Processed Pianos | Reason Studios

Reason+ Rack Extensions Operation Manual

DAW | Rack Plugin | Reason+ Rack Extensions

Processed Pianos

Processed Pianos is the perfect piano package for all users who want to explore and play around with new sounds. Let your creativity flow by mixing the Hyper-sampled pianos in just the way you want, using a custom selection of creative effects. Featuring a microphone blending matrix, powerful processing signal chain and an easy to understand interface, you can easily create piano sounds for film scores, future pop, classic rock and everything in between.

At the core of Processed Pianos is the intuitive way of blending three different piano sources with just the right amount of processing. Balance the ambience microphone with a touch of distortion, give the Steinway’s ribbon mic a tasteful echo effect or manipulate all three piano sources concurrently with an advanced modulation matrix. From washed-out ambient to aggressively rhythmic or tastefully manipulated, Processed Pianos allows you to create the piano sound that you are looking for.

All three pianos were recorded from multiple angles, using six different sets of microphones giving you three amazing-sounding instruments. The featured pianos were chosen for their classic pop and rock friendly sound; The Steinway D is considered to be the world’s finest grand piano, the Yamaha C7 is a classic rock and jazz piano with a distinctive sound, and the Steinway K is a well-balanced upright known for its deep tone.

The three pianos reproduced in the Processed Pianos were recorded in large, hardwood-floored recording rooms–the perfect environment for pop piano recordings. And where other piano libraries leave you with a fixed piano sound that may or may not suit your project, Processed Pianos does just the opposite: these pianos were recorded using multiple microphones, leaving the mixing and shaping of your piano sound to you. You create piano sounds that suit your mix, not the other way around.

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3 Hyper-sampled pianos recorded from industry classics

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Intuitive interface specially made for sound design and classic piano processing

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Over 50 patches in different genres

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Microphone levels and piano models spread-out and visualized for intuitive blending

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Unparalleled control of individual piano characters and the overall audio effect

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Mic-balancing, mixer and sound processing features for deep tweaking

Processed Pianos holds complete sound sets recorded from these three pianos:

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A Steinway Model D grand piano - one of the greatest grand pianos out there.

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A top of the line Steinway Model K upright piano. The one we sampled was manufactured in 1927.

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A Yamaha C7 grand piano. Yamaha's finest "Concert Collection" grand, very popular for studio recordings.

#The microphone configurations

The microphone configurations for the grand pianos and the upright piano respectively.

The pianos were recorded using up to nine microphones per instrument, placed at various critical positions inside and outside of the pianos. The different microphone recordings were then stored in Processed Pianos as separate sound (mic source) sets.

The following microphone configurations were used:

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Ambience (stereo)

For the Steinway pianos we used an AB configuration with the mics positioned 30 feet apart, roughly 15 feet away from the piano. For the Yamaha piano we used a stereo mic with a "Blumlein configuration"***, meaning two crossed figure of 8 capsules angled at 90° from each other.

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Mono mic situated 8 inches below the soundboard, for the express purpose of adding more low range. Works particularly well in combination with the ribbon mic.

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Two microphones in XY configuration** placed close to the hammers. The close mics produce a distinct sound with a sharp attack, ideal for uptempo pop/rock.

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These mics lay flat on the floor just behind the front legs of the grand piano (and behind the upright piano). They add depth and richness to the sound and are best used as a complement to the other mics.

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Two microphones in AB configuration* placed just outside/in front of the piano. This gives a full bodied sound with a wide stereo image and a less pronounced attack.

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Old school mono mic with vintage characteristics and a narrow frequency response with the emphasis in the mid range. It's positioned 5 feet away from the middle of the soundboard.

* AB configuration: Two mics in stereo configuration placed several feet apart and tilted slightly away from each other.

** XY configuration: Two mics in stereo configuration placed close together in 'V' shape at a 90° coincidence.

*** Blumlein configuration: Similar to XY, except the microphones are bi-directional.

#Mic and preamp brands and models

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Ambience mics (stereo):

Yamaha C7: AKG C24 (vintage tube mics) in Blumlein configuration. API 312 preamp.

Steinway D/K: Neumann M250 (vintage tube mics) in AB configuration. API 312 preamp.

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Bottom mic (mono):

BeyerDynamic M380 (dynamic mic). Fairman TRC preamp.

