper

You can use the waveshaper as an audio shaper. The AUDIO switch in the shaper panel selects the audio input, and the audio output is available as SHAPER in all the audio switches. The audio controls in the shaper panel set drive, saturation, and AGC.

In this mode the waveshaper defines a curve for audio passing into it. When the input audio value is -1, it is mapped to the value at the left edge of the edit table. When the input audio value is +1, it is mapped to the value at the right edge of the table. Intermediate input audio values between -1 and +1 are mapped to corresponding middle points in the EDIT table. The shaper module's SCENE value sets which of the three waveforms are used; intermediate values provide mixes of the three waveforms, and the SCENE can be modulated from matrix 1.

8.3. Event Modulator

The shaper waveform is also available as an event modulation source. In this mode the shaper essentially provides an additional sequencer that can loop or be triggered by various sources. The sequencer output can be ramped or smoothed, and can morph between the three waves with the SCENE control, in the same way as for audio waveshaping.


The AUDIO switch selects the audio source for the waveshaper. If off, the shaper is still available as an event modulation source.

9.1. E RATE

For event modulation, sets the rate at which the shaper curve is scanned.

9.2. E MODE

For event modulation sets the trigger mode for the shaper:

  • LOOP: the shaper loops from left to right, then reverses, continuously.
  • MIDI: When any MIDI note on is received, the event shaper restarts at the beginning and plays from left to right once, monophonically (identical on all voices).
  • ENV1/2/3: The envelopes trigger the event shaper in the same way as for MIDI, but polyphonically (this means for example the event shaper can apply arbitrary curves to pitch or filter frequency, or can modulate say an LFO amplitude to fade in and out in different ways as a note plays).
  • LFO1/2/3: when one of the voices on the corresponding LFO passes from 0 to one, the shaper plays from left to right once, then stops.
  • Seq1/2/3/4: when the corresponding sequencer advances one step, the shaper plays the same shape on all voices from left to right once, then stops.

9.3. DRIVE

For audio shaping only, sets the drive level passed into the audio waveshaper. Higher levels result in more clipping.

9.4. WAVE

Selects the wave for event and audio shaping. Non-integer morph values provide mixes between the three curves. Note that shaper morph modulation (from matrix 1) can change between the various curves dynamically.

9.5. EDIT

With the EDIT subpanel, you can select whether to edit user wave 1, 2, or 3.


The SCOPE displays the current output curve of the shaper, after morph and point modulation.

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.


In the B panel, you can select snapshots from any bank, and also overwrite the existing snapshot with the OVERWRITE button.

The instrument includes snaps contributed by beta testers in separate banks.


There are two modifiers. The panel lets you select a modulation source, and optionally, a trigger source for sample and hold.

The S&H component provides modulation shaping, as well as sample & hold modes. Also, the S&H component provides additional modulation sources.

11.1. SOURCE

In the S&H panel, the first listbox sets the modulation source, which may be any of the LFOs, sequencers, envelope, and MIDI.

S&H sources are the same as for matrix sources, and also include some additional sources: envelope pitch 1/2/3. See the MATRIX SOURCE help for more information.

11.2. TRIG

The second listbox sets the trigger/gate source. In HIGH/LOw, and GATE modes, 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: sampling occurs for each voice individually upon envelope gate-on events.
  • S1/2/3/4step: 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.


12.1. MODE

This button back selects between the various shaping modes:

  • OFF: output = input.
  • LIN: output is linearly scaled between the LO and HI settings. the crosshair in the SHAPE graph additionally lets you set a breakpoint in the linear mapping.
  • CRV: the output is instead shaped by a curve, so that higher values provide progressively lower output, or vice versa. To see the available curves, drag the crosshair in the SHAPE area to its four corners.

12.2. LO, HI

These set the low and high output values to which input values are mapped. drag the crosshairs up and down to the desired point.

12.3. CURVE

This adjusts the amount of curve in CURVE mode. Twist left or right to change the direction of the curve shaping.

12.4. METER

To the right of the HI bar, a meter displays the last output value from the unit. When adjusting velocity characteristics, tap the MIDI keyboard slowly and quickly, then adjust the shaper parameters for the desired response. Similarly, when adjusting aftertouch, change the pressure on a key and see if the output range is as desired.

13. Downloads and More Documentation


Thank you for your interest in Yofiel's metamusic. I hope you enjoy our Reaktor instruments!

-Ernest Leonardo Meyer