Reason+ Rack Extensions Operation Manual
DAW | Rack Plugin | Reason+ Rack Extensions
Osmium Distortion Matrix
Osmium Distortion Matrix is a creative distortion effect. It’s designed to be quick for common tasks, like adding some warmth or grit to any sound, but also offer deep sound design options for advanced destruction and creative coloration. With several effect modules, multi-band processing, and free routing—it’s a sound processing playground.
#Some typical use cases for Osmium
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Add warmth and presence to any sound.
Try Saturation with some subtle EQ or compression and tweak to taste.
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Add characterful distortion to an instrument.
Try Overdrive, a Cabinet or Resonator, and experiment with other effect modules to shape your sound.
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Add punch to a mix or an entire drum kit.
Try multi-band processing with various Saturation and Dynamics modules for detailed control.
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Add movement, modulation, and mayhem to anything.
Try harsh distortions like Wavefolder and Overdrive followed by a modulated filter or other effects.
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Re-create a pedal chain to put before an amp simulator.
Try different distortion modules in series and effects like Noise Gate, Pitch Shifter, and Feedback to spice up your guitar or bass playing.
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Sound like you!
Find your own sounds through experimentation. Pick and choose your modules and route them however you want. If it sounds good, it IS good!
The Osmium front panel contains the following sections:
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1. Patch Selector (for browsing, loading and saving patches) (see “Loading and saving patches”)
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2. Input FX section (see “The Input FX section”)
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3. Multiband Splitter On/Off buttons (for activating Low Band and/or High Band) (see “The Multiband Splitter section”)
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4. Output FX section (see “The Output FX section”)
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5. Frequency Display with frequency controls for the Low and High Bands (see “The Multiband Splitter section”)
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6. Master Volume and output Dry/Wet controls (see “The Output section”)
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7. Effect Panel for the currently selected effect module (see “Module reference”)
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8. Effect Slot Matrix section (see “The Effect Slot Matrix”)
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9. Level and Pan controls for the three columns in the Effect Slot Matrix (typically the three frequency bands) (see “The Output Mixer section”)
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10. LFO, Curve, Envelope Follower and CV Modulation section (to be used as Sources in the Modulation Matrix) (see “The Modulation and Modulation Matrix sections”)
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11. Modulation Matrix section (see “The Modulation Matrix”)
Since Osmium is a semi-modular effect, the internal signal flow can be much more complex than in a traditional effect device. The picture below shows the main sections and the default signal flow:
Basic signal flow in Osmium
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First in the signal chain you can choose to use an Input FX to process the signal before it reaches the Multiband Splitter and Effect Slot Matrix section.
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By default, each column of three slots in the matrix is connected to the outputs of the Multiband Filter.
The yellow band is always active. If no additional bands are activated, it contains the entire input signal.
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When you turn on the Low/High Band, the corresponding column is activated—letting you easily treat (or not treat) each frequency band separately.
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You can also use the External module in slots.
The External module lets you output the signal externally via the External outputs on the rear panel. You can then return the external signal to the corresponding External inputs, see “External FX Modules”.
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It’s also possible to freely re-route the connections between the Slots—to create your own unique signal chains, see “Re-routing Effect Slots”.
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With the mixer you can balance the levels of each Band, for example pushing the bass frequencies a bit louder.
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The Output FX slot is useful for applying something to all Bands—for example compression, to glue everything together.
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Finally, the Dry/Wet control and Master Volume controls the overall output mix and level.
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In addition, the Modulation Matrix can be used for routing control signals from various source parameters to selectable destinations in the effect modules in the slots, see “The Modulation Matrix”.
#Loading and saving patches
Loading and saving patches is done in the same way as with any other internal Reason device. See the “Sounds and Patches” chapter in the Reason/Reason Rack Plugin Operation Manual pdf for details.
As with all Rack Extensions, you can find the included patches by clicking “Rack Extensions” in the Reason browser, navigating to the Osmium folder and opening it.
#The Input FX section
Here you can choose an effect that will affect the signal before it is sent to the Multiband Splitter and to the rest of the Effect Slots.
1.
If not already activated, click the LED to the left to activate the section.
The LED turns white and a selection frame appears around the section.
2.
Click the gray selection triangle to the right to bring up a list of effects to choose from.
The panel of the selected effect module is automatically displayed in the Panel section to the left of the Effect Slot Matrix.
The different effect modules are described in “Module reference”.
#The Multiband Splitter section
Here you can choose if you want the lower frequency range of the input signal to be routed to the red (Low Band) Effect Slots and/or the higher frequency range to be routed to the green (High Band) Effect Slots, or if you want to route the whole signal to the yellow Effect Slots.
1.
Click the red On button to activate the Low Band and/or the green On button to activate the High Band.
2.
Set the Low/High split frequencies by dragging the red/green triangle at the bottom of the display sideways.
You can also drag the respective band in the display to change the split frequencies (move the bands).
*
Note that the split frequencies cannot overlap each other.
