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Hegel Modular 1.0

Users Manual

Contents
Welcome
Getting Started
Configuring an Audio Patch
Envelopes
Oscillators
Unison
Submixers
Filters
EQ
Waveshaper
Distortion
Output Mixer
Echo
Choir
Recorder
Sequencers
LFOs
Sample and Hold
MIDI
Tempo
Scope
Matrix Modulation
Getting Helpand Recognition!

Welcome

More Powerful than a Moog Modular, and without the Wires!

Welcome to Hegel, a full-featured modular workbench for real-time performance, complex sequences,
and audio exploration. It contains dozens of full-featured units, essentially cramming three complete
polyphonic synthesizers into one instrument. An extremely flexible design provides access to virtually
every audio and event modulation possible. Even so, the control panel still fits on 1024x768 monitors.
The A panel contains three oscillators, three filters, two distortion units, a waveshaper, three LFOs, six
envelopes, six submixers, four sequencers, sample and hold, unisono control, tempo control, and a three-
channel mixer with polyphonic mixing and pan, echo, and chorus. The implementation is complete: for
example, audio and events can modulate any available parameter for all Reaktor oscillators. The B panel
provides detailed manipulation of the sequencers, as well as an audio recorder and velocity/aftertouch
shaping.
A switchless matrix lets 30 different event sources modulate >100 different sound parameters. The
matrix is a full butterfly implementation, which means different amounts of multiple modulations can

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affect the same parameter. For example, any number of envelopes, LFOs, sequencer values, and MIDI
controllers can all modulate filter frequency by a different amount for each source. Matrix 1 provides
modulation of all the audio parameters; Matrix 2 provides modulation of envelope, LFO, sequencer, and
tempo parameters.
The audio modules are fully modular, so they can be chained in any serial or parallel combination; audio
paths can also be blended together with submixers. Only the audio path is switched in Hegel; if two
snaps use the same switch settings, you can change between the snaps without interrupting the sound or
timing. This lets you use snapshots to change between vastly different sound scenes, either
instantaneously, or gradually through morphing.
Those familiar with modular hardware will know how complicated it is to set up triggers and gates. Here
all the wiring has been done for you (if you look inside the structure, youll see what I mean). The
sequencers, LFOs, and envelope sources offer over dozens of different triggers and gates, so they can
trigger and gate each other, or be triggered in many different ways by MIDI notes.
The three audio envelopes can each play MIDI or different sequencer tracks at the same time,
polyphonically, letting you split the modules up into three separate instruments that play different
sounds. Because all the modules are combined in one instrument, the pitch of one envelope can
modulate the filter of another, and so on. Alternatively, all the modules can be configured into one giant
complex instrument, as desired.
The ensemble contains an initial set of 60 snapshots demonstrating the various capabilities of the
instrument. With the huge amount of flexibility offered by a fully modular design, these demo snapshots
are deliberately kept simple, to illustrate what can be done with various particular features by
themselves. This makes it easier to learn how the instrument works and get up to speed on designing
your own unique sounds.
Everything possible has been done to reduce CPU usage. After the ensemble loads (which may take
some time because the structure is very large), you will find it smooth and responsive. The last beta was
tested on PentiumIII, PerntiumIV, Macs, Athlons, and G4 CPUs. Six voices are found functional on
CPUs down to an 800MHz PentiumIII.

Getting Started
Hegel has a custom waveset file. To reduce file size and download time, the waveset is packed
separately in the downloaded zipfile. So the first time you load Hegel, Reaktor prompts for the waveset
file. If you store the waveset file somewhere on your hard drive and navigate to it at the first load,
Reaktor subsequently remembers the file location, so you only have to do this once.
If you load the ensemble in a Reaktor instance that is already running, you may need to turn the Reactor
audio off and on again to activate the design (it depends on your type of audio and CPU).

