Reason 12.7 Operation Manual
DAW | Rack Plugin
Grain Sample Manipulator
The Grain Sample Manipulator is a very advanced sampler and granular synthesizer, which offers sonic possibilities far beyond the ordinary. Despite its vast sonic capabilities, Grain has a straight-forward user interface, designed for experimentation.
Grain uses samples as base for sound generation. You could either load a sample from your computer or sample straight into Grain. You can then select various types of sample playback modes and algorithms to manipulate and process the audio. You could also use Grain as a traditional sampler and just play back samples in a regular fashion.
A number of filter and modifier algorithms make it possible to modulate and control the audio further. The extensive Envelopes section and Modulation Bus section allow for detailed and flexible modulation and control. Grain also features a flexible and great-sounding multi-effect to spice up your sounds even more.
Don’t forget to check out the Grain videos here!
#A few words about granular synthesis
Grain utilizes “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 could also be played back in a number different ways - with or without 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.
Note that the picture above only describes one basic example of granular synthesis - the “Long Grains” playback
algorithm in Grain. Grain uses a number of different granular synthesis and spectral synthesis techniques, with
different functionality and characteristics.
#Loading and saving patches
Loading and saving patches is done in the same way as with any other internal Reason device, see “Loading patches” and “Saving patches” for details.
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Like with the other sampler devices in Reason, the 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).
#Global performance and “play” controls
#Key Mode
Here you choose how Grain should respond to MIDI Note data:
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Poly
Select this if you want to play Grain polyphonically. The maximum number of voices is 12. The number of voices is set in the Voices control at the top right of the Grain panel, see “Voices”.
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Retrig
Select this if you want to play Grain in monophonic mode and always retrigger the envelopes as soon as you play a new note.
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Legato
The Mono Legato mode is also monophonic. However, if you play a new note without having released the previous one, the envelopes and sample playback position won’t start over.
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Also see the description of the “Global Position” parameter. This describes how to play through a sample in a “non-legato” fashion - or polyphonically - in a “sample playback legato” fashion, where new notes will continue at the current sample playback position (and not restart playback).
#Porta
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 above).
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When On in Poly Key Mode (see above), 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 Retrig or Legato Key Mode (see above), the pitch will glide between consecutive notes.
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In Auto mode, the pitch will glide between consecutive monophonic notes only when you play legato. If you have selected Poly Key Mode (see above), Auto will have no effect at all.
If you release the previous key before hitting the new key, there will be no portamento effect.
#Range
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Set the desired Pitch Bend range for the “Pitch” wheel with the up/down buttons, or by click-holding on the display and dragging up/down.
Range: +/-24 semitones (+/-2 octaves) in steps of +/-1 semitone.
#Pitch
The Pitch bend wheel can be used for bending note pitches up and down. Grain also responds to Pitch Bend MIDI data from a connected MIDI master keyboard. You set the desired Pitch bend Range with the “Range” control above the Pitch bend wheel.
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Note that with some playback algorithms, such as Spectral Grains, the audible pitch depends on the formant rather than the pitch settings (see “Spectral Grains”). For pitch bend to have an effect here, you need to add a Pitch Wheel -> Formant routing in the Modulation Bus, see “The Modulation Bus section”.
#Mod
The Mod wheel can be used for controlling almost any parameter in Grain. Use the Mod wheel as a Source parameter in the Modulation Bus section and then route to the desired Destination parameter(s), see “The Modulation Bus section”.
#Global output controls
#Voices
Here you set the polyphony of your patch, from 1 to 12 voices.
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If you want monophonic playback you can use the “Retrig” and “Legato” modes instead of lowering the Voices parameter to 1.
#Master Volume
This is the main stereo output volume control.
#The Sample section
Here is where you load/sample and configure the audio that should serve as the base for the granular synthesis.
#Loading/sampling
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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.
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Alternatively, sample straight into Grain by clicking the Start sampling button.
See the “Sampling” chapter for more information about setting up and using Reason for sampling.
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Click the Edit Sample button to open up the existing sample in the Sample Edit window.
See “Editing samples” for more information about editing samples in Reason.
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It’s possible to load/sample stereo signals. However, the waveform will always be displayed as a mono signal, regardless if it’s mono or stereo.
#Setting the sample range
First you could decide how much of the original sample you want to use - and where in the sample you want to work:
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Zoom and/or scroll in the Sample Overview to define the Sample range you want to work in.
To scroll, click and drag between the orange sample range markers. To zoom, click and drag any of the sample range markers sideways. The set Sample range is automatically updated and displayed in the waveform display.
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To work in the entire Sample range, drag the left Sample range marker all the way to the left, and the right Sample range marker all the way to the right, in the Sample Overview.
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It’s possible to automate the sample range settings, see “Automating sample playback parameters from the sequencer”.
#Setting the sample start and end
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Drag the green Sample Start marker to where you want the sample to begin playing back.
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Drag the red Sample End marker to where you want the sample playback to end.
