Reason+ Rack Extensions Operation Manual
DAW | Rack Plugin | Reason+ Rack Extensions
Scenic Hybrid Instrument
Punch-in-the-gut basses, dreamy pianos, melancholic sonic landscapes or haunting horn ensembles. Scenic Hybrid Instrument was created to evoke emotions with its rich palette of sounds and expressive performance controls. Sounds created for big screen soundtracks that work just as well for game music or any production where huge, emotive sounds are required.
Scenic Hybrid Instrument combines an advanced sound design engine with an inviting user interface. When composing, use the clock handles of Scenic’s performance controls to quickly animate or try out variations to your sound. If you want to go deep or create your sounds from scratch, switch to EDIT mode to dive into Scenic’s sound sculpting tools.
Scenic is built around two discrete sample engines. Each can play samples in a regular fashion or have its Granular Engine turn the sampled material into tiny grains of sound. These grains can be set to play back in any number of ways, resulting in a distinctly surreal sound that goes well with the sonic territory Scenic is set to carve out.
The sounds in scenic are created from the 100+ multi-sampled instruments and sound effects built into the instrument. It’s also possible to load your own samples into Scenic. With a comprehensive filter suite, an advanced modulation matrix. five separate effect processors and a set LFO and pulse generators, the sound design power of Scenic is truly awesome.
The picture below shows the basic signal flow:
The two parallel Sound Engines have identical configurations:
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Each Sound Engine is switchable between regular sample playback (built-in multi-sampled sets, or user sample loading) and sample oscillator which plays back a single sample with granular pitch/stretch.
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Standard “synth structure” with a multi mode (Lowpass/Bandpass/Highpass) filter.
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Amplifier with a standard ADSR Envelope generator.
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Insert FX section with four insert effects per Sound Engine.
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Echo and Reverb send effects for each Sound Engine.
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A Master FX section, with a compressor and a reverb, common for both Sound Engines.
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Assignable modulation sources and destinations via 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, Echo & Reverb and Master FX sections.
#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 Scenic Hybrid Instrument folder and opening it.
#Global performance controls
#Pitch
The Pitch bend wheel can be used for bending note pitches up and down. Scenic also responds to Pitch Bend MIDI data from a connected MIDI master keyboard. You set the desired Pitch bend Range for each Sound Engine with the Bend Range “Bend Range” controls.
#Mod Wheel
The Mod Wheel can be used for controlling almost any parameter in Scenic. Use the Mod wheel as a Source parameter in the Modulation Matrix section and then route to the desired Destination parameter(s), see “Modulation Matrix”.
#Global output controls
#Volume
This is the main stereo output volume control.
#Sound Engine Balance
With the Balance slider you can control the audio level balance between Sound Engine A and B.
The two Sound Engines A and B are identical in configuration and functionality.
*
To open a Sound Engine for editing, click the Edit button to the right of the Patch display and then click the desired section button in the top area of the Edit panel.
•
The Sound Engine A/B Balance slider and global Volume control at the top to the right are synced to the corresponding controls on the front panel.
#Sample Engine section
#Granular
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Click the Granular button to switch to granular sample playback instead of regular sample playback.
The Sample section now gets some additional parameters, described in “About granular sample playback”.
#Pitch
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Click and drag the integer part of the Pitch display up/down to increase/decrease the pitch in semitone steps.
Range: +/-24 semitones.
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Click and drag the decimal part of the Pitch display up/down to increase/decrease the pitch in % steps.
Range: 0-99
*
To modulate the pitch, click the modulation display below the Pitch display and select a modulation source from the popup menu.
Set the modulation amount with the knob to the left of the modulation display.
#Bend Range
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Set the Pitch Bend range with the knob.
The setting affects the range controlled by the Pitch wheel, see “Pitch”.
Range: +/-12 semitones.
#Key Mode
Here you choose how Scenic should respond to MIDI Note data.
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Click the display and choose any of the following modes:
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Polyphonic
Select this if you want to play Scenic polyphonically.
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Mono Retrig
Select this if you want to play Scenic in monophonic mode and always retrigger the envelopes as soon as you play a new note.
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Mono Legato
The Mono Legato mode is also monophonic. However, if you play a new note without having released the previous one, the envelopes won’t start over.