Table Data Saved with Snaps

The table data (for sequencers and waveshaper) are stored with each snap, so you dont have to worry
whether changing the table data for one snapshot is going to change another snapshot incidentally. You
can copy and paste sequences between snapshots using the copy/paste editor in the B panel.

Velocity and Aftertouch Shaping

You can use the B panel to customize the velocity and aftertouch response to incoming MIDI. For
example, press a key with pressure and look on the right edge of the aftertouch panel, you will see an
indicator showing the resulting value. Now you can adjust the range with the low and high sliders to the
left and right of the vertical control, and the shape of the response (linear, curved, or bicurve) using the

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XY control. Note if you move the XY cursor around in the XY panel when in curve or bicurve mode,
the curve inflexes in the other direction and changes shape. The velocity and aftertouch shapers are snap
isolated, so you only need to do this once for your keyboard.

CPU Usage
A 2.6GHz P4 can run everything turned on with 15 voices at 44.1kHz. If you are using a lot of
modulations and have a slower CPU, you can: reduce the number of voices; reduce the audio rate; or
reduce the event rate down to 100Hz. If you reduce the number of voices, its a very good idea to turn
off Reaktor audio (from the toolbar button or menu) first, or it can take quite a long time to reconfigure
itself).

Morph/Random
Reaktors morph/random controls in the snapshot browser are fully enabled for everything that is not a
list or switch. Reaktors CPU load during morphing can be very intensive. The instrument does what it
can to reduce CPU load, but if you are changing a lot of different parameters, you may need quite a fast
machine.

VST and MIDI Out

If you enable MIDI out in the instrument properties panel, you will be able to capture the polyphonic
pitch sequences generated the sequencers. The instrument contains logic to prevent MIDI feedback, so
you should be able to receive and transmit on the same MIDI channel.
For VST, the instrument is designed so that the parameter names are not truncated, and are as far as
possible legible in Cubase SX 1.0.

Known Issues
z Switching snaps when predelay/repeat is enabled causes very large CPU loads. To be safe, turn
off audio before chaning snaps if you have used predelay/repeat.
z Waveshaper has not been beta tested.
z Snaps are still primitive.

Configuring an Audio Patch

For the audio modules there are switches (displayed as droplists) called Input or Audio in the top
left corner. To build an audio patch, simply build a chain of these from the oscillator to envelopes. The
audio path is the only part of the instrument which uses switchesthe rest of the instrument uses event
logic, so as not to interrupt the sound. If two snaps use the same switch positions, you can change
between them without interrupting the sound. Audio switches have the following inputs:
z --: Two dashes mean OFF.
z o1, o2, o3: oscillators 1 through 3.
z f1, f2: filters 1 and 2.
z m1, m2, m3, m4, m5, m6: submixers.
z d1, d2: distortion 1 and distortion 2.
z Eq: Equalizer
z Sh: Audio waveshaper

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Its sometimes easiest to set up the audio path backwards, starting at one of the audio envelopes. Say
you select f1 as the input for one of the envelopes. Then select o1 as the input for f1. Make sure the
env1 button in the output mixer is turned on, and turn up the volume, and the audio patch should be
audible.
To make the sound more complex, you can use the submixers to link different components in parallel or
in series, simply by chaining modules in different ways. For wider configurations, you can feed the
output of one submixer into the input of another.
There are three separate envelopes each of which can be switched on or off, so there may be up to three
separate audio paths. Alternatively, only a few of the envelopes can be used, or multiple envelopes can
shape the same sound.
The three audio envelopes feed the three channels in the output mixer. The output mixer provides
polyphonic modulation of the output level, channel pan, echo send, echo pan, and chorus send for each
channel separately.
Some components have additional audio switches. For example, the oscillators also have switches for
audio modulation of AM, FM, sync, and phase/width. The filters also have FM modulation. These can
be routed from any other audio source, including the submixers.

Envelopes
The three main envelopes are very sophisticated, allowing many different uses.
If the audio source in the top left is switched on, the audio envelope is applied to the source on the
corresponding channel of the output mixer. If the audio source is switched off, the envelope can still be
used as an event modulation source.