The green triangular “flag” on the Sample Start marker shows the current playback direction. If the Sample Start marker should be to the right of the Sample End marker, the sample will play back in the opposite direction.
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Note that the Freeze playback motion mode don’t have any Sample End Marker, see “Freeze” below.
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It’s possible to automate the sample start and end settings, see “Automating sample playback parameters from the sequencer”.
#Motion
Motion controls the way the Position marker (“playhead”) is played back in the original sample. The Motion modes work in conjunction with the Sample Start/End markers in the waveform.
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Click the Motion selector to choose one of the following playback motion modes:
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Freeze
In Freeze mode, the sample is played back at (and around) the Sample Start marker position. There is no Sample End marker in this mode. Note that if you have selected the Tape algorithm (see “Tape”), there will be no sound.
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One Shot
In One Shot mode, the sample is played back (from the Sample Start marker to the Sample End marker) in its entirety each time you press a key.
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FW Loop
In FW Loop mode, the sample is looped forward (from the Sample End marker to the Sample Start marker) for as long as you hold down a key.
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FW-BW Loop
In FW-BW Loop mode, the sample is looped back and forth between the Sample End marker and the Sample Start marker for as long as you hold down a key.
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End Freeze
In End Freeze mode, the sample is played back once from the Sample Start marker to the Sample End marker and then played back at (and around) the Sample End marker position. Note that if you have selected the Tape algorithm (see “Tape”), there will be no sound after you reached the Sample End marker.
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Envelope 1
In Envelope 1 mode, the sample is played back between the Sample Start marker and the Sample End marker according to the Envelope 1 curve (see “The Envelopes section”). The Sample Start position is represented by the minimum Y value and the Sample End position is represented by the maximum Y value in the Envelope display.
The Envelope 1 mode is also the mode to use if you want to play back and loop the sample in sync with the Reason sequencer. Use a straight ramp (up) in Envelope 1, activate Beat Sync and set the sync to a suitable bar length, see “Looping the envelope”.
#Speed
The Speed control determines how fast the play position moves in the waveform.
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Set the sample playback speed with the Speed knob.
Depending on which Motion mode and Playback Algorithm is currently selected, the sonic result may vary heavily.
If you have selected the Tape algorithm (see “Tape”), the Speed knob also affects the pitch. Note that the Speed can be set all the way down to 0%, i.e. “stop”. Great for Tape Stop effects, for example.
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Note that the Speed control doesn’t have any effect when you use the Envelope 1 motion mode, see “Envelope 1” above.
#Jitter
The Jitter function modulates the sample playback position minutely and randomly. The Jitter function can be great for generating “chorus”-like effects and to make a sound more “alive”, depending on the other settings in the sound.
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Set the playback position deviation with the Jitter knob.
At 0%, the timing and playback position is completely accurate and at 100% it is completely random.
#Global Position
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Click the Global Position button to start playback of new voices from the global position, i.e. from where the blue Position marker is currently positioned in the waveform display:
This function is great for rhythmic and vocoder-like sounds etc.
If not active, new voices will always start playing back from the Sample Start marker.
#Root Key
A sample is automatically analyzed for its original pitch at the Sample Start position. The analyzed pitch is displayed in the Analyzed display in the Root Key section. If you move the Sample Start marker, the sample is automatically re-analyzed.
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Click the “SET” button to use the analyzed Root Key.
This will automatically place the analyzed Root Key on the correct note in the keyboard range.
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Alternatively, define the Root Key manually by dragging up/down in the “Semitone” and “Cents” boxes.
#The Playback Algorithms section
Here is where you select which Playback Algorithm to use for manipulating the sample. Each of the Playback Algorithms produce very different sonic results and have different unique parameters.
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Note that the common Pitch controls to the upper right could affect the sound differently, depending on the selected algorithm.
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Click the Playback Algorithm selector and choose one of the following four algorithms:
#Spectral Grains
The Spectral Grains playback algorithm uses FFT analysis to analyze the frequency content (partials) of the original sample. You can then stretch the generated signal by pitch-shifting the partials, and also filter out inharmonic partials. This way you could continuously transform inharmonic signals into harmonic signals, for example. You can also draw your own formant curves in the spectrum display to give the sounds different pitches/characters.
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Snap
This pitch-shifts inharmonic partials towards the closest harmonic partials. At 0% the sound is almost unaffected and at 100% the sound contains only harmonic partials.
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Filter
Instead of pitch-shifting inharmonic partials towards harmonic ones, as the Snap control above does, the Filter control filters out the inharmonic partials and keeps the harmonic ones. Since the filter slopes are not brickwall shaped some of the inharmonic partials (if any) will remain audible even at 100%.
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FFT Size
This sets the accuracy (and speed) of the frequency analysis. “0” is the fastest detection, but this also leaves out detection of low frequencies. “3” is the most accurate detection. However, it’s also slower since it also detects low-frequency material (which takes longer to detect).
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Curve
With the Curve tool you can draw your own formant curves in the frequency spectrum. Drawing above the pink area means the partials are amplified, and drawing below the pink area means the partials are attenuated.
