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 values, and MIDI controllers can all modulate filter frequency by a different amount for each source.


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.

1. Matrix Range

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.

2. Modulation 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).

2.1. LFO

Polyphonic LFOs.

2.2. ENV

Envelope amplitudes.

2.3. VEL

The velocity of each active note after they have been allocated by the instrument's internal logic.

2.4. SPRD

A spread between 0 and 1 depending on the voice number.


The event output of the waveshaper module.

2.6. S&H1/2

Values from the sample and hold modules.

2.7. 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.


Pitch of last midi note (monophonic).

2.9. 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).

2.10. SEQ1/2/3/4 VEL

Last velocity from respective sequencer (monophonic).

2.11. WHL

Mod wheel, from MIDI controller 0 (monophonic).

2.12. BND

Pitch bend, from MIDI. Center value of 0.5; use the +/- button to get bipolar range (monophonic).

2.13. TOUCH

Channel aftertouch from MIDI (monophonic).

2.14. SUS

MIDI sustain pedal, cc#64 (monophonic).

2.15. LIN

The "amount" knob in the matrix directly sets the output value (monophonic).

3. polyphonic Modulation by Sequencer

The instrument routes pitch and velocity modulations from the sequencers as monophonic sources, because when the sequencers change values, the synthesizer otherwise has no way to know to which voice the change should go.

The Sample and Hold modules have three additional modulation sources, the pitch from each of the envelopes (before modification by global pitch). This lets you use the pitch from the envelopes as a polyphonic modulation source.

The simplest way is to use one of env1-3 as an audio source, gated by a sequencer, and select that envelope as the source in the sample and hold module. The S&H trigger can be the envelope gate, with HI, LO, or GATE mode selecting when the sequencer value is applied. Alternatively the S&H module's special EXP and LOG modes can create curved pitch response curves.

But also you can select a different trigger source, so that the sequencer values are sampled in different ways.

Also you can route sequencer velocity polyphonically by selecting sequencer velocity as the S&H source.



100 semitones in semitone steps.


+/- 1 semitone in cent steps.

4.3. GLIDE

Attenuates glide time as percentage of set glide duration. For example a +50% modulation of glide time reduces glide to 1/8.


pans oscillator modulations between the oscillator pair.

4.5. AM/FM

Sets amount of modulator as percentage of value that has been set by the oscillator panel's AM/FM level control. If AM is switched off and the AM level is above zero, then source modulations directly attenuate oscillator gain. Likewise FM can be switched off, and the FM level in the oscillator panel set above zero, in which case the modulation affects oscillator pitch exponentially.


For Sync oscillators, modulates the phase; for waveset oscillators, changes the waveset. Modulations are added to those set in the panel, and values at range boundaries are clipped.


For width-modulated (W) oscillators, modulates the width ratio over a total range of 5% to 95%. For Waveset oscillators, modulates the wave start position, with each percentage step changing start position by 1 oscillation. For NoiseQ, sets the amount of noise resonance over total range of +/-0.98Q. Modulations are added to those set in the panel, and values at range boundaries are clipped.


Modulates mix of inputs 1 and 2. Modulations are added to those set in the panel, and values at range boundaries are clipped.

4.9. FREQ

Modulates filter cutoff frequency in semitone steps. Modulations are added to those set in the panel, and values at range boundaries are clipped.

4.10. RES

Modulates filter resonance over a total range of +/-0.98Q. Modulations are added to those set in the panel, and values at range boundaries are clipped.

4.11. FM

Sets amount of filter FM modulator as percentage of value that has been set by the filter panel's FM level control. If FM is switched off and the FM level is above zero, then modulations change filter cutoff frequency exponentially.

4.12. MIX

Modulates filter mix/saturation level depending on filter settings over a total gain range of +/-1. Modulations are added to those set in the panel, and values at range boundaries are clipped.

4.13. LVL and SYM

Modulates distortion level and symmetry over total range of +/-1. Modulations are added to those set in the panel, and values at range boundaries are clipped.


Modulates shaper drive level over total range of +/-1. Modulations are added to those set in the panel, and values at range boundaries are clipped.


Morphs shaper output between preset, user1, and user2 curves. Modulations are added to those set in the panel, and values at range boundaries are clipped.


Adds to level set in output mixer.

4.17. PAN

Adds to pan set in output mixer. Values exceeding range are wrapped.

4.18. ECHO

Adds to echo send level as set in output mixer.