Mode
The Mode list selects the way the envelope is triggered and gated. MIDI, sequencers, other envelopes,
and LFOs can trigger the envelope.
z For MIDI and sequencer modes, the envelope assigns voices for each incoming trigger and sends
the pitch out to the rest of the instrument. Note that any combination of the sequencers can trigger
the same envelope. For example, seq1 and seq2 can both trigger env1, while only seq1 triggers
env2.
z For envelope modes, other envelopes trigger and gate the envelope.
z For LFO modes, the envelope is triggered and gated when the respective LFO output is above 0.

Poly, Mono, and Legato

The separate Pitch module (in the instruments top left corner) contains one list that sets the overall
mode for all instruments. See the section Oscillators for more information.

Hold
For sequencer modes, the Hold list controls the duration of the high gate. All envelopes are fully
polyphonic, so sustain and release phases an overlap for consecutive notes, up to the available
polyphony in the Reaktor instance. Note, all three envelopes share the available voices, so if there are
long hold periods for one or more envelopes, voice stealing can affect the sound.
For MIDI modes, the Hold value sets a minimum duration of the note. Even if just touching a MIDI
key on an input keyboard, the gate will stay high for the hold period. If the MIDI key is held down

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longer than the hold period, the gate will stay high for as long as the key is held down.

Predelay and Repeat

The Rpt button provides additional modes in combination with the Pre/Rpt list. If the Rpt button
is off, the Pre/Rpt value sets a delay before the note starts, regardless of the trigger source. If the Rpt
button is on, the envelope retriggers itself at a frequency set by the hold and Pre/Rpt values. The
actual behavior depends whether the hold or pre/rpt values is longer:
z If Hold is longer, the note repeats only during the hold period, with a zero-length sustain. The
pre/rpt value sets the frequency of repeats. For example, if Hold is and rpt is 1/4, the note
repeats twice at 1/4 intervals. This is good for Flam and complex melody building.
z If Rpt is longer, the note repeats at the interval set by Pre/Rpt, with the gate remaining high
during the hold period. With a MIDI gate, the repeat continues while the MIDI gate remains high.
With other gates, the repeat continues until a new trigger is received from the respective source.
This is good for building melodic complexity, or to make monophonic modes more interesting.
Note that PREDELAY also affects notes arriving from a keyboard, so if there is a predelay period you
wont hear a note for awhile after pressing a key.

Mult
The MULT button in the envelopes is only effective when the envelope is being triggered by the
sequencer. If playing notes from a sequencer and MULT is on, every single step from the sequencer
creates a note. If MULT is off, a step with the same pitch as the previous step does not retrigger the
envelope or create a new note.
If the first note in some sort of looped sequence is the same as the last note, then the first note from the
sequence will also be masked out when MULT is off. If you find some notes arent present that you
want, try turning MULT on. It may be for example that the matrix is modulating sequencer pitch and
generating strings of identical pitch values in some manner. On the other hand if you want to add rests
into a sequence pattern, you can turn MULT off.
What if you want two consecutive notes to be the same pitch, but also have note rests? Then set the pitch
scale to say, C major, then put some sharps or flats in the pattern where you want repeating notes. The
pitches will be different when they arrive at the envelope, but then when the envelope sends them to
global pitch and oscillators, they will be remapped to the same note.

XY, LVL
The XY panel displays the current level of each voice. In addition the Y axis provides overall control of
the envelope amplitude. Velocity modulations are applied to the level set in the XY control.

A, D, S, R
The A, D, S, and R sliders are the envelopes preset attack, decay, sustain, and release values, before
modulation by velocity, pitch, and matrix2.
By default Reaktor uses the current amplitude of an envelope as the starting value when an envelope is
triggered. In other words, if one voice has a long release and high sustain, and is therefore still playing,
then a new note on the same voice has a shorter attack because it starts from the amplitude of the already
playing voice. Hegel therefore contains logic to bypass this undesired behavior.