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Amount
Set the gain/attenuation amount of the drawn formant curve (see “Curve” above). At 0% the curve is completely flat.
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Formant
Sets the initial pitch of the sample, together with the Root Key setting (see “Root Key”). If Snap and Filter are both set to 0%, the Root Key and Formant controls the pitch of the signal. This also means that the Pitch parameters (see “Pitch controls”) and Pitch wheel (see “Pitch”) have no effect. To have the Formant track the keyboard in a musical way, make sure the Formant Kbd parameter (see below) is set to 100%.
When you raise the Snap or Filter parameters towards 100% the sound gradually adapts to the Pitch settings instead, and the Root Key and Formant parameters now affect the tone color instead.
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Formant Tune
Here you can fine-tune the formant curve to adjust the pitch to the Oscillator pitch (see “The Oscillator section”).
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Formant Kbd
Here you set how much you want the formant to track the keyboard. 0% means no keyboard tracking and 100% means full 1:1 keyboard tracking. If the Snap and Filter parameters (see above) are both set to 0%, make sure the Formant Kbd is set to 100% to make the audible pitch track the keyboard one semitone per note.
#Grain Oscillator
The Grain Oscillator plays back a mix of two very short grains of the original sample. The grain playback rate corresponds to the oscillator pitch. This means the original pitch (Root Key/Formant) of the sample doesn’t affect the pitch of the sound, but the timbre.
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Pan Spread
Here you set how much you want the grains to be panned in the stereo panorama. 0% means the signal will be unaffected and 100% means every other grain will be panned hard left and hard right. Great for nice stereo effects and for the impression of an added stereo sub-oscillator, depending on the settings. Note that the pitch of the panned signal becomes 1 octave lower than the original signal due to the fact that every other grain is panned.
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Pitch Jitter
Changes the pitch of every grain. The pitch modulation character is “smooth random”.
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Grain Length
Sets 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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Grain Spacing
Sets the spacing in the original sample between the two played back grains. High Spacing values render more even sound character throughout the played notes - almost like a wavetable synth - since a lot of audio data in the original sample is skipped. Less spacing normally creates more varying sound character between each played note.
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Formant
Sets the formant’s initial frequency. Turn this knob to change the tone color of the sound. At high Grain Spacing values (see above) the effect of changing the Formant could be similar to the classic “oscillator sync” sound. To have the Formant fully track the keyboard, make sure the Formant KBD parameter (see below) is set to 100%.
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Formant Tune
Here you can fine-tune the formant curve.
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Formant Kbd
Here you set how much you want the formant to track the keyboard. 0% means no keyboard tracking and 100% means full 1:1 keyboard tracking.
#Long Grains
The Long Grains playback algorithm plays back fairly long grains of the original sample. This means that it’s the original pitch of the sound (Root Key) that affects the pitch, along with the Pitch settings (see “Pitch controls”).
The display shows the effects of the Grain Length, Rate and X-Fade settings.
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Pan Spread
Here you set how much you want every other grain to be panned in the stereo panorama. 0% means the signal will be unaffected and 100% means every other grain will be panned hard left and hard right. Great for nice stereo effects!
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Pitch Jitter
Changes the pitch of every grain. The pitch modulation character is “smooth random”.
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Grain Length
Sets the lengths of the grains. At 0% you get the shortest grains and towards 100% you get longer grains.
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Rate
This controls the playback rate of the grains.
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X-Fade
Here you set the crossfade between the grains. At 0% there is minimal crossfade, which will give the signal a gritty or “popping” character at the playback start and end of each grain.
#Tape
The Tape playback algorithm plays back the sample the old-fashioned “tape-style” way, where playback speed and pitch are linked. If playback speed is zero (in Freeze and End Freeze Motion modes for example), no sound will be heard - but you can drag, modulate or automate the playback position for scrubbing and tape stop effects.
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Loop X-Fade
Sets the crossfade amount if you have selected FW Loop or FW-BW Loop as Motion type (see “Motion”)
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Note that the Loop X-Fade control has no effect if you have selected “Envelope 1” as Motion type.
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If you have selected “Envelope 1” as Motion type (see “Envelope 1”), the Speed (see “Speed”) and Pitch settings (see “Pitch controls”) have no effect. The sample will play back at the same pitch regardless of which note you play.
#Pitch controls
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OCT
Sets the pitch in octave steps.
Range: 5 octaves.
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SEMI
Sets the pitch in semitone steps.
Range: 12 semitones (one octave).
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TUNE
Changes the pitch in steps of 1 cent.
Range: +/- 50 cents (down or up half a semitone).
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KBD
Sets how much the pitch should track incoming MIDI Notes.
Range: 0% (no tracking (constant pitch)) to 100% (1 semitone per key).
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In the Spectral Grains playback algorithm (see “Spectral Grains”), the Pitch controls have no effect if Snap and Filter are set to 0%. To get full effect of the Pitch controls, set Snap or Filter to 100%.