4.19. EPAN

Pans channel between left and right echo channels.

4.20. CHOR

Adds to chorus send level as set in output mixer.


Monophonic. Routes modulations to target.

5. Matrix 2: ENV, SEQ, FX

Except for sustain, envelope modulation values are latched at gate-on time. Sustain modulations are continuous, so for example an LFO can modulate the sustain level of a playing note.


Percentage is added to the base set period. For example, if modulation amount is 50% and predelay time was set to , then resulting predelay time is . Negative modulations decrease the period. Values below the event rate period (2.5 msec by default) are clipped.

5.2. ATT, DEC, REL.

Modulation multiplied by 100 and added to A/D/R time. For example if attack modulation amount is 50% then attack time increases by 50. Negative values decrease the period. Values below 0 are clipped.

5.3. SUS, VEL.

Directly adds to level as a percentage. For example if modulation is 50% then sustain level is increased by 0.5. Resulting values above 1 or below 0 are clipped.

6. Sequencer Modulations

The instrument contains special logic to adjust the sequencer modulation range, depending whether it is modulating another sequencer's pitch, or modulating something else:

  • For modulation of one sequencer's pitch by another in semitones, set the matrix LVL to 1 (with +- button off). Then, if modulating sequencer 1 by sequencer 2's pitch for example, then values at the bottom of sequencer 2's table have no effect; values one semitone up increase sequencer 1's output by one semitone; two rows up increase sequencer 1 by two semitones. If you set LVL to 12, then each row changes pitch by octaves; setting LVL to 5 causes each row to change pitch by fifths; and so on. Sequencers can modulate each other's pitch in series or in parallel. (Note: a sequencer can modulate another's pitch and also drive an audio envelope at the same time).

Similarly, you can modulate sequencer pitch by an LFO. If the LFO is set to full amplitude (with the LFO's XY slider) then setting LVL to 12 causes the LFO to modulate the sequencer pitch over a one-octave range; setting LVL to 1 provides a one-semitone range; and so on.

  • Instead of modulating a sequencer's pitch directly, you can send the modulation to the global pitch or oscillator units. For example, say you want a sequencer to modulate global pitch. There are a total of 25 levels in the sequencer tables, so if you set LVL to 4, then each row in the sequencer changes the global pitch by 1 semitone. If you set level 48, then each row in the sequencer changes pitch by an octave. Note, if keyscale remapping or microtuning is enabled, then fractional semitones can cause different results depending on the note.
  • What's the difference between modulation sequencer pitch and modulating global or oscillator pitch? The sequencers only output a new value on their next step, so changes in between each sequencer step don't have any effect; whereas if you send the modulation to global pitch directly, then the pitch changes immediately.

When a sequencer is modulating anything besides another sequencer's pitch, pitch modulations sent to that sequencer are ignored. Instead the sequencer's modulation output is always scaled so that its output is 0 at the table's bottom and +1 at the table's top. This is to say, pitch modulations sent to a sequencer only affect the pitch that the sequencer sends to the output envelopes, and nothing else.

  • What if you want to modulate something by sequencer after it has been modulated by something else? Then simply trigger an envelope from the sequencer, and use the envelope pitch as the modulation source, instead of the sequencer pitch.

Some bizarre strange permutations are possible: for example you can modulate a sequencer's pitch with its own pitch, causing a rising or descending tone until it is inaudible. If you modulate a sequencer pitch by an oscillator, the sequencer and oscillator actually modulate each other, causing fractional tones.

6.1. PITCH

When modulation amount is 1%, a single semitone change from another sequencer or pitch source changes sequencer pitch by one semitone. If set to 12%, a single-semitone change from the pitch source transposes sequencer output by an octave. Pitch values outside the audible range are clipped.


Positive values increase shuffle.


Positive values increase length.

6.4. BEGIN

A modulation amount of 1% increases the begin step by 1.

7. LFOs

For monophonic destinations, the modulation is taken from voice 1, otherwise the LFO is polyphonic.


Modulations change frequency as a percentage of the current set frequency. For example, if set frequency is 10Hz then a modulation of 100% sets frequency to 100Hz.


Same as for envelope sustain.

7.3. WIDTH

Modulation amount adds to current set width. Values below 0% and above 100% are clipped. Width modulations have no effect on the saw waveform output.


Modulates the tempo, affecting sequencer, envelopes, LFOs, and glide time (but not echo time).