Vsens
VSENS sets the velocity sensitivity. If set to 0, the envelope velocity is fixed by LVL. If set to 1, the
envelope is fully responsive to velocity. If set to negative values, higher velocities reduce the envelope

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amplitude (useful for attenuating event modulation).

Oscillators
The PITCH module sets the global pitch characteristics for the oscillators; each oscillator can then have
its own pitch settings. The PITCH module also contains a global MODE list.

Mode
Selects overall polyphonic/monophonic mode:
z Poly: Most often, MODE is set to Poly so the instrument plays fully polyphonically.
z Mono, Legato: All the notes from envelopes and MIDI are combined into one monophonic
playline. In legato modes, a new trigger while the gate for the last note is still high causes a pitch
change without retriggering envelopes. In multi modes, a new note also retriggers the envelopes
regardless whether their previous state.
z High, Low, Rcnt These set the pitch when there is more than one MIDI. If HIGH, the highest
pitch is played. If LOW, the lowest pitch is played. If RCNT, the most recent pitch is played.
RCNT also remembers the order of played notes, so, if the most recent note ends while others are
still playing, the pitch shifts to the next-most recent note (RCNT will not shift to another pitch if
the released note is not the most recent).

Microtune
Applies microtuning after pitch shift, but before fine tuning and glide, for global pitch and osc1/2. The
default mode is equal tempered. Descriptions of the other microtune scales are available in the B panel.
Microtuning is applied after pitch transposition. Microtuing sets the microtonal scale before fine-tuning,
voice spread, and glide.

Shift, Scale Map, Key, Map

The SHIFT knob applies a semitone transposition. SCALE MAP and KEY remap pitches to a keyscale.
Remapping is after SHIFT, but before fine tuning and glide.
z For a glissando effect, you can enable remapping and send a large modulation from the LFO saw
waveform (or other source) to the SEMITONE destination.
z For large smooth transpositions, with remapping enabled, send the pitch modulations to the
oscillators instead.
In the oscillators, the MAP button determines whether scale mapping is again applied after local pitch
shift. For example, if pitch shift is +6, then a C3 would normally transpose to F#. However if MAP is on
and the scale is C Major, then the C3 note would remap to G.

sprd
SPRD applies a small pitch offset to each voice, useful for adding breadth in monophonic modes.
Spread is applied after microtuning and scale remapping.

glide>out, glide
The GLIDE>OUT list selects the envelopes (ENV1, ENV2, ENV3) to which glide is applied. For
example if set to 1, then notes from env1 have glide, and notes from the other oscillators do not. Set
GLIDE>OUT to off to disable glide.

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The GLIDE list sets the glide interval as a tempo value. All notes have the same glide interval no matter
the distance between the notes. Glide interval can be modulated by the matrix to create detuning effects
during glide, or to enable glide selectively from a foot pedal or sequencer.
Glide is fully polyphonic, occurring between the last note and the current note. Moreover the synthesizer
calculates glide for each envelope, and for notes from the unisono module, separately. See the snaps for
an example.

Wave, Description
Of all the oscillators, the WAVE switch selects the audio source:
z Saw: sawtooth
z Tri: triangle (varying to triangle for width-modulated form)
z Par: parabolic
z Sin: sine
z Imp: Impulse
z Ramp: ramp (not antialiased, suitable for driving audio shaper).
z Waveset: waveset
z Bis: Bisaw
z Bip: bipulse
z BiRamp: ramp with slope modulated by contour
z Noise, Rndm: different kinds of noise with first-order filtering by pitch
z Noise Q: noise with second-order filtering by pitch and resonance set by contour.
The DESCRIPTION text field provides more information on the waveforms. An F suffix indicates
that FM and sync are available (only soft sync is available for wavesets). A W suffix indicates that
width modulation is available.
For FM and SYNC oscillators, internal logic automatically switches the oscillator module for the lowest
possible CPU usage. The lowest CPU utilization is for F mode oscillators without FM or SYNC
enabled.