#The Oscillator section
The Oscillator can be used in addition to the sample playback. The oscillator features a number of selectable waveforms and a modulation control, which affect the signals differently depending on selected waveform. The oscillator pitch always tracks the keyboard to 100%. This makes it perfect as a pitch reference for the sample signal.
#On/Off
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Click the On/Off LED button to switch on/off the oscillator.
#Oct
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Turn the OCT knob to change the pitch in octave steps.
Range: 5 octaves.
#Waveform and Mod
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Select the desired waveform by dragging up/down in the waveform display, or by clicking the up/down buttons.
The waveforms are:
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Sine
A pure sinewave at Mod=0%, gradually transformed towards a sawtooth type signal at Mod=100%.
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Triangle
A triangle wave at Mod=0%, gradually transformed towards a sawtooth type signal at Mod=100%.
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Sawtooth
A lowpass-filtered sawtooth wave at Mod=0%, gradually transformed to a pure sawtooth signal at Mod=100%.
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Square/Pulse
A 50% duty cycle square wave at Mod=0%, gradually pulsewidth-modulated to a 0% duty cycle pulse wave
(silence) at Mod=100%.
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Modulate the Mod parameter from an LFO (using the Modulation Bus) to achieve PWM.
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Noise
A level-compensated lowpass-filtered noise at Mod=0%, gradually transformed to white noise at Mod=100%.
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Band Noise
A noise-modulated sinewave. The Mod knob controls noise bandwidth. At Mod=100%, the oscillator produces pure noise. Turning the knob counter-clockwise towards 0% gradually narrows the noise bandwidth until a slightly modulated sinewave is produced.
#The Filter section
The signals from the Playback Algorithms section and the Oscillator section can be individually mixed and routed through the Filter section. The Filter section features four different filter types.
#Routing buttons
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Click the red buttons with a triangle pointing to the right, to route the desired signal to the Filter section.
To bypass the signals from the Filter section, click the buttons with the triangle pointing upwards or downwards.
#Filter type
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Click the Filter type selector to choose any of the following filter types:
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HP 12dB
A highpass filter with a 12dB/octave slope.
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BP 12dB
A bandpass filter with 12dB/octave slopes.
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LP 12dB
A lowpass filter with a 12dB/octave slope.
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LP Ladder 24dB
A ladder-type lowpass filter with a 24dB/octave slope.
#Freq
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Set the cutoff frequency (for the HP and LP filter types) or the center frequency (for the BP filter type).
#Reso
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Set the resonance amount.
#Env 2
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Set the cutoff/center frequency modulation amount from the Envelope 2.
Since this is a “hardwired” connection from Envelope 2 you don’t need to use the Modulation Bus for envelope modulating the cutoff/center frequency.
#Vel
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If you want the Envelope 2 amount to be controlled from keyboard velocity, turn up the Vel knob.
#Kbd
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Set how much you want the filter cutoff/center frequency to track the keyboard.
At 0%, the filter frequency is static regardless where on the keyboard you play. At 100% the filter tracks the keyboard 1:1, i.e. one semitone per note.
#The Amplifier section
The Amplifier section contains a standard ADSR envelope which controls the amplitude of the signals from the Playback Algorithms and Oscillator sections equally. 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 Gain knob (see below). How long this should take, depends on the Attack setting. If the Attack is set to “0”, the Gain level is reached instantly. If the Attack value is raised, it will take longer time before the Gain level is reached.
#D(ecay)
After the Gain 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.
#Gain
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Set the desired maximum level for the Amplifier with the Gain knob.
This is the maximum level the envelope will reach after the Attack stage is completed (see above).
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If you want to create a tremolo effect, assign “Gain” as Destination and an LFO as Source in the Modulation Bus section, see “The Modulation Bus section”.
#Vel
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If you want the Gain level to be controlled from keyboard velocity, turn up the Vel knob.
#Pan
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Set the panning of the output signal from the Amplifier in the stereo panorama.
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Since Pan works individually per voice, you can assign e.g. Keyboard Velocity or an Envelope in the Modulation Bus to control the Pan effect, see “The Modulation Bus section”.
#The Envelopes section
The Envelopes section features four separate polyphonic (one per voice) general purpose envelope generators, that can be assigned to control selectable parameter(s) in the Modulation Bus section. The first two envelopes (Envelope 1 and Envelope 2) are also hardwired to the Motion and Filter Frequency destinations respectively.
The Envelopes are extremely flexible, and you can draw your own custom modulation shapes by clicking and drawing in the display area. There are also a number of preset shapes that you can use as starting points (or use as is). If you use Loop mode, you could turn the envelope into a kind of LFO.
See “The Modulation Bus section” for details on how to assign the Envelopes to the desired destination(s).
#Envelope 1, 2, 3 and 4
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Click one of the Envelope 1, 2, 3 or 4 buttons to select which envelope to edit:
 
Envelope 1 and Envelope 2 are also hardwired to the Motion and Filter Frequency destinations respectively.
#Preset
1.
Click the Preset button to bring up a palette of envelope preset curves:
2.