The Low Band signal is now routed to the left (red) column of the Effect Slot Matrix and the High Band to the right (green) column. The “Mid Band” (between the Low and High Bands) is routed to the center (yellow) column of the Effect Slot Matrix.
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If you don’t activate the Low or High Band, the whole (full-frequency) signal is routed to the center (yellow) column of the Effect Slot Matrix.
#The Effect Slot Matrix
The Effect Slot Matrix with the Low and High Bands activated in the Multiband Splitter
The Effect Slot Matrix is where you can add effect modules to process the signal(s) further. By default only the center (yellow) section is active for processing the whole (full-frequency) input signal. If you activate the Low and/or High Band, the other columns also become active. You can also activate slots and columns by manually routing signals to them (see below).
The default routing for each of the columns (Bands) are from top to the bottom, in series.
#Selecting and activating effects for the slots
An activated Effect Slot with a Feedback effect selected
1.
If not already activated, click the LED to the left to activate the section.
The LED lights up and a selection frame appears around the Effect Slot.
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If the LED is turned off, the slot will be bypassed.
2.
Click the selection triangle to the right to bring up a list of effects to choose from.
The panel of the selected effect module is automatically displayed in the Panel section to the left of the Effect Slot Matrix.
The different effect types are described in “Module reference”.
3.
Repeat the procedure for the other Effect Slots you want to use.
#Moving and copying effects between slots
Moving the Feedback effect from Slot 5 to Slot 9
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Click and drag an effect from a Slot to another to move it.
The destination effect and the source effect will now switch places. If the destination Slot is empty, the source Slot will become empty.
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To copy an effect to another Slot, hold down [Alt] and drag the effect to the destination Slot.
The parameter settings of the source effect are automatically copied as well.
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Note that any custom routings (see below) of the Slots are not copied over to the destination Slot.
#Re-routing Effect Slots
It’s also possible to re-route/split the signals by adding and/or removing “cables” to the nodes/patch points in the Effect Matrix. The Effect Matrix offers free signal routing between the input and output patch points of each Effect Slot. The free routing is useful for many things. For example, you can create parallel effect chains, one long serial effect chain, mix outputs together into one common effect, or any other configuration you can think of.
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Drag from an output node to an input node to make a connection.
When the mouse pointer reaches the connection node, the node is highlighted. You can then release the mouse button:
Creating a serial connection of 6 Slots (with the Multiband Splitter set to Off)
Parallel processing of the yellow band, separate processing of the low band (with the low band of the Multiband Splitter activated)
Note how the LEDs in the Output Mixer switch color to represent the Effect Slot channels.
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Click anywhere on a cable to disconnect it:
Disconnecting (deleting) a cable (with the Multiband Splitter deactivated)
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You can also disconnect the default (pre-patched) cables by clicking these:
Disconnecting (deleting) a pre-patched cable (in this example the Multiband Splitter is active)
Disconnected Effect Slot(s) will now show up in a dark color, indicating they don’t carry any signal (due to the cut connections). You will then have to manually (re)connect these Slots to get a signal through to the output.
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Don’t worry if you should accidentally delete a cable, the standard Undo function works just fine in these situations!
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If the Multiband Splitter is on (see “The Multiband Splitter section”), connecting cables to route a signal from one band to another band will make the destination Effect Slot(s) switch to a blue color:
Connecting a cable from the one Band to another (with the Multiband Splitter activated)
The blue color simply indicates that two or more bands have been joined. It doesn’t matter which bands are joined, the color will always be blue. This is also reflected by the LED(s) in the Output Mixer.
#The Output Mixer section
Here you can set the levels and panning of the three Effect Slot Matrix columns, before the signals are sent to the Output FX section. Perfect for pushing the bass frequencies a bit louder, for example.
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The LEDs above each “channel” mirrors the color of the lowest row of corresponding Effect Slot Matrix columns.
For example, if you have manually routed effects from two active Bands in the Effect Slot Matrix, the LED(s) will be blue. If the Multiband Splitter is Off, the LED(s) will be yellow (and the LED(s) of the unused Bands will be dark).
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Click the green square buttons below the LEDs to solo the corresponding channel.
You can solo multiple channels if you like.
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Set the levels of the channels with the sliders.
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Set the panning of the channels with the Pan knobs.
#The Output FX section
The Output FX slot is useful for applying an effect to all outputs of the Effect Slot Matrix—for example compression, to glue everything together. The Output FX section is post-pan/faders of the Output Mixer section (see above). The result of a distortion here will depend on the Output Mixer level faders, for example.
1.
If not already activated, click the LED to the left to activate the section.
The LED turns white and a selection frame appears around the section.
2.
Click the gray selection triangle to the right to bring up a list of effects to choose from.
The panel of the selected effect module is automatically displayed in the Effect Panel section to the left of the Effect Slot Matrix.
The different effect types are described in “Module reference”.
#The Output section
Here you set the Master Volume and the Dry/Wet mix of the output signal.
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The Master Volume knob controls both the Dry and the Wet signals.
#The Modulation and Modulation Matrix sections
The Modulation and Modulation Matrix section consists of two separate LFOs, one Curve section, one Envelope Follower, and one CV section. All five Modulation sections have a separate Modulation Matrix and can be active simultaneously.
#LFO 1 & LFO 2
An LFO (Low Frequency Oscillator) is used for generating cyclic modulation. The LFO section features two separate general purpose LFOs, that can be assigned to control selectable Destination parameter(s) in the Modulation Matrix section, see “The Modulation Matrix”.