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Close mics (stereo):

Didrik De Geer M49 (hand-made tube mics) in XY configuration. Fairman TMA preamp.

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Floor mics (stereo):

Sennheiser PZM (pressure zone mics). Tubetech MP1A preamp.

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Jazz mics (stereo):

Neumann M269 (vintage tube mics) in AB configuration. API 312 preamp.

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Ribbon mic (mono):

Royer R122. API 312 preamp.

#Panel overview

The Processed Pianos front panel contains the following sections:

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1. Piano mic source selectors with On/Off buttons, Dry and FX level controls (see “Selecting Mic Source sets”)

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2. Master Volume control

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3. Edit buttons for opening the mic and mechanics (Mike + The Mechanics?) panel for the three piano mic sources, and for the Insert FX section (see “The Mic Selection Settings” and “The Insert FX section”)

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4. Patch Selector (for browsing, loading and saving patches) (see “Loading and saving patches”)

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5. Edit button for entering the Modulation section (see “The Modulation section”)

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6. Edit button for entering the Send Effects section (see “The Sends section”)

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7. Edit button for entering the Master Effects section (see “The Master section”)

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8. Edit panels for the three piano mic sources, the Insert FX section, the Modulation section, the Send Effects section and the Master Effects section (see “The Mic Selection Settings”, “The Insert FX section”, “The Modulation section”, “The Sends section” and “The Master section”)

The picture below shows the basic signal flow:

The two parallel Sound Engines have identical configurations:

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The signals from the (up to) three Mic Source sets (A, B and C) can be tapped via the Dry and Wet controls.

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The Dry signals are routed to the Master FX section and can be tapped to two Send Effects (Multi-tap Echo and Reverb).

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The Wet signals are routed to the Insert FX section for further processing by a Lo-Fi Bitcrusher, Frequency Shifter, Chorus, Filter and a Tone Control (Treble and Bass).

The Insert FX section is common for all three Mic Source sets.

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The output signal from the Insert FX section is then routed to the Master FX section.

The signal can also be sent to the two Send Effects.

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The Master FX section features an EQ and a Compressor.

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Assignable modulation sources (two LFOs, an Envelope Follower) and a Modulation Matrix, for flexible modulation (not shown in the picture above).

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External Audio Ins for processing external audio via the Insert FX, Multi-tap Echo & Reverb and Master FX sections.

#Playing and using Processed Pianos

#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 Library location in the browser, and then navigate to the Processed Pianos folder and opening it.

#Global performance controls

The Mod Wheel can be used for controlling almost any parameter in Processed Pianos. Use the Mod wheel as a Source parameter in the Modulation Matrix section and then route to the desired Destination parameter(s), see “The Modulation section”.

The Pitch bend wheel on a connected MIDI Control Keyboard can be used for bending note pitches up and down. The pitch bend range is fixed at +/-2 semitones.

#Global output controls

This is the main stereo output volume control.

#Selecting Mic Source sets

A patch in Processed Pianos can consist of a mix of up to three mic source sets. The mix could be between mic source sets from the same piano, or from different pianos. You could, for example, blend a Close mic’ed Steinway K upright piano with the Floor microphones of a Yamaha C7 grand piano to create your own custom piano sound.

#On/Off buttons

Click the A, B and/or C buttons to activate the mic source sets.

#Mic source selector

Click the triangular selector button at the top of each mic source section and select the desired mic source set from the drop-down menu.

#Dry and FX sliders

Set the Dry and the (Inserts) FX signal levels by clicking/dragging the curved sliders in each mic source section.

See the “Signal flow” diagram for more details regarding the signal routing.

#The Mic Selection Settings

Click one of the A/B/C Mic Selection buttons to open the Mic Selection panel for the corresponding mic source set.

The selected mic source set is highlighted by a yellow circle around the corresponding mic source section further up on the front panel. To the left on the Mic Selection panel is an image and the name of the selected mic source set.

The Mic Selection panel features controls for adjusting the selected mic source set:

Set the attack time of the piano sound.

Range: 0-100 ms

This is a highpass filter for cutting out the lower frequencies in the sound. The higher the value, the less low end in the sound.

Set the cutoff frequency with the knob.

Range: 20 Hz to 25 kHz

This is a lowpass filter for cutting out the higher frequencies in the sound. The higher the value, the more high end in the sound.