Click the desired envelope preset curve to place it on the display.
Let’s select a standard ADSR style of envelope curve:
 
#Adding a Sustain stage
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Click the Sustain button to add a sustain stage to the envelope:
The vertical blue marker that appears indicates where the envelope will stay sustained until you release the key.
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Drag the sustain marker sideways to move the sustain stage to the desired position:
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To remove the sustain stage, click the Sustain button.
#Adding and removing envelope points
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Double click, or hold down [Ctrl](win) or [Cmd](Mac) and click, in the envelope display to add points to the envelope curve:
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To remove a point, double click, or hold down [Ctrl](win) or [Cmd](Mac) and click, on an existing point on the envelope curve.
#Changing the envelope curve shape
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Click a line segment (between two points) and drag up/down to change the curve shape:
#Looping the envelope
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Click the Loop button to turn the envelope into a kind of LFO.
If there was previously a sustain stage in the envelope, this will automatically be disabled when you click the Loop button.
Here we have edited a stepped curve from the Presets. We have also enabled Beat Sync and set the length/rate to 4/4. This means that each step in the curve now represents an 1/8th note.
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Key Trig means the envelope restarts when you play a note.
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You can choose whether the envelope should send out a bipolar value or unipolar one (0-100%).
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If Global is on, the envelope will be common for all voices.
Another useful application for looped envelopes is to sync the sample playback to the Reason sequencer when using the Envelope 1 Motion mode (see “Envelope 1”):
1.
Select Envelope 1 (since it is hardwired to the sample playback Motion parameter).
2.
Select the “Ramp Up” Preset, enable Loop and set the Beat Sync to the desired value:
Playing back Reason’s sequencer now plays back the sample synced to the sequencer Tempo.
#Editing levels only
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To restrict the editing to levels only, without affecting the time positions, click the Edit Y-Pos button:
In this mode you cannot change the time positions of the envelope points, only their levels (height). This is extra useful with a stepped Preset curve, because dragging up or down will change the value of an entire segment, turning the Envelope into a pseudo-sequencer.
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To be able to adjust the level of a segment, the two points on either side of the segment have to be on the exact same time positions. Otherwise, only the closest point will be changed. Also, any inclining/declining segment will automatically turn horizontal when edited:
Adjusting the level of a segment.
#Creating “free form” envelope curves
As a special feature in the Edit Y-Pos mode, you can also draw “free form” curves:
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To continuously add new consecutive points, hold down [Ctrl](win) or [Cmd](Mac) and drag in the envelope display:
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To erase points, hold down [Shift] and [Ctrl](win) or [Cmd](Mac) and drag in the envelope display.
#The LFO 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 three separate general purpose LFOs, that can be assigned to control selectable parameter(s) in the Modulation Bus section.
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Select which of the three LFOs you want to edit by clicking one of the LFO 1, LFO 2 and LFO 3 buttons.
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Select an LFO waveform by clicking the spin controls to the right of the waveform display, or by click-holding in the 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.
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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 in Reason.
The Rate parameter now controls the time divisions.
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Click the Key Sync button to restart the LFO at every new Note On.
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Click the Global button to make the LFO common for all voices (monophonic).
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Turn the Delay knob to introduce a delay before the LFO modulation kicks in after a note is played.
Turn clockwise for longer delay times.
#The Effects section
The Effects section features six different effect modules that can be freely reordered by dragging & dropping. Most of the effect parameters are also available as destinations in the Modulation Bus, see “The Modulation Bus section”.
At the top of the Effects section are six Effect buttons. Click any of these to bring up the control panel for the corresponding effect. Below the Effect buttons are the On/Off buttons for the individual effects. Click these to activate the effects.
#Reordering the effects
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To define the order of the effects in the serial connection, click and hold on the desired Effect button and drag to the desired position:
Moving the Chorus effect to another position in the effects chain.
You can reorder the effects at any time.
#Phaser/Flanger/Chorus
This is a stereo Phaser/Flanger/Chorus.
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Select effect type with the Phaser/Flanger/Chorus switch.
The selected effect type is displayed on the Effect button.
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Depth
Sets the depth of the selected effect. To get a static sound, set Depth to zero.
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Rate
Sets the rate/speed of the modulation.
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Spread
Sets the stereo width of the effect.
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Amount
Sets the Dry/Wet amount of the effect.
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It’s also possible to modulate the start/center frequency of the Phaser/Flanger/Chorus using the “Chorus/Flanger/Phaser > Frequency” destination in the Modulation Bus, see “The Modulation Bus section”.
#Distortion
The Distortion effect features six different types of distortion.
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Select distortion type with the switch.
“Dist” produces a dense, rich analog type of distortion.
“Scream” produces a less bright type of distortion.
“Tube” emulates a tube type of distortion.
“Sine” is a sine shaping distortion.
“S/H” gives the effect of sample rate reduction.
“Ring” is a ring modulator effect.
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Drive
Sets the overdrive/feedback level of the selected distortion.