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Click the LFO 1 or LFO 2 buttons to access the parameters for the respective LFO.
LFO 1 and LFO 2 are identical in functionality.
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Select an LFO waveform by clicking the spin controls to the right of the waveform display, or by dragging up or down in the display.
Besides the standard waveforms (sine, triangle, pulse, etc.) there are random, slope and stepped waveforms. The shape of the waveforms are shown in the display.
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All LFO signals are bipolar (+/-), except for the Exponential Pulse, which is unipolar (+).
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Set the LFO frequency with the Rate knob.
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Click the Beat Sync button to sync the LFO to the main sequencer Tempo.
The Rate parameter now controls time divisions.
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Turn the Phase knob to adjust the phase of the LFO waveform.
Range: +/-180 degrees
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Assign the desired Destination parameters in the Modulation Matrix, as described in “The Modulation Matrix”.
#Curve
There is also a Curve generator available for modulating selectable parameter(s) in the Modulation Matrix, see “The Modulation Matrix”. The Curve generator can serve as an additional LFO or a semi-step sequencer.
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To create steps or a curve shape, either click or draw by dragging in the display:
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To switch between steps and a curve shape, click the Stepped button below the display.
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Set the number of steps (1-16) by clicking or dragging in the bar at the top of the curve display:
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Set the speed of the Curve with the Rate knob.
If Sync is on, the Rate value is shown as the length of the entire 16 step cycle. For example, if Rate is 4/4, each of the 16 steps corresponds to a 1/16 note.
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Click the Bipolar button if you want the values to be bipolar (+/-) instead of unipolar (+ only).
#Follow
The Envelope Follower allows for modulation based on the level of an audio signal. The modulation can be assigned to control selectable Destination parameter(s) in the Modulation Matrix section, see “The Modulation Matrix”.
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Select modulation source from the Source drop-down.
The sources are: Input signal or the signal from the Band Splitter’s Red (Low Band), Yellow (Mid Band) and Green (Hi Band). This lets you select what the Envelope Follower will listen to, either the input or one of the separate bands. This means you can, for example, duck the Drive amount of a distortion only when bass frequencies (e.g. from a kick) come through.
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Note that the Multiband Splitter has to be on for the Red and Green signals to have effect.
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Set how fast the envelope follower should react to the input signal with the Rise knob.
Note that the Rise time can only be increased compared to the input signal - never shortened.
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Set how fast the envelope follower should drop back to zero after the input signal has stopped with the Fall knob.
Note that the Fall time can only be increased compared to the input signal - never shortened.
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Assign the desired Destination parameters in the Modulation Matrix, as described in “The Modulation Matrix”.
The envelope follower signal affects the assigned Destination parameters of the Modulation Matrix according to the LED level indicator.
#CV
The CV section allows for modulation controlled by the signals of the CV In 1/2/3 inputs of the rear panel (see “CV Inputs and Outputs”).
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There is a button (Button Offset) for sending out a maximum control signal level, e.g. for activating one or more Destinations, for example Mix knobs in modules that you want to switch from 0 to 100.
The button is mainly useful on its own, i.e. when there is no CV 1 signal connected. However, if the button is used together with a CV 1 input signal, their values are added. Note that only negative CV values will have effect, since the button outputs max level.
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There is also a knob (Knob Offset) for adding an offset value to the CV 2 and CV 3 signals.
The CV modulation can be assigned to control selectable Destination parameter(s) in the “The Modulation Matrix”. The three CV signals correspond to a separate row in the Modulation Matrix.
#The Modulation Matrix
The Modulation Matrix section in Osmium is derived from the one in other Reason instrument devices, so if you are familiar with Reason you will quickly find your way around in Osmium’s Modulation Matrix.
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The Modulation Matrix is unique for each Modulation Source, meaning that LFO1, LFO2, Curve, Follow and CV have its own individual Modulation Matrix.
There are three “Destination 1 –> Destination 2 –> Scale” buses.
A source (LFO, Curve, Envelope Follower and CV signal) can modulate two Destination parameters per bus. Each bus also has a Scale parameter that affects the relative modulation Amount for the Destinations.
1.
Select the desired source by clicking the LFO 1, LFO 2, Curve, Follow or CV button.
2.
Set the Amount for Destination 1 by clicking and dragging vertically in the corresponding AMT box.
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Note that the Amount range is +/-100. This means that the Amount value can exceed the modulated parameter’s range. When this happens, the modulated parameter simply stays at its extreme value until the Amount value gets within the parameter’s range again.
3.
Click the desired Destination box and select the Destination parameter from the context menu.
The context menu is laid out according to what module you use in the different Effect Slots. In the example below Effect Slots 2, 3, 5, 8, In(put FX), and Out(put FX) contain modules that have Destination parameters:
Destination context menu vs. the Effect Slot Matrix configuration
The following parameters can be used as modulation Destinations:
| Parameter
| Description
Master Level
Affects the Master Level parameter in the Output section.
Dry-Wet
Affects the Dry/Wet parameter in the Output section.
Pan 1/2/3
Affects the Pan parameters in the Output Mixer section.
Mix Level 1/2/3
Affects the Mix Level parameters in the Output Mixer section.
Lo Split Freq
Affects the Low Band split frequency in the Multiband Splitter.
Hi Split Freq
Affects the High Band split frequency in the Multiband Splitter.
LFO 1 Rate
Affects the LFO 1 Rate in the Modulation section.
LFO 2 Rate
Affects the LFO 2 Rate in the Modulation section.
Curve Rate
Affects the Curve Rate in the Modulation section.
 