Set the cutoff frequency with the knob.

Range: 20 Hz to 25 kHz

Set the sound’s position in the stereo panorama.

Set the stereo width of the sound.

Range: 0% (mono) to 100% (full stereo)

Set the mechanical attack noise from the hammers with the Hammer Noise knob.

The noise appears when you play the key(s) (note on).

Set the mechanical release noise from the dampers with the Release Resonance knob.

The noise appears when you release the key(s) (note off).

Set the desired signal level to the Multi-tap Echo Send Effect with the knob.

Range: -inf to 0 dB

Set the desired signal level to the Reverb Send Effect with the knob.

Range: -inf to 0 dB

#The Insert FX section

The Inserts section features four different insert effects connected in series, plus a tone control section. The Inserts section processes the signals from all three mic source sets together and you can control the individual input levels from the mic sources with the FX sliders further up on the front panel.

This is a bit crusher and distortion effect.

Activate the Lo-Fi effect with the On/Off switch.

Set the desires sample rate with the S. Rate knob.

Setting a low sample rate will cause the characteristic aliasing effect.

Range: 2.00-50.0 kHz

Set the desires bit depth with the Bit Depth knob.

The lower the bit depth value, the more the digital distortion.

Range: 2.00-16.00 bits

Set the distortion amount with the Distort knob.

Set the mix between dry and effect signal with the Dry/Wet knob.

This is a Bode frequency shifter, which shifts the frequency in Hertz (not pitch). This generates an inharmonic frequency shift.

Activate the Freq-Shifter effect with the On/Off switch.

Set the frequency shift range in Hertz with the Range knob.

Low values result in barber's pole phasing (a kind of phaser/flanger effect) when Dry/Wet is set to 50%.

Set the Feedback amount with the Feedback knob.

Add feedback to add overtones or increase the depth of phasing.

Set the linear scaling of the Frequency Shift amount with the Depth knob.

The Depth control is bipolar (+/-100%), so it can also be inverted. The Depth parameter can be useful as a modulation destination (see “The Modulation section”).

Set the mix between dry and effect signal with the Dry/Wet knob.

This is a chorus effect, for creating a thicker, fatter and wider sound.

Activate the Chorus effect with the On/Off switch.

Set the chorus rate with the Rate knob.

Range: 0.10-10.0 Hz

Set the depth of the delay (pitch) modulation with the Depth knob.

Select if you want two (I) or four (II) chorus voices with the Mode switch.

This is a multi-mode filter, consisting of a 12 dB/oct lowpass filter (LP12), a 24 dB/oct lowpass filter (LP24), a 6 db/oct bandpass filter (BP), a 12 dB/oct highpass filter (HP), a comb filter (Comb+) and a comb filter with inverted phase (Comb-).

Since the filter works as an “effect” here, it acts on all voices together - not per voice/note.

Activate the Filter with the On/Off switch.

Set the cutoff/center frequency with the Freq knob.

Range: 0.02-25.0 kHz

Set the resonance amount with the Reso knob.

Select filter type with the Filter selector.

The filter types are as follows:

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This is a lowpass filter with a slope of 12 dB per octave:

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This is a lowpass filter with a slope of 24 dB per octave:

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This is a bandpass filter with slopes of 6 dB per octave:

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This is a highpass filter with a slope of 12 dB per octave:

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This is a comb filter. Comb filters are basically delays with very short delay times with adjustable feedback (in Processed Pianos controlled with the Reso knob). A comb filter causes resonating peaks at certain frequencies:

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This is a comb filter with inverted phase. The difference between “+” and “–” is in the position of the peaks in the frequency spectrum. The main audible difference is that the “–”-version causes a bass cut:

Set the Position switch to where in the effects chain you want the filter: first in the chain (Pre) or last (Post).

This way you can decide if you want the rest of the effects to affect the filtered or unfiltered signal.

The Tone control is a shelving EQ with fixed frequencies for the bass and treble ranges.

Set the low-frequency and high-frequency levels with the Bass and Treble knobs.

The controls are bipolar with no amplification/attenuation at the 12 o’clock positions.

These are send controls for routing the Insert FX signal to the Multi-Tap Echo and Reverb Send effects respectively (see “The Sends section” below). This way you could get e.g. an echo effect of a distorted piano sound if you like.