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Tone
This is a lowpass filter and sets the tone of the selected distortion.
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Amount
Sets the Dry/Wet amount of the distortion.
#EQ
The EQ effect is a single band parametric equalizer with adjustable Q-value and Gain.
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Freq
Sets the center frequency of the EQ band.
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Q
Sets the bandwidth of the EQ band, from wide to narrow.
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Gain
Sets the gain/attenuation of the EQ band, from -18dB to +18dB.
#Delay
This is a stereo delay, routed as a send effect.
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Sync
Activate Sync to sync the delay time to the main sequencer Tempo.
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Time
This sets the time between the delay repeats. If Sync is active (see above), the Time parameter now controls the time divisions.
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Ping Pong
Activate Ping Pong to have the delay repeats alternating between left and right in the stereo panorama. The effect is also dependent on the Pan parameter (see below).
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Pan
Sets the panning of the delay repeats in the stereo panorama. If Ping Pong is active (see above) the Pan knob controls the panning of the initial delay repeat as well as the total stereo spread of the remaining repeats.
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FB
The FB (feedback) parameter determines the number of delay repeats.
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Amount
Use this parameter to adjust the send level to the Delay effect.
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If you play a note, have a long delay feedback and turn down Amount, the echoes will continue. This allows for automated “triggered delay” fx.
#Compressor
This is a stereo compressor.
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Attack
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.
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Release
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.
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Thres
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.
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Ratio
This specifies the amount of gain reduction applied to the signals above the set threshold.
#Reverb
This is a stereo reverb, routed as a send effect.
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Decay
This governs the length of the reverb effect.
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Size
Sets the emulated room size, from small room to large hall. Middle position is the default room size.
Lowering this parameter results in a closer and gradually more “canned” sound. Raising the parameter results in a more spacey sound, with longer pre-delay.
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Damp
Raising the Damp value cuts off the high frequencies of the reverb, thereby creating a smoother, warmer effect.
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Amount
Use this parameter to adjust the send level to the Reverb effect.
If you play a note, have a long delay Decay time and turn down Amount, the reverberation will continue.
#The Modulation Bus section
The Modulation Bus section is used for routing a modulation Source to one or two modulation Destinations each. This creates a very flexible routing system that complements the pre-wired routing in Grain.
The Modulation Bus section in Grain is derived from the one in the Reason Thor Polysonic Synthesizer device, so if you are familiar with Thor, you will quickly find your way around in Grain’s modulation bus.
There are eight “Source –> Destination 1 –> Destination 2 –> Scale” busses, of which the first four have pre-assigned sources. However, these four pre-assigned sources can be easily changed if you like.
A Source parameter can modulate two different Destination parameters per bus (with variable Amount settings). Each bus also has a Scale parameter that affects the relative modulation Amount for both Destinations.
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Note that it is possible to assign the same source parameter as Source in several busses. This allows you to control more than two Destination parameters from the same Source.
 
1.
Select the desired Source parameter by clicking in the corresponding Source box and selecting from the list.
The following parameters can be used as modulation Sources:
| Parameter
| Description
Velocity
This applies modulation according to the Keyboard Velocity values (how hard or soft you strike the MIDI keyboard keys).
LFOs (LFO 1, LFO 2 and LFO 3)
This allows you to modulate parameters from LFO 1, LFO 2 and LFO 3 respectively.
Envelopes (Amp Envelope, Envelope 1, Envelope 2, Envelope 3, Envelope 4, Envelope 3 * Envelope 4, Envelope 3 * LFO 3)
This allows you to modulate parameters from any of the Envelopes.
As a special feature you can also modulate parameters from the multiplied signal of Envelope 3 and
Envelope 4, as well as from the multiplied signal of Envelope 3 and LFO 3.
Mod Wheel
This allows you to modulate parameters from the Mod Wheel.
MW Latched
This allows you to modulate parameters based on the current Mod Wheel value at a given Note On.
Pitch Wheel
This allows you to modulate parameters from the Pitch Bend control.
Breath
This allows you to modulate parameters from the Breath performance controller
Expression
This allows you to modulate parameters from the Expression performance controller
Aftertouch
This allows you to modulate parameters from Keyboard Aftertouch (channel aftertouch)
Sustain
This allows you to modulate parameters from a connected sustain pedal. Note that continuous sustain data (0-127) is supported - not just on/off.
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.
Random
This sends out a random value each time a new note is played.
Key In Octave
This allows you to modulate parameters based on 12 separate note values (within each octave).
Noise
This allows you to modulate parameters from white noise.
Polyphony
This allows you to modulate parameters based on the number of playing voices at a given time.
Last Velocity
This applies modulation according to the latest Keyboard Velocity value (how hard or soft you hit the
latest MIDI keyboard key).
Sample Pitch Curve
As soon as you load a sample in Grain the pitches throughout the entire sample is automatically analyzed and saved as a “Pitch Curve”. This allows you to modulate parameters based on the analyzed pitch value at the Position marker’s current position in the original sample.