#Portamento
Portamento makes note pitches glide from previous notes to new ones, at the time set with the Time knob. Portamento can be used in all Key Modes (see “Key Mode”).
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Click the display and choose any of the following options:
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When On in Polyphonic Key Mode, the pitches will glide from any of the available voices.
The results will be unpredictable since there is no way of controlling from which note(s) the glide(s) will commence. The effect is very nice, though.
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When On in Mono Retrig or Mono Legato Key Mode, the pitch will glide between consecutive notes.
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If Auto is selected, the pitch will glide between consecutive monophonic notes only when you play legato. If you have selected Polyphonic Key Mode, Auto will have no effect at all.
If you release the previous key before hitting the new key, there will be no portamento effect.
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Set the portamento time with the knob.
Range: 0-16 sec.
#Sample selector
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Click the sample name in the display to bring up a menu with all built-in samples.
The samples are arranged in five sub-groups, plus a “User Sample”. If you want to use your own sample, load this in the User Sample section, see “User Sample”.
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Click the Up/Down arrow buttons to the right in the display to load consecutive samples from the current sub-group.
#Start Pos
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Turn the Start Pos knob to set the sample playback start position.
The position is visually indicated in the sample display above.
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Click the display below the Start Pos knob to select a modulation source for modulating the start position.
Set the modulation amount with the knob to the left of the modulation display.
#About granular sample playback
Scenic can also utilize “granular synthesis” to generate sounds. This synthesis method results in playback of a series of snippets of audio data - grains - “extracted” from an audio sample. The grains could be of a selectable length and spacing, and could be from anywhere in the original sample. The grains can also be played back in a number different ways - with various degrees if crossfades between the grains.
The picture below shows the basic principle of granular synthesis:
An example of a signal generated from 5 grains of a sample.
Here is what happens in the example above:
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The original sample at the top is used as base for the granular synthesis.
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5 grains (of the same lengths and the same distances between them) are “extracted” from the original sample.
The distance between the grains is determined by the current sample playback speed. The grains could contain common audio data in some parts (like in the beginnings and ends in the example above).
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The 5 grains are then placed after one another, partly overlapping each other.
The distance between the grains is determined by the playback rate.
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When the grains are played back, big parts of the grains are played back together (since they are overlapping).
In the example above, there are also crossfades between the grains to make the overlaps smoother.
The following four parameters are only available in Granular mode in Scenic:
#Rate (in Granular mode only)
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Turn the Rate knob to set the sample playback rate.
The Rate can be either positive or negative. A positive rate will play back the sample forwards and a negative rate will play back the sample backwards.
At positive rates, the sample will automatically loop (if it has loop point data in it), whereas with negative rates the sample will only be played through once (non-looping).
If the Rate is set to zero, a grain at the start position will be looped continuously.
The rate is visually indicated by a cursor in the sample display above.
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Click the display below the Rate knob to select a modulation source for modulating the rate.
Set the modulation amount with the knob to the left of the Rate modulation display.
#Size (in Granular mode only)
With the Size knob you set the lengths of the grains and also the crossfade amount. At 0% you get the shortest grains and almost no crossfade at all. This means the sound could be a little gritty at this setting. At 100% you get longer grains, that also overlaps each other with a smooth crossfade.
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Set the grain size (length) with the Size knob.
Range: 3.80-1000 ms.
#RND Pos (in Granular mode only)
This introduces random sample positions to each grain, which could make the sound “flutter” at high values, especially at low to medium Size settings (see above).
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Set how much the position should randomly vary with the RND Pos knob.
Range: 0-100%.
#RND Pitch (in Granular mode only)
This introduces random varying pitches of each of the grains. At small Size values (see above) the pitch shifting will be rapid, and at larger Size settings the pitch shifting is slower.
*
Set how much the pitch should randomly vary with the RND Pitch knob.
Range: 0-100%.
#User Sample
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Load a sample using drag & and drop, or by clicking the Browse sample button, or by using the Up/Down buttons to scroll and load a sample from the currently selected folder.
After loading the sample, select “User Sample” in the Sample Selector to play it back (see “Sample selector”).
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Alternatively, sample straight into Scenic by clicking the Start sampling button.
See the Sampling chapter in The Reason Operation Manual for more information about setting up and using Reason for sampling.