#The Sends section

The Sends section features two send effects: a Multi-Tap Echo and a Reverb. The two effects are routed in parallel, so they work completely independently from each other. The signal levels from the respective Mic Source sets are set with the respective “Echo” and “Reverb” knobs on the Mic Selection panels. It’s also possible to send the signal from the Insert FX section here, by using the “Effects” controls (see above).

#Multi-Tap Echo

The Multi-Tap Echo is a multi-tap delay effect with Feedback controls. It also has an interactive display for setting Tap Levels, Pan and Filtering. The Multi-Tap Echo can be free-running or tempo-synced to the main sequencer and is perfect for creating “cinematic” type of weird effects.

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Here you set the time it should take for the 16 delay steps to play through.
Click the Sync button to sync the delay time to the main sequencer.

Range: 0.00-4000.00 ms (free running) and 1/8 to 2 bars (in Sync mode)

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Level, Pan and Filter

Click the Level/Pan/Filter buttons to edit the delay step values in the display.

Click the delay step bars to set values for the steps.

You can set individual Level, Pan and Filtering values for each echo tap (step). The effect of Filter taps will be pronounced by the “Reso” parameter. You can also click and draw with the mouse in the display to set values for all steps in a single move:

Hold down [Cmd](Mac) or [Ctrl](Win) and click/draw in the display to reset the values to 0.

If you like, select a preset from the drop-down list:

Flat: All values set to 0.
Ramp Down: The values ramps down from max to min value.
Every 2nd: Every second step has max value, and every other step has 0 - or min value for Pan and Filter.
Every 3rd: Every third step has max value, and the other steps have 0 - or min value for Pan and Filter.
Every 4th: Every fourth step has max value, and the other steps have 0 - or min value for Pan and Filter
Random: Every step gets a random value. If you select Random again the steps get new random values.

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Drag up/down in the Tap display to select which delay step you want to set the feedback for.

The feedback will be applied only to this step.

Add “dirt” to the delay/feedback signal with the Saturation knob.

Set the feedback to the delay input to create multiple repeats, with the Amount knob.

Be careful so you don’t set the Amount to high, since this could generate loud levels.

Turn the Filter knob to apply filtering of the feedback delay repeats.

Turn past the 12 o’clock position for progressive thinning of each delay repeat, and below the 12 o’clock position for progressive damping of each delay repeat.

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Set the Filter resonance for all taps with the Reso knob.

The parameter morphs from a gentle tone control to a narrow bandpass. The sound is also affected by the Filter values of the taps (see “Level, Pan and Filter”).

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Set the output volume from the Multi-Tap Echo effect with the Level knob.

This is an algorithmic stereo reverb. It also features a Shimmer effect, which adds a nice cinematic aura to the sound.

Set the initial delay before the reverb is introduced with the Pre-Delay knob.

Range: 0.00-200.00 ms

Set the reverb tail length with the Time knob.

Set the progressive loss of high frequencies in the reverb tail with the Hi Damp knob.

Range: 2.00-20.0 kHz

Set the progressive loss of low frequencies in the reverb tail with the Lo Damp knob.

Range 20.0 Hz to 2.00 kHz

Set the shimmer amount with the Shimmer knob.

The Shimmer effect is based on feeding an octave-transposed, chorused portion of the signal back into the reverb.

Set the output volume from the Reverb effect with the Level knob.

#The Master section

The Master section features an input mixer, a parametric equalizer and a master compressor connected in series. The section works as a “Master Insert FX” for all three Mic source sets and effects.

Set the combined input level of the Dry signals from the respective Mic Source sets with the Clean knob.

See the “Signal flow” diagram for details regarding the signal routing.

Set the input level from the Insert FX section with the Insert FX knob.

See the “Signal flow” diagram for more details regarding the signal routing.

Besides the controls mentioned above it’s also possible to route the return signals from the Sends section to the Master section, by using the Level knobs of the Multi-Tap Echo and Reverb sections respectively, see “The Sends section”.

The EQ is a four-band equalizer with parametric mid bands.

Activate/deactivate the EQ by clicking the EQ LED button.

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Set the “Lo” shelf frequency with the Hz knob.

Range: 50.0-800 Hz

Set the “Lo” frequency boost or cut with the dB knob.

Range: +/- 20 dB, with 0 dB at the 12 o’clock position

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The Lo Mid section

Set the “Lo Mid” center frequency with the Hz knob.