Display Y Position
This allows you to modulate parameters based on the mouse pointer’s Y position in the sample window. See “Automating sample playback parameters from the sequencer” for an example.
Display Mouse Gate
This allows you to modulate parameters based on the clicking/holding the mouse in the sample window. See “Automating sample playback parameters from the sequencer” for an example.
CV Input 1/2/3/4
This takes the current value on the CV 1/CV 2/CV 3/CV 4 inputs on the rear panel and sends to the
desired destination.
CV Input 1/2/3/4 Latched
This allows you to modulate parameters based on the current CV 1/CV 2/CV 3/CV 4 value at a given Note On.
Modulation Bus Source parameters.
2.
Set the Amount for the first Destination by turning the corresponding Amount knob, or by clicking and dragging vertically in the corresponding Amount 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.
Select the first Destination parameter by click-holding the grey arrow symbol to the right of the corresponding Destination box.
The arrow symbol turns blue.
4.
While click-holding, drag to the desired destination parameter on the panel:
Assigning LFO 1 Rate as a Destination for Envelope 1.
As you hover over a valid destination control on the panel, the parameter name is automatically displayed in the Destination box in the Modulation Bus.
5.
To assign the currently selected Destination control, release the mouse button.
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Dragging to the Waveform Display (see “The Sample section”) will always assign the playback Position
parameter. To assign the sample Start Position or End Position, select the parameter from the list (see below).
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Alternatively, click the desired Destination box and select the Destination parameter from the list.
The following parameters can be used as modulation Destinations:
| Parameter
| Description
Position
This affects the sample “playhead” position in the original sample.
Speed
This affects the Speed control in the sample window.
Jitter
This affects the Jitter control in the sample window.
Start Position
This affects the Sample Start marker position in the original sample.
End Position
This affects the Sample End marker position in the original sample.
Pitch
This affects the pitch of the original sample.
Octave
This affects the Oct control in the Playback Algorithm section.
Formant
This affects the Formant Form control in the Playback Algorithm section (if applicable).
Sample Level
This affects the Sample Level control of the Playback Algorithm section.
Grain: Length
This affects the Grain Length parameter on the Grain Oscillator and Long Grains playback algorithms.
Grain: Rate/Spacing
This affects the Grain Spacing parameter on the Grain Oscillator and the Rate parameter on the Long Grains playback algorithms.
Grain: X-Fade
This affects the X-Fade parameter on the Long Grains playback algorithm.
Grain: Pan Spread
This affects the Pan Spread parameter on the Grain Oscillator and Long Grains playback algorithms
Grain: Pitch Jitter
This affects the Pitch Jitter parameter on the Grain Oscillator and Long Grains playback algorithms
Spectral Grain: Harm Snap
This affects the Snap parameter on the Spectral Grains playback algorithm.
Spectral Grain: Harm Filter
This affects the Filter parameter on the Spectral Grains playback algorithm.
Spectral Grain: Curve Amount
This affects the Amount parameter on the Spectral Grains playback algorithm.
Oscillator: Modulation
This affects the Mod parameter on the Oscillator.
Oscillator: Octave
This affects the Oct parameter on the Oscillator.
Oscillator: Pitch
This affects the (full range) pitch of the Oscillator.
Oscillator: Level
This affects the Osc Level parameter of the Oscillator section.
Filter: Freq
This affects the Frequency parameter in the Filter section.
Filter: Reso
This affects the Resonance parameter in the Filter section.
Amplifier: Gain
This affects the Gain parameter of the Amplifier section.
Amplifier: Pan
This affects the Pan parameter of the Amplifier section.
Amp Envelope: Attack
This affects the Attack time of the Envelope in the Amplifier section.
Amp Envelope: Decay
This affects the Decay time of the Envelope in the Amplifier section.
Amp Envelope: Sustain
This affects the Sustain level of the Envelope in the Amplifier section.
Amp Envelope: Release
This affects the Release time of the Envelope in the Amplifier section.
LFO’s: LFO1/2/3 Delay
This affects the LFO1/2/3 Delay parameter.
LFO’s: LFO1/2/3 Rate
This affects the LFO1/2/3 Rate parameter.
Envelopes: Env1/2/3/4 Rate
This affects the Envelope 1/2/3/4 Rate parameter.
Portamento
This affects the Portamento Time parameter.
CV Outputs: CV1/2/3/4 Out
This sends out the source modulation value(s) on the CV1/2/3/4 Output on the rear panel.
Reverb: Decay
This affects the Decay parameter in the Reverb effect.
Reverb: Amount
This affects the Amount parameter in the Reverb effect.
Delay: Time
This affects the Time parameter in the Delay effect.
Delay: Feedback
This affects the FB parameter in the Delay effect.
Delay: Amount
This affects the Amount parameter in the Delay effect.
Delay: Pan
This affects the Pan parameter in the Delay effect.
Dist: Drive
This affects the Drive parameter in the Dist effect.
Dist: Tone
This affects the Tone parameter in the Dist effect.
Dist: Amount
This affects the Amount parameter in the Dist effect.