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Note that sampling is not supported in Reason Rack Plugin!
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Click the Edit Sample button to open up the existing sample in the Sample Edit window.
See the Sampling chapter in The Reason Operation Manual for more information about editing samples in Reason.
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Note that sample editing is not supported in Reason Rack Plugin!
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Select the sample Root note by clicking and dragging the Root display up/down.
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Like with the other sampler devices in Reason, the Scenic patch does not include the actual sample - only a reference to it. Therefore, the sample has to be stored separately (self-contained with the song, or already on disk or in a ReFill on your computer).
#Volume
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Set the sample level with the Volume knob.
Range: -infinity to +6.0 dB.
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Click the display to the right of the Volume knob to select a modulation source for modulating the volume.
Set the modulation amount with the knob to the left of the Volume modulation display.
#Pan
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Set the sample’s position in the stereo panorama with the Pan knob.
Range: +/- 100%.
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Click the display to the right of the Pan knob to select a modulation source for modulating the panning.
For example, if you want an auto-pan effect, select one of the LFOs from the popup.
Set the modulation amount with the knob to the left of the Pan modulation display.
#Amp ENV
The Amp Envelope section contains a standard ADSR envelope, which controls the amplitude of the signal.
The picture below shows the various stages of the ADSR envelope:
The ADSR envelope stages.
#A(ttack)
When you play a note on your keyboard, the envelope is triggered. This means it starts rising from zero to the value set with the “Volume” knob How long this should take, depends on the Attack setting. If the Attack is set to “0”, the Volume level is reached instantly. If the Attack value is raised, it will take longer time before the Volume level is reached.
#D(ecay)
After the Volume level has been reached, the level starts to drop. How long this should take is governed by the Decay parameter.
If you want to emulate the volume envelope of a note played on a piano for example, the Attack should be set to “0”, the Decay parameter should be set to a medium value and the Sustain level should be set to “0”, so that the volume gradually decreases down to silence, even if you keep holding the key down. Should you want the decay to drop to some other value than zero, you raise the Sustain parameter.
#S(ustain)
The Sustain parameter determines the level the envelope should rest at, after the Decay stage. If you set Sustain to full level, the Decay setting is of no importance since the volume of the sound is never lowered.
If you want to emulate the volume envelope of an organ, you theoretically only really need to use the Sustain parameter set to full level, as a basic organ volume envelope instantly goes to the maximum level (Attack “0”) and stays there (Decay “0”), until the key is released and the sound instantly stops (Release “0”).
But often a combination of Decay and Sustain is used to generate envelopes that rise up to the Gain level, then gradually decreases to finally land to rest on a level somewhere in-between zero and the Gain level. Note that Sustain represents a level, whereas the other envelope parameters represent times.
#R(elease)
The Release parameter works just like the Decay parameter, except it determines the time it takes for the volume to drop back to zero after you release the key.
#Link A-B
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Click the Link A-B button to “sync” the ADSR parameters of Engine A and B so that they are always set to the same values.
Changing the Envelope parameters in one of the Engines now automatically changes the corresponding parameters in the other Engine.
#Velo
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Turn the Velo knob to set the keyboard velocity sensitivity, i.e. how much the Volume should respond to keyboard Velocity.
Range: 0-100%.
#Filter section
The Filter section in each Sound Engine consists of a multi-mode (Lowpass/Bandpass/Highpass) filter with frequency and resonance controls and a dedicated Filter Envelope.
#Filter display
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Click the Filter display and select one of the following filter types:
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HP
A highpass filter with a 12dB/octave slope.
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BP
A bandpass filter with 6dB/octave slopes.
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LP 6dB/12dB/18dB/24dB
Lowpass filters with 6/12/18/24dB/octave slopes. The higher the dB/octave number, the steeper the slope.
#Key tracking
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Turn the Key knob to the right of the Filter display to set the keyboard tracking amount.
At 0% the filter frequency (Freq) is static and doesn’t track the keyboard at all. At 100% the filter tracks the keyboard 1 semitone per note.
#Freq(uency)
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Set the cutoff frequency (for the HP and LP filter types) or the center frequency (for the BP filter type).
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Click the display to the right of the Freq knob to select a modulation source for modulating the filter frequency.