Range: 40.0 Hz to 16.0 kHz

Set the “Lo Mid” frequency boost or cut with the dB knob.

Range: +/- 20 dB, with 0 dB at the 12 o’clock position

Set the “Lo Mid” bell bandwidth with the Q knob

Range: from wide to narrow

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The Hi Mid section

Set the “Hi Mid” center frequency with the Hz knob.

Range: 40.0 Hz to 16.0 kHz

Set the “Hi Mid” frequency boost or cut with the dB knob.

Range: +/- 20 dB, with 0 dB at the 12 o’clock position

Set the “Hi Mid” bell bandwidth with the Q knob

Range: from wide to narrow

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Set the “Hi” shelf frequency with the Hz knob.

Range: 1.00-16.0 kHz

Set the “Hi” frequency boost or cut with the dB knob.

Range: +/- 20 dB, with 0 dB at the 12 o’clock position

This is a master compressor with make-up gain. It also has a Dry/Wet control, for parallel processing functionality. Use the Compressor for shaping the audio levels of your sounds, for taming transients and for controlling the sustain of the sound.

Activate/deactivate the compressor by clicking the Compressor LED button.

Set the level at which onset of compression should occur, with the Thresh knob.

Start by setting the Threshold based on the peak levels of your sound. The lower the Threshold, the more compression is applied.
Range: -60 dB to 0 dB

Set the amount of gain reduction applied to the signal above the set Threshold, with the Ratio knob.

Ratio specifies the amount of gain reduction applied to signal levels above the set Threshold. A 2:1 compression ratio effectively means that a signal level 2dB above threshold will get an output gain of 1dB. For a more subtle effect, use a lower Ratio; for more aggressive compression, increase the Ratio.

Range: 1.00:1 to 20.00:1

Set the time it should take before the compressor should react to signals above the set Threshold, with the Attack knob.

Adjust the attack time to control how quickly the compressor should respond; a fast attack can tame transients, while a slower attack lets transients through and allows for more punch in the sound.

Range: 0.0-1000 ms

Set the time it should take before the compressor lets the sound through unaffected - after the signal level drops below the set Threshold - with the Release knob.

Tweak the release time to find a natural decay that complements the rhythm of your song. Long Release times increases the sustain of the sound.

Range: 0.0 ms to 10.0 s

Adjust the output gain from the compressor with the Make-Up knob.

Make-Up gain compensates for level reduction caused by compression and helps maintain a steady output level.

Range: 0.0-20.0 dB

Set the mix between dry and processed signal with the Dry/Wet knob.

By setting a mix <100% you can use the compressor for parallel processing, i.e. the dry and effect signals are being output together.

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The Gain Reduction meter shows the gain reduction applied by the compressor, in dB.

#The Modulation section

The Modulation section features two LFOs, an Envelope Follower and a Mod Matrix. Here you can modulate selectable destination parameters by any of the sub sections. In the Mod Matrix you can select Sources, such as performance controllers, or CV signals from an external device, to modulate selectable Destination parameters.

#LFO 1 and LFO 2

LFO 1 and LFO 2 are identical in functionality. Each LFO can modulate up to three selectable Destination parameters. The modulation amounts can also be scaled by the Mod Wheel, if desired.

Set the LFO frequency with the Rate knob. Click the Sync button to sync the Rate to the sequencer tempo.

Range: 0.01-100 Hz (free running), 4/1-1/32T (in Sync mode)

Click the up/down Wave selector buttons - or drag up/down in the waveform display to select the desired waveform.

Besides the standard waveforms (sine, triangle, pulse, etc.) there are random and slope waveforms. The shapes of the waveforms are shown in the display.

Set the modulation levels with the Amount knobs - or drag the Amount values up/down.

Range: +/- 100%

Select the desired modulation destination parameter from the Destination drop-down menu.

See “Destination” for a list of destination parameters.

Click the Mod Wheel Scale button to scale the modulation Amounts with the Mod Wheel on a connected MIDI Control Keyboard.

With this function selected you can now scale the Amounts from 0 to the set Amount values using the Mod Wheel.

The Envelope Follower follows the input level of the audio signal and generates an envelope control signal out of this. This envelope control signal can then be used for modulating up to three desired parameters in Processed Pianos.