 
Saturation: Drive
Affects the Drive parameter in the Saturation module.
Saturation: Level
Affects the Level parameter in the Saturation module.
 
 
Overdrive: Drive
Affects the Drive parameter in the Overdrive module.
Overdrive: Tone
Affects the Tone parameter in the Overdrive module.
Overdrive: Level
Affects the Level parameter in the Overdrive module.
Overdrive: Mix
Affects the Mix parameter in the Overdrive module.
 
 
Wavefolder: Drive
Affects the Drive parameter in the Wavefolder module.
Wavefolder: Tone
Affects the Tone parameter in the Wavefolder module.
Wavefolder: Level
Affects the Level parameter in the Wavefolder module.
Wavefolder: Mix
Affects the Mix parameter in the Wavefolder module.
 
 
Bitcrush: Level
Affects the Level parameter in the Bitcrush module.
Bitcrush: Mix
Affects the Mix parameter in the Bitcrush module.
Bitcrush: Crush Rate
Affects the Rate parameter in the Bitcrush module.
Bitcrush: Crush Bits
Affects the Bits parameter in the Bitcrush module.
 
 
Filter: Level
Affects the Level parameter in the Multimode Filter module.
Filter: Filter Freql
Affects the Frequency parameter in the Multimode Filter module.
Filter: Filter Reso
Affects the Resonance parameter in the Multimode Filter module.
 
 
Morph Filter: Level
Affects the Level parameter in the Morph Filter module.
Morph Filter: Morph X
Affects the X parameter in the Morph Filter module.
Morph Filter: Morph Y
Affects the Y parameter in the Morph Filter module.
Morph Filter: Morph Width
Affects the Width parameter in the Morph Filter module.
 
 
Par.EQ: Level
Affects the Level parameter in the Parametric EQ module.
Par.EQ: EQ Freq
Affects the Freq parameter in the Parametric EQ module.
Par.EQ: EQ Gain
Affects the Gain parameter in the Parametric EQ module.
Par.EQ: EQ Q
Affects the Q parameter in the Parametric EQ module.
 
 
Resonator: Level
Affects the Level parameter in the Resonator module.
Resonator: Mix
Affects the Mix parameter in the Resonator module.
 
 
Cabinet: Level
Affects the Level parameter in the Cabinet module.
 
 
Compressor: Level
Affects the Level parameter in the Compressor module.
 
 
Noise Gate: Level
Affects the Level parameter in the Noise Gate module.
Noise Gate: Mix
Affects the Mix parameter in the Noise Gate module.
 
 
Transient Shaper: Level
Affects the Level parameter in the Transient Shaper module.
Transient Shaper: Mix
Affects the Mix parameter in the Transient Shaper module.
 
 
Feedback: Level
This affects the Level parameter in the Feedback module.
Feedback: Mix
This affects the Mix parameter in the Feedback module.
Feedback: FB Harm
This affects the Harmonic parameter in the Feedback module.
 
 
Pitch Shift: Level
This affects the Level parameter in the Pitch Shifter module.
Pitch Shift: Mix
This affects the Mix parameter in the Pitch Shifter module.
Pitch Shift: Pitch
This affects the Pitch parameter in the Pitch Shifter module.
 
 
Delay: Level
This affects the Level parameter in the Delay module.
Delay: Mix
This affects the Mix parameter in the Delay module.
Delay: Delay Time
This affects the Time parameter in the Delay module.
Delay: Delay FB
This affects the Feedback parameter in the Delay module.
 
 
External 1/2/3: Level
This affects the Level parameter in the External 1/2/3 modules.
External 1/2/3: Mix
This affects the Mix parameter in the External 1/2/3 modules.
Modulation Matrix Destination parameters
4.
Repeat the procedure from Step 2 for the AMT(2) and Destination 2 parameters.
5.
If desired, click the Scale box and select a Scale parameter.
The available Scale parameters are the same as the Source parameters, i.e. LFO1, LFO2, Curve, Follower and CV 1/2/3.
Selecting a source here means the modulation is scaled by that source.
For example, if you set up a modulation as follows:
Source
AMT
Destination 1
AMT
Destination 2
AMT
Scale
LFO 1
50
Delay: Delay FB
 