Set the modulation amount with the knob to the left of the Freq modulation display.
#Res(onance)
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Set the resonance amount.
The resonance amount defines the amplification of frequencies at, or around, the cutoff/center frequency of the filter.
#Filter ENV
The Filter Envelope can be used for modulating the Filter cutoff frequency (Freq) over time. You set the modulation amount with the “Amount” knob in the Filter section. It features the standard Attack, Decay, Sustain and Release parameters of an ADSR envelope.
The various envelope stages work exactly like those of the Amp Envelope, see “Amp ENV”.
The ADSR envelope stages.
#A(ttack)
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Set the time it should take to reach from the set “Freq(uency)” value to the maximum Filter Frequency value.
#D(ecay)
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Set the time it should take to go from maximum “Freq(uency)” value to the Sustain value (see below).
#S(ustain)
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Set the Filter Frequency value the envelope should rest at, after the Decay stage (see above).
#R(elease)
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Set the time it should take to go from the Sustain level back to the set “Freq(uency)” value, after you have released the key.
#Link A-B
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Click the Link A-B button to “sync” the Filter Envelope ADSR parameters of Engine A and B so that they are always set to the same values.
Changing the Envelope parameters in one of the Engines now automatically changes the corresponding parameters in the other Engine.
#Velo
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Turn the Velo knob to set the keyboard velocity sensitivity, i.e. how much keyboard velocity should affect the Filter Envelope “Amount” (see below). If the Filter Envelope “Amount” is 0, Velo won't do anything. If the Filter Envelope “Amount” is negative, Velo will cause a deeper filter "dip" with higher velocity.
Range: 0-100%.
#Amount
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Set how much you want the Filter Envelope to affect the filter cutoff “Freq(uency)”.
Range: -100 (inverted modulation) to 100 (positive modulation).
Normal (positive Amount values) and inverted (negative Amount values) envelope curves.
#Insert FX section
The Insert FX section of each Sound Engine features four separate effects in series:
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Chorus
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Phaser
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Saturation
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Tone Shaper
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Switch on/off each effect by clicking the corresponding on/off LED button.
#Chorus
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Set the Chorus rate with the Rate knob.
Range: 0.10-10.0 Hz
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Set the intensity of the delay (pitch) modulation with the Depth knob.
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Set the delay time that is modulated when you turn up Depth, with the Manual knob.
Range: 0.00-32.00 ms.
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You can turn down Depth and modulate the Manual parameter in the “Modulation Matrix”, for example with an envelope or an LFO for alternative chorus effects.
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Set the number of Chorus voices with the Voices knob.
Range: 1-4
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Set the dry/wet mix balance with the Mix knob.
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Click the display to the right of the Mix knob to select a modulation source for modulating the mix.
Set the modulation amount with the knob to the left of the Mix modulation display.
#Phaser
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Set the Phaser rate with the Rate knob.
Range: 0.10-10.0 Hz
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Set the center frequency modulation amount with the Depth knob.
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Add resonant peaks between the notches with the Feedback knob.
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Set the offset between the left and right center frequencies with the Spread knob.
This will introduce a stereo effect.
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Set the center frequency with the Manual knob.
Range: 100 Hz to 10.0 kHz.
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Click the display to the right of the Manual knob to select a modulation source for modulating the center frequency.
Set the modulation amount with the knob to the left of the Manual modulation display.
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you might want to turn down Depth if you don't want double modulations.
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Set the dry/wet mix balance with the Mix knob.
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Click the display to the right of the Mix knob to select a modulation source for modulating the mix.
Set the modulation amount with the knob to the left of the Mix modulation display.
#Saturation
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Set the amount of saturation/distortion with the Drive knob.
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Click the display to the right of the Drive knob to select a modulation source for modulating the drive.
Set the modulation amount with the knob to the left of the Drive modulation display.
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Set the audio level at which saturation occurs with the Threshold knob.
Reduce the Threshold for more distortion without more level.
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Adjust the distortion curve from concave to convex with the Density knob.
This affects the character of the distortion effect.
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Allow high frequencies through unprocessed by turning down the High Bypass knob.
Signals above the High Bypass frequency setting are bypassed (not distorted).
Range: 40.0 Hz to 16.0 kHz.