Compressor: Release
This affects the Release parameter in the Compressor effect.
Compressor: Ratio
This affects the Ratio parameter in the Compressor effect.
Chorus/Flanger/Phaser: Frequency
This affects the center frequency of the Chorus/Flanger/Phaser effects.
Chorus/Flanger/Phaser: Amount
This affects the Amount parameter of the Chorus/Flanger/Phaser effects.
Par EQ: Frequency
This affects the Freq parameter in the EQ effect.
Par EQ: Gain
This affects the Gain parameter in the EQ effect.
Note Trig
This is mainly intended for use with the Display > Mouse Gate or Display > Y-Position source parameters, e.g. with the Freeze motion mode, to trig/gate the sample without having to play the keyboard. This way you can play back the Root Key of the sample by just clicking/dragging in the Waveform display.
Modulation Bus Destination parameters.
6.
Set the Amount for the second Destination (if desired) by turning the corresponding Amount knob, or by clicking and dragging vertically in the Amount box for the second destination.
7.
If desired, select a second Destination parameter by click-holding the blue arrow symbol to the right of the corresponding Destination box, and dragging to the desired control on the panel.
8.
If desired, click the Scale box and select a Scale parameter.
The available Scale parameters are the same as the Source parameters, see “Modulation Bus Source parameters.”.
9.
Turn the Scale Amount knob, or click the Amount box to the left of the Scale box and move the mouse pointer up or down to set a Scale Amount value.
Both positive and negative Scale Amount values can be set (+/- 100%). If you, for example, are using the Mod Wheel as Scale parameter and don’t want any modulation when the Mod Wheel is set to zero, set the Scale Amount parameter to 100%. Then, there will be no effect when the Mod wheel is set to zero, and full modulation when the Mod Wheel is all the way up.
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How much modulation will be applied when the Scale parameter is set to maximum is governed by the to Destination Amount parameter(s).
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How much the Scale parameter controls the modulation is set with the Scale Amount parameter.
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To clear an assigned Source, Destination or Scale parameter, hold down [Ctrl](Win) or [Cmd](Mac) and click the Source/Destination/Scale box. Alternatively, click the Source/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 or knob.
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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.
#Modulation example patches
The factory patches for Grain features a folder named “Templates”. In this folder you will find a number of patches that show typical modulation examples, to make it easier to get the hang of how to create your own patches.
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Remember that CV connections are NOT stored in the Grain 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 Grain 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 for modulating the Pitch Bend and Mod Wheel parameters.
#CV Modulation inputs and outputs
These assignable control voltage (CV) inputs and outputs can be used for modulation of and from assigned Source and Destination parameters in the Modulation Bus section, see “The Modulation Bus section”.
#Audio Output
These are the main audio outputs. When you create a new Grain device, these outputs are auto-routed to the first available Mix Channel in the main mixer. If there is no Mix Channel available, a new one will be automatically created.
#Automating sample playback parameters from the sequencer
Besides the extensive modulation capabilities of the Modulation Bus, the sample playback parameters can also be automated in the Reason sequencer. For example, you could automate the Sample Start and/or Sample End markers in the Sample section to have the markers reposition in real-time during playback of the Reason sequencer. Below is a basic example of how you could automate various sample playback parameters:
1.
Record some notes on the Grain sequencer track in the Reason sequencer and then hit Stop twice.
2.
Hit Record again in the Reason sequencer and drag the Sample Start and Sample End markers during recording:
3.
Hit Stop in the sequencer twice when you are done recording.
If you moved both the Sample Start marker and the Sample End marker you will now have four Parameter Automation lanes with clips on them on the Grain sequencer track. A green Parameter Automation frame is also visible around the Sample section display:
The first two Parameter Automation lanes - the Display Y lane and the Display Gate lane - always appear as soon as you have recorded any marker movements in the Sample section display.
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The clip on the Display Y lane represents the vertical movements you made with the mouse during the recording.
This automation doesn’t affect the sample playback in any way but can instead be used as a modulation source in the Modulation Bus, for modulating the desired destination parameter(s).
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The clip on the Display Gate lane reflects when you clicked (and held) the mouse button during the recording.
This automation doesn’t affect the sample playback either but can be used as a modulation source in the Modulation Bus, for modulating/gating the desired destination parameter(s).
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The clips on the Position and End Pos lanes represent the movements of the Sample Start and Sample End markers respectively.
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If you like you could also record automation of the Sample Range Zoom and Scroll parameters by dragging the markers in the Sample Overview area:
After recording the movements of the Sample Range markers, two new Parameter Automation lanes appear on the sequencer track:
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The clip on the Scroll lane represents the movement of the leftmost Sample Range marker, and thus the movement of the entire sample range.
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The clip on the Zoom lane represents the movement of the rightmost Sample Range marker, and thus the zooming (in or/and out) of the sample range.
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It’s also possible to automate the Motion, Speed, Jitter and Global Position parameters.
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Also, don’t forget to check out the modulation example patches, see “Modulation example patches”.