 
100
Curve
then the LFO will modulate the Feedback parameter in the Delay module, but the modulation will be scaled by the Curve in the Modulation section. If the Curve is at zero, there will be no modulation at all. When the Curve value increases will gradually increase the LFO 1 modulation up to the set Amount (50).
*
To clear an assigned Destination parameter, hold down [Ctrl](Win) or [Cmd](Mac) and click the Destination box. Alternatively, click the Destination/Scale box and select “Off” from the list.
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To reset an Amount value to 0, hold down [Ctrl](Win) or [Cmd](Mac) and click the desired Amount box.
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To clear an entire modulation assignment (a whole row), click the circular X button to the right of the corresponding Scale box.
#--No Effect--
If no effect is currently loaded in the chosen Effect Slot, this blank panel is shown.
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Click the + sign to bring up a context menu where you can select the desired module.
#Saturation
The Saturation module features four types of softer distortion: Solid, Tube, Tape and Vinyl. These are great for warming up a sound or just adding a bit of presence. The Saturation module amplifies the input signal up to the available headroom and thereby changes the shape of the signal when it hits the headroom “ceiling”. For example, a sine wave would transform into more of a rounded square (pulse) wave with increasing Drive amount.
A sinewave will get more of a rounded square wave shape with increased Drive amount
#Drive
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Set the saturation amount with the Drive knob.
#Type
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Select the desired saturation character with the Type selector switch.
“Solid” emulates the saturation you could get in a transistor amp.
“Tube” emulates the saturation you could get in a tube amp.
“Tape” emulates the type of saturation you could get in an analog tape recorder.
“Vinyl” emulates the inner groove high-frequency distortion that could occur near the end of a vinyl record, due to the grooves being more compressed and shorter, making them harder for the stylus to track.
#Level
*
Set the output level from the effect with the Level slider.
Range: -inf to +12.0 dB
#Overdrive
The Overdrive module features eight soft-clipping distortion types with a Drive control that goes much further than on the Saturation module, resulting in a more distorted sound. The module features an additional Tone control to roll off some of the resulting high-end overtones generated by the distortion.
A sinewave will get more of a square wave shape with increased Drive amount
#Drive
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Set the overdrive amount with the Drive knob.
#Tone
*
Set the roll-off of high frequencies with the Tone knob.
Range: 1.00-20.00 kHz
#Type
*
Select the desired saturation type by clicking one of the Type radio buttons.
There are eight types of saturation types, each with their own character.
“Smooth” is an all-round type of overdrive, useful pretty much on everything.
“Tube” is an overdrive akin to that found in tube distortion.
“Dynamic” distorts less on low amplitudes, leading to a dynamic overdrive.
“Even” is a distortion that acts evenly, regardless of the amplitude of the input signal.
“Glitch” is an overdrive with discontinuities for more high-end sizzle.
“Asymm” is an overdrive with rich overtones that can almost sound like adding an octave up
“Edge” is, like the name suggests, and edgy type of distortion,
“Velcro” offers full distortion from the start and then dies out when the input amplitude goes below a certain level.
#Mix
*
Set the mix between the overdriven and the dry signal with the Mix knob.
#Level
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Set the output level from the effect with the Level slider.
Range: -inf to +12.0 dB
#Wavefolder
The Wavefolder module is a type of distortion that instead of clipping inverts and folds the waveform back onto itself. This can get very aggressive, especially with frequency rich inputs, and will change the sound drastically. 10 different fold types are available to choose from.
The Wavefolder amplifies the signal above the available headroom and then “mirrors” the peaks down into the available headroom
#Drive
*
Set the distortion amount with the Drive knob.
#Tone
*
Set the roll-off of high frequencies with the Tone knob.
Range: 1.00-20.00 kHz
#Type
*
Select the desired fold type with the Type selector.
The graphics above the Tone knob on the module panel shows the wavefolding principle when fed with a sine wave.
#Mix
*
Set the mix between the distorted and the dry signal with the Mix knob.
#Level
*
Set the output level from the effect with the Level slider.
Range: -inf to +12.0 dB
#Bitcrush
The Bitcrush module offers classic digital distortion, with aliasing and all. The bitcrushing comes in three different flavors, that have their own characteristics. Perfect for that digital crunch or emulating old digital gear.
A sinewave will get an increasingly edgy/square-like shape with decreasing Rate and Bits values
#Rate
*
Set the sample rate with the Rate knob.
Setting a lower sample rate will cause aliasing, which adds inharmonic overtones to the signal.
Range: 156 Hz to 20.00 kHz
#Bits
*
Set the bit depth with the Bits knob.
The lower the bit depth, the more digitally distorted the signal.
Range: 1.00-12.00 Bits
#Type
*
Select the desired bitcrush type with the Type selector.
“Bitcrush” is the classic way of reducing the sample rate and bit depth to create a digitally distorted signal.
“High Crush” features a high pass filter and mainly affects the higher frequencies of the signal, leaving the lower frequencies (below the Rate setting) less affected.