AMsrc, AM
The AMSRC switch enables AM modulation by an audio source, also selecting the source. If AMSRC is
on, the AM knob controls the amount of AM modulation. If AMSRC is off, the AM knob attenuates the
amount of amplitude modulation by any modulation sources that have been set up in the modulation
matrix. Internal switching reduces CPU usage if AM is turned off.

FMsrc, FM
The FMSRC switch enables FM modulation by an audio source, also selecting the source. If FMSRC is
on, the FM knob controls the amount of FM modulation. Internal switching reduces CPU usage if FM is
turned off.

Ph/Wsrc
The PH/WSRC switch enables audio-rate modulation of phase (for Sync oscillators) or width (for audio
oscillators). If enabled, unity-gain audio modulation adds +/-1 to the values of the phase or width knobs,
and values exceeding the +/-1 range of these parameters are mirrored. Typically the audio source would

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be a one-input submixer so that the audio source can be attenuated to the desired value.

Sync, Ph/WS
If the FM switch is on, the SYNC switch additionally enables sync for FM sources.
z HARD and GATE sync set the oscillators to the phase set by the PH/WS upon sync.
z SOFT sync reverses the waveform upon sync.
Hard sync is not available for the Waveset oscillator. For wavesets, the Ph/WS knob instead selects the
waveset. Wavesets can be changed during a note (most implementations can only change wavesets at the
beginning of a note). This means, when using a waveset oscillator, you can twist the WS knob to change
oscillator types dynamically, without switch interruptions.

Contour (Wide)
WIDE sets the width ratio for width-modulated oscillators. It also sets the ramp slope for the biramp
oscillator, resonance for the Noise Q oscillator, and startpoint for the waveset oscillators. For this reason
WIDE is also called CONTOUR.

Track
TRACK sets the amount of pitch tracking. For linear pitch tracking, set to midpoint value 1. At 0, there
is no pitch tracking. At 2, pitch tracking is double the source pitch.

Fine
FINE applies a detuning offset in cents to the oscillators. Fine tuning is applied after microtuning.

Unison
The unison module lets you generate two or three notes from each note passed to one of the envelopes 1-
3. As a result, sequencers, MIDI and so on can generate chords from single notes.
In the module controls, you can apply a transposition and detune offset to these extra notes. Internal
logic ensures that polyphonic glide is applied correctly to notes generated by the unison module.
Obviously, unison only works in when the instrument is in polyphonic mode.

Submixers
The six submixers each have two inputs and one MIX knob. Two of the submixers also have AM
switches.

Input A, Input B
These switches select the two inputs for each submixer. By setting one to an audio source and leaving
the other OFF, the submixer can be used to attenuate a signals amplitude. By setting one submixers
input to be the output of another submixer, they are combined together to build a wider mixer.

Mix, AM
The MIX knob controls the relative mix of input1 and input2 passed to the output.
If the AM switch is on for submixers 5 and 6, the mix knob instead controls the amount of AM

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modulation of input A by input B.

Filters
The two identical filter units provide multiple filtering modes.

Input, Kind
The INPUT switch sets the audio input, and the KIND switch sets the type of filter. Setting input to OFF
disables the filter entirely (and turns off the XY panel), saving CPU. The following filter types are
available:
z L2/4: Low-pass filters
z LD1/2/3/4: Ladder filters
z B2/4: Band-pass filters
z H2/4: High-pass filters
z LH2/4: low-pass and high-pass filters in parallel
z Pro: Pro52 filter
z +/-Comb: Comb filters. The filter P controls set the comb delay, and the filter Q controls set the
amount of feedback.
z LP Fb: A 2-pole low-pass filter with feedback, followed by a 2-pole low-pass filter.
z Hishelf/Lshelf: equalizers. The P controls set the corner frequency and the Q controls set the
boost/cut factor (0.5 no boost/cut; higher values are boost, lower values are cut).
z Bypass: the source audio is directly passed to the output.