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Set the output level from the Saturation effect with the Level knob.
Range: -inf to +12 dB
#Tone Shaper
The Tone Shaper is a “DJ-style” EQ that can be used to eliminate the low, mid or high frequencies.
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Adjust the Low slider to attenuate the bass frequencies of the audio signal.
Range: -inf to 0.0 dB
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Adjust the Mid slider to attenuate the mid frequencies of the audio signal.
Range: -inf to 0.0 dB
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Adjust the High slider to attenuate the treble frequencies of the audio signal.
Range: -inf to 0.0 dB
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Turn the Low Freq knob to adjust the crossover frequency between the Low and Mid bands.
Range: 25.0 Hz to 25.0 kHz.
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Click the display below the Low Freq knob to select a modulation source for modulating crossover frequency.
Set the modulation amount with the knob to the left of the Low Freq modulation display.
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Turn the High Freq knob to adjust the crossover frequency between the Mid and High bands.
Range: 25.0 Hz to 25.0 kHz.
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Click the display below the High Freq knob to select a modulation source for modulating crossover frequency.
Set the modulation amount with the knob to the left of the High Freq modulation display.
#Echo & Reverb send effects section
The Echo & Reverb section of each Sound Engine features two separate send effects in parallel:
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Echo
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Reverb
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Switch on/off each effect by clicking the corresponding on/off LED button.
#Echo
The Echo effect simulates the classic tape echo effect. It’s also possible to tempo sync the repeats to the main sequencer tempo in Reason.
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Set the time between the echo repeats with the Time knob.
If Sync is active (see below), the Time parameter now controls the time divisions.
Range: 0.0-8.00 s.
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Click the display to the right of the Time knob to select a modulation source for modulating the time.
Set the modulation amount with the knob to the left of the Time modulation display.
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Click the Sync button to sync the echo Time to the main sequencer Tempo.
Set the sync division with the Time knob (see above).
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Set the random Time fluctuation amount with the Flutter knob.
Flutter makes the Time vary up and down randomly around the set Time value.
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Set the panning of the echo repeats in the stereo panorama with the Pan knob.
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Click the display to the right of the Pan knob to select a modulation source for modulating the panning.
Set the modulation amount with the knob to the left of the Pan modulation display.
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Modulate the Pan from an LFO in the “Modulation Matrix” for auto-pan effects.
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Set the number of echo repeats with the Feedback knob.
When turned all the way up to 100% the feedback time is infinite (until you turn the knob back).
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Set the level of tape saturation (a kind of distortion) for the echo repeats with the Saturation knob.
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Set the amount of low frequency damping with the Low Damp knob - higher values will dampen more.
For each delay repeat more and more of the bass frequencies in the signal will be attenuated (dampened).
Range: 20 Hz to 2 kHz.
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Set the amount of high frequency damping with the High Damp knob - lower values will dampen more.
For each delay repeat more and more of the high frequencies in the signal will be attenuated (dampened).
Range: 1.00-25.0 kHz.
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Set the send level to the Echo effect with the Level knob.
Since this is a send knob, the echo effect could continue some time also after you have turned the Level knob to zero.
Range: -inf to 0.0 dB
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Click the display to the right of the Level knob to select a modulation source for modulating the send level.
Set the modulation amount with the knob to the left of the Level modulation display.
#Reverb
This is an algorithmic stereo reverb.
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Control the reverb tail length with the Time knob.
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Click the display to the right of the Time knob to select a modulation source for modulating the reverb tail time.
Set the modulation amount with the knob to the left of the Time modulation display.
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Set the initial delay time before the reverb sets in with the Pre Delay knob.
Range: 0.00-200.00 ms.
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Set the amount of progressive loss of low frequencies in reverb tail with the Low Damp knob.
Range: 20.0 Hz to 2.00 kHz
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Set the amount of progressive loss of high frequencies in reverb tail with the High Damp knob.
Range: 2.00-20.0 kHz
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Set the send level to the Reverb effect with the Level knob.
Since this is a send knob, the reverb effect could continue some time also after you have turned the Level knob to zero.
Range: -inf to 0.0 dB
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Click the display to the right of the Level knob to select a modulation source for modulating the send level.
Set the modulation amount with the knob to the left of the Level modulation display.