“Sine Crush” adds sinewave modulation to the bitcrushing, resulting in a ring modulation character.
#Mix
*
Set the mix between the distorted and the dry signal with the Mix knob.
#Level
*
Set the output level from the effect with the Level slider.
Range: -inf to +12.0 dB
#Multimode Filter (Filter/EQ)
The Multimode Filter is a classic synth filter, continuously state variable from Lowpass via Bandpass to Highpass. Great for taming frequencies and for modulation.
#Frequency
*
Set the cutoff/center frequency with the Frequency knob.
Range: 40.00 Hz to 18.00 kHz
#Resonance
*
Set the resonance amount with the Resonance knob.
#Filter Type
*
Change the filter state continuously from lowpass, via bandpass, to high pass with the Filter Type knob.
Lowpass (black), bandpass (red) and highpass (green) filter states with different resonance settings.
#Level
*
Set the output level from the filter with the Level slider.
Range: -inf to +12.0 dB
#Morph Filter (Filter/EQ)
The Morph Filter is a newly designed morphing filter with 12 different complex filter curves, which you can modulate with X and Y controls to create really nice sweeps and movements. Instead of using the X and Y controls you can also drag in the filter display, to control X and Y simultaneously. You can also record these movements as parameter automation in the sequencer if you like.
#Type
*
Select the desired filter type with the Type selector below the filter display.
The filter curves are displayed in real-time in the Filter Display.
#X
*
Set the cutoff/center/base frequency with the X knob.
Alternatively, drag sideways in the filter display.
#Y
*
Set the resonance/amount/polarity with the Y knob.
Alternatively, drag up/down in the filter display.
#Width
*
Set the stereo width with the Width knob.
The Width control offsets the frequencies in the left and right channel for a stereo effect.
#Level
*
Set the output level from the filter with the Level slider.
Range: -inf to +12.0 dB
#Parametric EQ (Filter/EQ)
The Parametric EQ is a simple workhorse EQ with low/high shelf gain and a fully parametric band. This is the go-to both for gentle boosts and cuts and for more surgical sound changes.
#Lo Gain
*
Set how much the level of the fixed low band should be boosted (positive values) or lowered (negative values).
Range: +/-18 dB
#Gain
*
Set how much the level of the band should be boosted (positive values) or lowered (negative values).
Range: +/-18 dB
#Hi Gain
*
Set how much the level of the fixed high band should be boosted (positive values) or lowered (negative values).
Range: +/-18 dB
#Freq
*
Set the center frequency of the sweepable EQ band, e.g. at which frequency the level should be decreased or increased.
Range: 45.00 Hz to 17.00 kHz
#Q
*
Set the width of the sweepable EQ band around the set center frequency.
The higher the value, the narrower the affected band (frequency range).
#Level
*
Set the output level from the EQ with the Level slider.
Range: -inf to +12.0 dB
#Resonator (Filter/EQ)
The Resonator is a convolution module which features impulse responses of speakers, instruments, objects, and so on for creative sound shaping. Everything from cassette recorders and mobile phones to instrument bodies and everyday objects. Great for lo-fi vibes!
#Type
*
Select the desired resonator type with the Type selector.
#Tune
*
Set the tuning of the impulse responses with the Tune knob.
Different Tune settings can generate radically different sounds. The Tune parameter can also be viewed as “body size”, with lower tuning simulating larger bodies, and higher tuning simulating smaller bodies.
Range: +/- 12.00 semitones
#Length
*
Set the resonator decay time with the Length knob.
Range: 0-100%
#Mix
*
Set the mix between the resonator signal and the dry signal with the Mix knob.
#Level
*
Set the output level from the resonator with the Level slider.
Range: -inf to +12.0 dB
#Cabinet (Filter/EQ)
The Cabinet module is another convolution module and features impulse responses of guitar and bass amp speaker cabinets. More realistic and “normal” than the Resonator module, these are meant for a more natural speaker sound. Each cabinet Type features two impulse responses: one from the close mic and one from a room mic. There is also a Room control to blend in the sound of the room mic impulse response.
#Type
*
Select the desired cabinet type with the Type selector:
“Closed” in the descriptions below means the cabinet has a closed back and basically only projects the sound forwards, whereas an “Open” cabinet also radiates the sound from the back. Generally, an open cabinet often sounds a little thinner than a closed cabinet:
| Type
| Description
Bass Mini-Fridge Deep
4x12" bass cab (Closed)
Bass Mini-Fridge Punchy
4x12" bass cab (Closed)
Bass Vintage Bright
2x15" bass cab (Closed)
Bass Vintage Cab Deep
2x15" bass cab (Closed)
Boutique US Combo
US 1x12" combo w/ Matchless Special Design (Open)
Modern UK Combo
UK 1x12" combo w/ Celestion G12 V-Type (Open)
Modern UK Stack Blend
UK 4x12" cab mic blend (Closed)
Modern UK Stack Raw
UK 4x12" cab using dual-mic technique (Closed)
Modern US Combo Punchy
US 1x12" combo w/ Mojo Tone BV30H (Open)
Modern US Combo Warm
US 1x12" combo w/ Celestion Vintage 30 (Open)
Modern US Stack Blend
US 4x12" cab mic blend (Closed)
Modern US Stack Raw
US 4x12" cab using dual-mic technique (Closed)
Small Cab
UK 1x8" cab (Closed)
Small Combo
US 1x8" combo (Open)
UK Rock Cab
UK 2x12" cab w/ Celestion Greenback (Closed)
UK Rock Stack 800
UK 4x12" cab w/ Celestion G12-65 (Closed)
US Cab Small
US 1x12" cab (Closed)
Vintage Cab Glassy
UK 4x12" cab w/ Fane speaker (Closed)
Vintage Cab Green
UK 4x12" cab w/ Celestion Greenback (Closed)
Vintage Cab Large
Vintage PA 3x12" cab w/ Celestion G12M Creamback (Open)
Vintage Cab Throaty
UK 4x12" cab w/ Celestion G12-30 (Closed)
Vintage Cab Warm
UK 4x12" cab w/ Celestion Creamback 65 (Closed)
Vintage US Combo Large