Activate (or deactivate) the Envelope Follower by clicking the On button.

Set the desired Threshold level by dragging sideways in the display.

This defines at which input signal level the envelope follower should trig. Set to a low value, the envelope follower will react as soon as there is any audio signal present. Set to a high value, the envelope follower will react only on loud input signals.

Range: -inf. to 0 dB

Set the envelope follower reaction time with the Attack knob.

This controls how fast the envelope follower should react after the input signal has reached above the Threshold value. Note that the Attack time can only be increased compared to the input signal - never shortened.

Set the envelope follower release time with the Release knob.

This controls how fast the envelope follower control signal should drop to zero after the input signal has decreased below the Threshold value. Note that the Release time can only be increased - never shortened.

Set the modulation levels with the Amount knobs - or drag the Amount values up/down.

Range: +/- 100%

Select the desired modulation destination parameter from the Destination drop-down menu.

See “Destination” for a list of destination parameters.

The Modulation Matrix has 3 rows, each with a Source and Destination column, with a modulation Amount control in between. Here you can freely decide what parameter you want to modulate - and from what source.

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In the Source column you can click and select which modulation source you would like to use. The available sources are as follows:.

| Parameter

| Description

This takes the current value on the CV 1/CV 2 inputs on the rear panel (see “CV In 1&2”) and sends to the desired destination.

This allows you to modulate parameters from the “Mod Wheel”.

This allows you to modulate parameters from Keyboard Aftertouch (channel aftertouch).

This allows you to modulate parameters from the Breath performance controller.

This allows you to modulate parameters from a connected sustain pedal.

Expression Pedal

This allows you to modulate parameters from the Expression performance controller.

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Set the amount of modulation by turning the Amount knob, or by dragging up/down in the value displays.

Range: +/- 100%

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In the Destination column you can click and select which parameter should be modulated. The available destinations are as follows:

Parameter

Description

Mic A/B/C: Dry Level

This affects the Dry parameter of the Mic Source section, see “Dry and FX sliders”.

Mic A/B/C: FX Level

This affects the FX parameter of the Mic Source section, see “Dry and FX sliders”.

Mic A/B/C: Attack

This affects the “Attack” parameter of the piano sound.

Mic A/B/C: Lo Cut

This affects the “Lo Cut” parameter of the piano sound.

Mic A/B/C: Hi Cut

This affects the “Hi Cut” parameter of the piano sound.

This affects the “Pan” parameter of the piano sound.

Mic A/B/C: Width

This affects the “Stereo Width” parameter of the piano sound.

Mic A/B/C: Hammer Level

This affects the Hammer Noise parameter in the “Mechanics” section.

Mic A/B/C: Release Resonance Level

This affects the Release Resonance parameter in the “Mechanics” section.

Mic A/B/C: Echo Amount

This affects the “Echo” parameter in the Mic Selection section.

Mic A/B/C: Reverb Amount

This affects the “Reverb” parameter in the Mic Selection section.

Insert FX: LoFi Sample Rate

This affects the S. Rate parameter in the “Lo-Fi” section.

Insert FX: LoFi Bit Depth

This affects the Bit Depth parameter in the “Lo-Fi” section.

Insert FX: LoFi Distortion

This affects the Distort parameter in the “Lo-Fi” section.

Insert FX: LoFi Mix

This affects the Dry/Wet parameter in the “Lo-Fi” section.

Insert FX: Freq Range

This affects the Range parameter in the “Freq-Shifter” section.

Insert FX: Freq Feedback

This affects the Feedback parameter in the “Freq-Shifter” section.

Insert FX: Freq Depth

This affects the Depth parameter in the “Freq-Shifter” section.

Insert FX: Freq Mix

This affects the Dry/Wet parameter in the “Freq-Shifter” section.

Insert FX: Chorus Rate

This affects the Rate parameter in the “Chorus” section.

Insert FX: Chorus Depth

This affects the Depth parameter in the “Chorus” section.

Insert FX: Filter Cutoff

This affects the Freq parameter in the “Filter” section.

Insert FX: Filter Resonance

This affects the Reso parameter in the “Filter” section.

Insert FX: Treble

This affects the Treble parameter in the “Tone” section.

Insert FX: Bass

This affects the Bass parameter in the “Tone” section.

Insert FX: Echo Amount

This affects the Echo parameter in the “Effects” section.