#Master FX section
The Master FX section features two master insert effects, common for both Sound Engines:
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Master Reverb
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Master Compressor
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Switch on/off each effect by clicking the corresponding on/off LED button.
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There is also a Macro section where you can assign parameters to the three Macro handles on the front panel.
#Master Reverb
The Master Reverb is a stereo convolution reverb with a selection of reverb types (impulse responses) to choose from.
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Click the Reverb Type display to bring up a menu where you can select one of the included impulse responses.
The impulse responses capture different types of reverbs, from natural plates and rooms to wide, synthetic washes.
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Set the initial delay time before the reverb sets in with the Pre Delay knob.
This defines when you want the reverb effect to kick in after the audio has been fed into the effect.
Range: 0.00-200.00 ms.
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Control the reverb tail length with the Time knob.
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Turn up the Low Cut knob to cut the low frequencies of the reverb signal and make the reverb effect less “muddy”.
Range: 20.0 Hz to 25.0 kHz.
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Turn down the High Cut knob to cut off the high frequencies of the reverb, thereby creating a smoother, warmer effect.
Range: 20.0 Hz to 25.0 kHz.
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Turn the Width knob to set the stereo width of the reverb effect.
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Set the mix between dry and wet signal with the Mix knob.
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Click the display to the right of the Mix knob to select a modulation source for modulating the Mix amount.
Set the modulation amount with the knob to the left of the Mix modulation display.
#Master Compressor
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Click the Punch/Fast/Smooth buttons to set the compression characteristics, as follows:
Click “Punch” to have the compressor follow the signal below the Threshold value, which will increase the attack punch as the envelope has further to come back up.
Click “Fast” for a normal signal detection with fast attack and release times.
Click “Smooth” to get a slow release when the signal drops below the Threshold value.
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Adjust the input level to the compressor with the Gain knob.
Range: 0.0-20.0 dB
The dB LED meter shows the gain reduction applied by the compressor.
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Turn the Threshold knob to set the level at which onset of compression should occur.
Signals below the Threshold setting are unaffected, but when the input level exceeds the threshold, compression kicks in.
Range: -60.0 dB to 0.0 dB
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Turn the Ratio knob to set the amount of gain reduction applied to the signal above the set Threshold (see above).
Range: 1:1 (no reduction) to 20:1
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Turn the Attack knob to set the time it should take before the compressor reacts to signals above the set Threshold (see above).
Range: 0.0-1000 ms
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Turn the Release knob to set the time it should take before the compressor lets the sound through unaffected - after the signal level drops below the set Threshold.
Set this to short values for “pumping” compressor effects, or to longer values for a smoother change of the dynamics.
Range: 0.0 ms to 10.0 s
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Set the mix between dry and processed signal with the Dry/Wet knob.
By setting a mix of <100% you can use the Master Compressor for “parallel processing”, i.e. the dry and effect signals are being output together.
#Macro
Here you can assign names and set the amounts for the (up to three) Macro controls available on the front panel.
1.
Click a Label display and type in the name you would like to have for the respective Macro control.
The Macro names are then reflected on the Scenic front panel (and also on the Mod “Source” menus in the Modulation Matrix):
2.
You can now edit the values of the Macro controls, either by turning the Macro knobs in the Master FX section - or by moving the Macro handles on the front panel:
3.
You can then assign the Macro knobs/handles as Sources - and then assign almost any parameter as Destinations - in the “Modulation Matrix”.
#The LFO & Pulse section
Down at the bottom to the right is the LFO & Pulse section. An LFO (Low Frequency Oscillator) is used for generating cyclic modulation. A typical example is to have an LFO modulate the pitch of a signal to produce vibrato, but there are countless other applications for LFOs.
The LFO section features two separate general purpose LFOs and a Pulse generator, that can be assigned to control selectable parameter(s) in the Modulation Matrix section, see “Modulation Matrix”.
#LFO 1&2
1.
Select which of the two LFOs you want to edit by clicking one of the LFO 1, LFO 2 buttons.
2.
Select an LFO waveform by click-holding in the LFO waveform display and dragging up or down.
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.
3.
Set the LFO frequency with the Rate knob.
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Click the display to the right of the Rate knob to select a modulation source for modulating the Rate.