US 2x12" combo (Open)
Vintage US Combo Medium
US 1x12" combo w/ Celestion Greenback (Open)
#Room
*
Blend in the room impulse response with the Room slider.
This blends in the sound of the room the speaker was recorded in.
#Level
*
Set the output level from the Cabinet module with the Level slider.
Range: -inf to +12.0 dB
#Compressor/Limiter (Dynamics)
This is a classic stereo compressor with attack, release, threshold and ratio controls. It will act as a limiter when Ratio is set to max. To adjust the level after compression (make-up gain), use the level slider.
#Attack
*
Set how long it should take for the compressor to apply compression.
This governs how quickly the compressor will apply its effect when signals rise above the set threshold. If you raise this value, the response will be slower, allowing more of the signal to pass through the compressor unaffected. Typically, this is used for preserving the attacks of the sounds.
Range: 0.78-20.0 ms
#Release
*
Set how long it should take for the compressor to fade out the compression.
When the signal level drops below the set threshold, this determines how long it takes before the compressor lets the sound through unaffected. Set this to short values for intense, “pumping” compressor effects, or to longer values for a smoother change of the dynamics.
Range: 1.56-400 ms
#Threshold
*
Set the level where compression should start to kick in.
This is the threshold level above which the compression sets in. Signals with levels above the threshold will be affected, signals below it will not. In practice, this means that the lower the Threshold setting, the more the compression effect.
Range: -30.00-0 dB
#Ratio
*
Set the level where compression should activate.
This specifies the amount of gain reduction that should be applied to the signals above the set threshold. When the Ratio is set to max (inf:1) it will act as a limiter.
Range: 1.00:1 to inf:1
#Level
*
Adjust the level after compression (make-up gain) with the Level slider.
Range: -inf to +12.0 dB
#Noise Gate (Dynamics)
This is a classic noise gate. Great on the input if you’re working with a mic or instrument, but can also be used for creative sound design and glitchy gating. A gain reduction meter indicates the gate characteristics based on the current parameter settings.
#Threshold
*
Set the level at which the gate opens or closes.
Signals below the Threshold setting are gated (silenced), but when the level exceeds the threshold, the gate opens and the signal is let through.
Range: -48.00 to 0.00 dB
•
You can also drag the arrow in the display up/down to set the Threshold.
#Attack
*
Set how long it should take for the gate to open when the level goes above the set Threshold level.
Range: 0.08-20.00 ms
#Hold
*
Set how long the gate should stay open when the signal drops below the set Threshold level.
This determines the time the gate stays fully open after the signal falls below the threshold. Hold interacts with the Decay parameter such that Decay only starts acting after the set Hold time.
Range: 0.0-256.00 ms.
#Decay
*
Set the time it should take for the gate to go from open to closed.
Decay determines the time it takes for the gate to go from open to fully closed. Fast Decay times will fade the signal abruptly once the level falls below the threshold, and longer release times will slowly fade out the signal.
Range: 0.39-100 ms.
#Mix
*
Set the mix between the gated signal and the dry signal with the Mix knob.
#Level
*
Set the output level from the Noise Gate with the Level slider.
Range: -inf to +12.0 dB
#Transient Shaper (Dynamics)
This is a transient shaper, great for adding or removing punch in your sound. The Transient Shaper is a type of dynamics processor which produces a result that could be compared to that of a compressor. As opposed to a “normal” compressor, the Transient Shaper mainly affects the signal’s attack, or transients in the signal, making the signal transients cut through in the mix.
#Attack
*
Set the level of the attack part (the transient) of the sound.
A positive Attack value will produce an amplified (snappy) attack/transient whereas a negative value will lower the level of the initial transient, smearing the sound. The LEDs above the Attack knob indicate if the Attack setting is positive or negative.
Range: +/-100.0, with “0” leaving the input signal unaffected
#Sustain
*
Set the level of the sustained part of the sound.
Turn this up to make the sound ring and boom longer, or down to make the sound shorter.
Range: +/-100.0, with “0” leaving the input signal unaffected
#Level
*
Set the output level from the Transient Shaper with the Level slider.
Range: -inf to +12.0 dB
#Feedback (Effects)
This is an emulation of speaker feedback, great for guitars but fun on anything.
#Attack
*
Set how long it should take for the selected harmonic to fade in.
Range: 100 ms to 1.00 s
#Harmonic
*
Select which harmonic of the input signal to focus the feedback on.
When set to 1.00, the feedback happens on the fundamental frequency of the sound. When turned up, the feedback happens on the 2nd, 3rd, 4th, 5th, 6th, 7th and 8th overtone of the sound. In other words, the higher the Harmonic number, the higher the pitch of the feedback.
Range: 1.00-8.00
#Drive
*
Set the level of distortion to be added to the feedback signal.
The Drive parameter is an additional distortion added afterwards to help augment the feedback tone.
#Mix
*
Set the mix between the dry and feedback signals with the Mix knob.
*
Note that the Mix knob is pre-Drive, meaning that any Drive setting will also affect the “dry” signal.
#Level
*
Set the output level from the Feedback module with the Level slider.
Range: -inf to +12.0 dB
#Pitch Shifter (Effects)
This is a pitch shifter loosely based on Reason Studios’ Polar Dual Pitch Shifter device, great for octave or harmonizer effects.
#Speed