FmSrc, FM
The FmSrc switch sets the FM source. Internal logic reduces CPU if this switch is set to OFF. The FM
knob controls the amount of FM modulation.

Psrc, Pcntr, Ptrk, Qtrk

PSRC selects the pitch source used for frequency tracking, and the Pcntr knob sets the center frequency.
For linear tracking, set PCNTR to middle C (C3). To skew pitch tracking so that lower frequencies
cause greater pitch change, lower PCNTR. To skew pitch tracking so that higher frequencies cause
greater pitch change, increase PCNTR. PTRCK and QTRK set the amount of pitch tracking for filter
frequency and resonance, respectively.

Sat, Mix, Limit

The SAT switch enables post-filter saturation. When on, the MIX knob controls the amount of saturation
on the output. When off, the MIX knob controls the mix of unfiltered/filtered signal sent to the output.
The LIMIT switch enables a polyphonic limiter on the filter output.

XY Control
The XY control displays the current frequency and resonance for each voice, after shaping and
modulation. The XY control crosshair sets the base frequency and resonance for the filter.

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HiQ
When on, resonance has a more logarithmic characteristic, providing higher degree of control at higher
resonances. When off, resonance is linear.

A, B, A>P, B>P, A>Q, B>Q. -

The A and B listboxes select two modulation sources for the filter. See the section on matrix
modulations for a description of the modulation sources.
The A>P and A>Q knobs set the amount that modulation source A is applied to frequency and
resonance, respectively. The B>P and B>Q knobs perform the same function for modulation source B.
The pitch and modulation amounts for source A and source B are normally positive. To change their
polarity, press the - button next to them.

EQ
This is a simple parametric equalizer.

Input
This switch selects the audio input for the equalizer.

P, Trk
The P knob sets the center pitch for the equalizer in MIDI note units. The TRK control sets the amount
of pitch tracking applied from global pitch.

Band
BAND sets the width of the equalizers boost/cut region.

Q
The boost/cut factor (-20dB to +20dB).

Waveshaper
The waveshaper module (shaper) is probably the most unique module in the instrument. The EDIT
table lets you draw curves and set modulation levels over an eight-point range. The shapers internal
logic calculates a polynomial curve that passes exactly through the points that you set.
The shaper can be used in three different ways:
z You can draw audio waveforms in the EDIT table and play them in as oscillators. To do so, select
Shaper in the oscillator 1-3 WAVE switches. FM, hard sync, soft sync, and contour are
available. The oscillator contour control morphs to the next waveform as follows:
{ When osc1 contour is 0, osc1 plays wave 1, When contour is 1, osc1 plays wave2.

{ When osc2 contour is 0, osc2 plays wave 2, When contour is 1, osc2 plays wave3.
{ When osc3 contour is 0, osc3 plays wave 3, When contour is 1, osc3 plays wave1.
Intermediate positions provide mixes of the two waveforms.

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z By passing audio in from any audio source, you can use the shaper to shape the audio and morph
the waveshaping curve. The audio controls in the shaper panel select the audio input, drive,
saturation, and AGC. You can morph between all three waveforms.
In this mode the waveshaper defines a curve for audio passing into it. When the input audio
value is 1, it is mapped to the value at the left edge of the edit table. When the input audio value
is +1, it is mapped to the value at the right edge of the table. Intermediate input audio values
between 1 and +1 are mapped to corresponding middle points in the edit table.
z The shaper waveform is also available as an event modulation source, triggered by envelope,
sequencer or LFO, and scanned at user-selectable rates.
Because of the curve generation, the audio and event waveforms are exceptionally smooth. There are
also two different ways to modulate the waveform, as described under MORPH and EDIT, below.