Set the modulation amount with the knob to the left of the Rate modulation display.
*
Click the Global button to make the LFO common for all voices (monophonic).
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Click the Key button to restart the LFO at every new Note On.
*
Click the Sync button to sync the LFO to the main sequencer Tempo in Reason (or in your host DAW).
The Rate parameter now controls the time divisions.
#Pulse
The Pulse generator is an internal pattern player with 26 different preset patterns. The patterns send out gate (on/off) signals, that trigger pulses that can be shaped via an Attack-Decay envelope. The Pulse generator is global (affects all voices).
*
Select one of the built-in patterns by clicking and dragging up/down in the Pattern display.
Alternatively, click the up/down spin control buttons to the right of the Pattern display.
*
Set the pulse rate with the Rate knob.
The rate is automatically synced to the main sequencer Tempo in Reason (or in your host DAW). The red LED flashes according to the gate signals from the selected Pattern.
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Set the attack time of the A-D Envelope with the Attack knob.
Range: 0.0-1000 ms.
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Set the decay time of the A-D Envelope with the Decay knob.
Range: 0.0-1000 ms.
#Modulation Matrix
The Modulation Matrix allows you to modulate parameters, using Sources, such as performance controllers, built-in Envelopes and LFOs, or CV signals from an external device.
The Modulation Matrix has 6x2 rows, each with a Source and Destination column:
#Source
In the Source column you can click and select which modulation source to use:.
| Parameter
| Description
Velocity
This applies modulation according to the Keyboard Velocity values (how hard or soft you strike the MIDI keyboard keys).
Key
This is keyboard tracking. If a positive Amount value is used and the destination is filter frequency, the
filter frequency will track the keyboard, i.e. increase with higher notes.
Envelopes (Engine A and B Amp Envelopes and Filter Envelopes
This allows you to modulate parameters from any of the “Amp ENV” and “Filter ENV” envelopes of Engine A and B.
LFO 1/2
This allows you to modulate parameters from “LFO 1&2” respectively.
Pulses
This allows you to modulate parameters from the “Pulse” generator.
Macro 1/2/3
This allows you to modulate parameters from the “Macro” knobs/handles. If you have named the Macro controls, the source column will show those names.
Mod Wheel
This allows you to modulate parameters from the “Mod Wheel”.
Pitch Bend
This allows you to modulate parameters from the “Pitch” Bend control.
Expression
This allows you to modulate parameters from the Expression performance controller.
Breath
This allows you to modulate parameters from the Breath performance controller.
Aftertouch
This allows you to modulate parameters from Keyboard Aftertouch (channel aftertouch).
Sustain Pedal
This allows you to modulate parameters from a connected sustain pedal.
CV 1/2
This takes the current value on the CV 1/CV 2 inputs on the rear panel (see “CV Input”) and sends to the desired destination.
Random
This sends out a random positive value each time a new note is played.
#Amount knob
*
Set the amount of modulation by turning the knob, or by clicking and dragging up/down in the value displays.
The range is bipolar (you can set a negative or positive modulation value).
#Destination
In the Destination column you can click and select which parameter should be modulated;
Parameter
Description
Engine A/B: Start Position
This affects the sample “Start Pos” parameter of the Sample Engine.
Engine A/B: Pitch
This affects the (full range) pitch of the Sample Engine.
Engine A/B: Granular Rate
This affects the “Rate (in Granular mode only)” parameter of the Sample Engine.
Engine A/B: Granular Size
This affects the “Size (in Granular mode only)” parameter of the Sample Engine.
Engine A/B: Granular Random Pitch
This affects the “RND Pitch (in Granular mode only)” parameter of the Sample Engine.
Engine A/B: Granular Random Position
This affects the “RND Pos (in Granular mode only)” parameter of the Sample Engine.
Engine A/B: Filter Freq
This affects the Filter “Freq(uency)” parameter.
Engine A/B: Filter Resonance
This affects the Filter “Res(onance)” parameter.
Engine A/B: Filter Attack
This affects the Filter Envelope “A(ttack)” parameter.
Engine A/B: Filter Decay
This affects the Filter Envelope “D(ecay)” parameter.
Engine A/B: Amp Gain
This affects the Amp gain.