Here you determine how accurate the pitch analysis should be. The analysis is made continuously on dynamic snippets of the input audio. The more complex and/or bassy the input audio, the longer the snippets have to be for a correct pitch analysis. The detection time of these audio snippets is selected with the Fast/Medium/Slow radio buttons.
*
Use the fastest option that makes your audio still sound good. Feel free to experiment to find the optimal setting for your specific audio material.
•
Fast
This mode is best suited for less bassy monophonic sounds, like vocals. “Fast” mode has the lowest latency (typically around 24ms) because it’s not optimized to detect low frequencies.
•
Medium
This is best suited for bassy monophonic sounds and also for drums and percussion. “Medium” mode has a little higher latency than “Fast” mode (typically around 48ms) because it should also be able to accurately detect lower frequencies.
•
Slow
This is best suited for polyphonic audio and complex sounds. “Slow” mode has the highest latency (typically around 96ms) because it needs time to correctly analyze the frequencies in complex sounds.
*
Note that the Fast/Medium/Slow buttons aren’t necessarily a “sound quality” control. E.g. for vocals the best sound quality is often achieved with the Classic+Fast combination.
*
For polyphonic audio, the Modern+Medium/Slow combination is often the best setting.
#Pitch
*
Set the pitch shift amount with the Pitch knob.
Range: +/- 12 semitones (relative to the current input audio pitch).
#Modern/Classic
•
Modern
This algorithm uses advanced real-time frequency analysis and resynthesis to generate smooth and high quality pitched signals out of complex input signals. There are separate analysis + resynthesis channels for stereo signals. The Modern algorithm is best suited for polyphonic input audio.
•
Classic
This algorithm looks for suitable positions in the audio to generate grains (short waveform snippets). The grain lengths vary dynamically according to the input audio to preserve the pitch. The Classic algorithm is best suited for periodic monophonic waveforms like strings, vocal, etc. The Classic algorithm is what was used by the classic hardware harmonizing effect units of the ‘80s.
#Frequency Range
If you have selected the “Modern” Type described above, you will also have access to the Frequency Range control.
*
Drag the “handles” of the Frequency Range control sideways to set the frequency range that should be pitch shifted.
You can also click in between the handles and drag sideways to move the entire frequency band up/down.
*
If you have selected the “Classic” Type, this control is automatically disabled.
#Mix
*
Set the mix between the pitched signal and the dry signal with the Mix knob.
#Level
*
Set the output level from the Pitch Shifter module with the Level slider.
Range: -inf to +12.0 dB
#Delay (Effects)
This is a a basic delay without tempo sync, but with a wide, smooth time range. The Delay is very useful for special effects like the haas effect, patching into feedback loops in the Effect Slot Matrix, or creating feedback-like resonance.
#Time
*
Set the delay time with the Time knob.
Range: 0.0-500.0 ms
#Feedback
*
Set the feedback amount with the Feedback knob.
#Mix
*
Set the mix between the delay signal and the dry signal with the Mix knob.
#Level
*
Set the output level from the Delay module with the Level slider.
Range: -inf to +12.0 dB
#External 1/2/3
On the rear panel of Osmium are three Send/Return stereo jacks called External 1/2/3 (see “External FX Modules”). Connecting an effect device here and adding the corresponding External (1/2/3) module to the Effect Slot Matrix lets you route signals from other rack device into Osmium’s matrix of modules.
*
For an External Module to work, its Effect Slot must be connected with both input and output in the Effect Slot Matrix (i.e. the slot LED must be lit up).
*
Note that you can only have one instance (1/2/3) of the External modules in the Effect Slots - i.e. you cannot have two External 1 modules in two different Effect Slots.
*
Instead of routing an external effect device back to the External In jacks, you could route it to a separate mixer channel to process it further outside of Osmium if you like.
#Mix
*
Set the mix between the return (In) signal and the dry signal with the Mix knob.
#Level
*
Set the output level from the module with the Level slider.
Range: -inf to +12.0 dB
*
Remember that CV connections are NOT stored in the Osmium patches! If you want to store CV connections
between devices, put them in a Combinator device and save the Combi patch.
#Distortion Oversampling (x4)
*
Click the Distortion Oversampling (x4) button to activate oversampling.
This will oversample the signals of the Saturation, Overdrive and Wavefolder modules (if they are used) by a factor of 4, resulting in a higher signal quality.
*
Note that oversampling will also increase the DSP Load.
#External FX Modules
The External 1/2/3 jacks can be used for connecting external effect devices and use them in the Effect Slot Matrix (see “External 1/2/3”). The Out jacks should be used for sending the signal out from the corresponding External module in the Effect Slot Matrix, and the In jacks are used for returning the signal to the corresponding External module.
#CV Inputs and Outputs
These control voltage (CV) inputs and outputs can be used for routing external CV signals to and from Osmium for modulation purposes. The modulation can be configured in the Modulation Matrix (see “The Modulation Matrix”).
#Audio
These are the main stereo audio inputs and outputs.
#Input L&R
*
Patch the main audio input signal(s) here.
If your input signal is in mono, connect only to the L (left) input.
#Output L&R
*
Patch the main audio output signal(s) here.
If your input signal is in mono, connect only to the L (left) output for mono output - or to both for stereo output.