Insert FX: Reverb Amount

This affects the Reverb parameter in the “Effects” section.

Modulation: LFO 1 Rate

This affects the LFO 1 Rate parameter in the “LFO 1 and LFO 2” section.

Modulation: LFO 1 Intensity

This affects all three LFO 1 Amount parameters in the “LFO 1 and LFO 2” section.

Modulation: LFO 2 Rate

This affects the LFO 2 Rate parameter in the “LFO 1 and LFO 2” section.

Modulation: LFO 2 Intensity

This affects all three LFO 2 Amount parameters in the “LFO 1 and LFO 2” section.

Modulation: Follower Threshold

This affects the Threshold parameter in the “Env Follow” section.

Modulation: Follower Attack

This affects the Attack parameter in the “Env Follow” section.

Modulation: Follower Release

This affects the Release parameter in the “Env Follow” section.

Send FX: Echo Time

This affects the Time parameter in the “Multi-Tap Echo” section.

Send FX: Echo Feedback

This affects the Feedback Amount parameter in the “Multi-Tap Echo” section.

Send FX: Echo Saturation

This affects the Saturation parameter in the “Multi-Tap Echo” section.

Send FX: Echo Resonance

This affects the Reso parameter in the “Multi-Tap Echo” section.

Send FX: Echo Level

This affects the Level (knob) parameter in the “Multi-Tap Echo” section.

Send FX: Reverb Predelay

This affects the Pre-Delay parameter in the “Reverb” section.

Send FX: Reverb Time

This affects the Time parameter in the “Reverb” section.

Send FX: Reverb Hi Damp

This affects the Hi Damp parameter in the “Reverb” section.

Send FX: Reverb Lo Damp

This affects the Lo Damp parameter in the “Reverb” section.

Send FX: Reverb Shimmer

This affects the Shimmer parameter in the “Reverb” section.

Send FX: Reverb Level

This affects the Level parameter in the “Reverb” section.

Master: Clean Level

This affects the Clean parameter in the “Mixer” section.

Master: FX Level

This affects the Insert FX parameter in the “Mixer” section.

Master: EQ Lo Frequency

This affects the Lo frequency parameter in the “EQ” section.

Master: EQ Lo Gain

This affects the Lo gain parameter in the “EQ” section.

Master: EQ LoMid Frequency

This affects the LoMid frequency parameter in the “EQ” section.

Master: EQ LoMid Gain

This affects the LoMid gain parameter in the “EQ” section.

Master: EQ LoMid Q

This affects the LoMid Q parameter in the “EQ” section.

Master: EQ HiMid Frequency

This affects the HiMid frequency parameter in the “EQ” section.

Master: EQ HiMid Gain

This affects the HiMid gain parameter in the “EQ” section.

Master: EQ HiMid Q

This affects the HiMid Q parameter in the “EQ” section.

Master: EQ Hi Frequency

This affects the Hi frequency parameter in the “EQ” section.

Master: EQ HiGain

This affects the Hi gain parameter in the “EQ” section.

Master: Comp Threshold

This affects the Thresh parameter in the “Compressor” section.

Master: Comp Ratio

This affects the Ratio parameter in the “Compressor” section.

Master: Comp Attack

This affects the Attack parameter in the “Compressor” section.

Master: Comp Release

This affects the Release parameter in the “Compressor” section.

Master: Comp Make-up Gain

This affects the Make-Up parameter in the “Compressor” section.

Master: Comp Mix

This affects the Dry/Wet parameter in the “Compressor” section.

#Rear panel connections

Remember that CV connections are NOT stored in the Processed Pianos patches! If you want to store CV connections between devices, put them in a Combinator device and save the Combi patch.

#Gate In and Note CV In sequencer control inputs

The sequencer control Gate and CV inputs allow you to play Processed Pianos from another CV/Gate device (typically a Matrix or an RPG-8). The signal to the Note CV input controls the note pitch, while the signal to the Gate input delivers note on/off along with velocity.

These control voltage (CV) inputs can be used as Sources for modulating parameters in the Mod Matrix (see “Mod Matrix”).

These inputs can be used for connecting external devices and process their audio signals through “The Insert FX section”, “The Sends section” and “The Master section”. Please, refer to the “Signal flow” diagram for details about the routing of the external audio in signals.

These are the main audio outputs.