Engine A/B: Pan
This affects the Amp “Pan” parameter.
Engine A/B: Amp Attack
This affects the Amp Envelope “A(ttack)” parameter.
Engine A/B: Amp Decay
This affects the Amp Envelope “D(ecay)” parameter.
 
 
Engine A/B FX: Chorus Rate
This affects the Rate parameter in the “Chorus” insert effect.
Engine A/B FX: Chorus Depth
This affects the Depth parameter in the “Chorus” insert effect.
Engine A/B FX: Chorus Manual
This affects the Manual parameter in the “Chorus” insert effect.
Engine A/B FX: Chorus Mix
This affects the Mix parameter in the “Chorus” insert effect.
Engine A/B FX: Phaser Rate
This affects the Rate parameter in the “Phaser” insert effect.
Engine A/B FX: Phaser Depth
This affects the Depth parameter in the “Phaser” insert effect.
Engine A/B FX: Phaser Feedback
This affects the Feedback parameter in the “Phaser” insert effect.
Engine A/B FX: Phaser Manual
This affects the Manual parameter in the “Phaser” insert effect.
Engine A/B FX: Phaser Mix
This affects the Mix parameter in the “Phaser” insert effect.
Engine A/B FX: Sat Drive
This affects the Drive parameter in the “Saturation” insert effect.
Engine A/B FX: Sat Density
This affects the Density parameter in the “Saturation” insert effect.
Engine A/B FX: Sat Level
This affects the Level parameter in the “Saturation” insert effect.
Engine A/B FX: Tone Low
This affects the Low parameter in the “Tone Shaper” insert effect.
Engine A/B FX: Tone Mid
This affects the Mid parameter in the “Tone Shaper” insert effect.
Engine A/B FX: Tone High
This affects the High parameter in the “Tone Shaper” insert effect.
Engine A/B FX: Tone Low Freq
This affects the Low Freq parameter in the “Tone Shaper” insert effect.
Engine A/B FX: Tone High Freq
This affects the High Freq parameter in the “Tone Shaper” insert effect.
Engine A/B FX: Echo Level
This affects the Level parameter in the “Echo” send effect.
Engine A/B FX: Echo Time
This affects the Time parameter in the “Echo” send effect.
Engine A/B FX: Echo Feedback
This affects the Feedback parameter in the “Echo” send effect.
Engine A/B FX: Echo Pan
This affects the Pan parameter in the “Echo” send effect.
Engine A/B FX: Reverb Level
This affects the Level parameter in the “Reverb” send effect.
Engine A/B FX: Reverb Time
This affects the Time parameter in the “Reverb” send effect.
 
 
Master: Engine Balance
This affects the “Sound Engine Balance” parameter.
Master: Master Reverb Mix
This affects the Mix parameter in the “Master Reverb”.
Master: Master Volume
This affects the “Volume” parameter.
Master: LFO 1/2 Rate
This affects the Rate parameters in the “LFO 1&2” section.
Master: LFO 1/2 Intensity
This affects the “LFO 1&2” modulation signal intensities. Use this to control the amount of LFO modulation from some other source (e.g. have the Mod Wheel controlling the amount of vibrato).
Master: Pulses Rate
This affects the Rate parameter in the “Pulse” section.
Master: Pulses Attack
This affects the Attack parameter in the “Pulse” section.
Master: Pulses Decay
This affects the Decay parameter in the “Pulse” section.
*
Remember that CV connections are NOT stored in the Scenic patches! If you want to store CV connections
between devices, put them in a Combinator device and save the Combi patch.
#Sequencer Control inputs
The Sequencer Control CV and Gate inputs allow you to play Scenic from another CV/Gate device (typically a Matrix or an RPG-8). The signal to the CV input controls the note pitch, while the signal to the Gate input delivers note on/off along with velocity. There are also inputs with attenuation knobs for modulating the Pitch Bend and Mod Wheel parameters.
#CV Input
These control voltage (CV) inputs can be used for modulation source signal modulation via the Modulation Matrix (see “Modulation Matrix”).
#FX Input
These inputs can be used for connecting external devices and process their audio signals through the “Insert FX section” and/or the “Echo & Reverb send effects section” of Engine A and B and then finally via the “Master FX section”.
#Output
These are the main audio outputs.