Audio
The AUDIO switch selects the audio source for the waveshaper. If off, the shaper is still available as an
event modulation source.

E Rate
For event modulation, sets the rate at which the shaper curve is scanned.

E Mode
For event modulation sets the trigger mode for the shaper:
z Loop: the shaper loops from left to right, then reverses, continuously.
z MSYNC: When any MIDI note on is received, the event shape starts at the beginning and loops
forward and back until the note is released.
z MSHOT: When any MIDI note on event is received, the event shape plays through once from left
to right, then stops.
z HOLD: When a MIDI note on is received, the shaper starts to loop forward and back. Additional
keys while one key is held down add additional shaper loops. When releasing all keys, the loops
continue until a key is pressed again, at which time all loops stop and the new loop starts.
z 1/2/3/4SHOT: when the corresponding sequencer advances one step, the shaper plays from left to
right once, then stops.
z LFO1/2/3: when one of the voices on the corresponding LFO passes from 0 to one, the shaper
plays from left to right once, then stops.

Drive
For audio shaping only, sets the drive level passed into the audio waveshaper. Higher levels result in
more clipping.

Wave
Selects the wave for event and audio shaping. Non-integer morph values provide mixes between the
three curves. Note that shaper morph modulation (from matrix 1) can change between the various curves
dynamically.

Edit
With the EDIT subpanel, you can select whether to edit user wave 1, 2, or 3.

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Scope
The SCOPE displays the current output curve of the shaper, after morph and point modulation.

SM
The waveshaper generates intermediate points between those that you specify. The SMOOTH list lets
you select whether the intermidate points are stepped, ramped, or curved (smoothed).

Distortion
The distortion modules are single-in, single-out audio modules that can be placed between any other two
audio modules.

Input
The input switch selects the audio source for distortion.

Mode
The mode switch selects the type of distortion:
z Smirror 2-way mirror. LVL sets one mirror point, SYM the other.
z Mirror 1-way mirror. LVL sets the mirror point.
z Sclip asymmetric high/low clip. LVL sets one clip level, SYM the other.
z Clip symmetric high/low clip. LVL sets the clip level.
z Ssat asymmetric saturation. LVL sets the amount of saturation, SYM the asymmetry.
z Sat saturation. LVL sets the amount of saturation.
z Sqnt asymmetric quantization. LVL sets the quantization level, SYM sets the ERR amount.
z Qnt quantization. LVL sets the quantization level.
z Saw saw wrapper. LVL sets wrapping range, SYM the step asymmetry.
z Tri triangle wrapper, SYM the step asymmetry.
z Sine sine wrapper, SYM the step asymmetry.
z Bypass source audio passes directly to output, useful for monitoring
z Off output is disconnected.

Lvl
Sets the level or mix of the distorted signal, as described above.

Sym
Sets the asymmetry for asymmetric distortion modes, as described above.

Locut
The Locut switch enables a high-pass filter to reduce sub-audio-frequency rumble.

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Output Mixer
The three channels of the output mixer take their inputs from envelopes 1-3, respectively. Turn off the
envelope AUDIO to reduce CPU usage.

Env1/2/3, ECHO, CHOR

These buttons enable/mute the respective channels.

Lvl, Trim
Click and drag up and down in the TRIM numeric display to adjust the relative amplitude of the three
envelope outputs so they are all equal, then use the LVL knob to fade in and out the envelope outputs.

Pan
The pan control adjusts channel mix to left and right outputs. The internal design removes the 6dB
drop in output level when pan is centered.

Echo, Chor
These are post-fader send levels to the effects units.

Ret1/2
RET1 sets the return level from echo, and RET2 the return level from chorus.

Out, Master
The OUT slider sets the output volume. The MASTER knob works like the channel TRIM controls,
letting you set the relative overall volume output for your speakers or audio recording equipment.

Limit, Rel
The LIMIT switch enables monophonic limiting on the final output. The REL knob controls the limiter
release/respond time when LIMIT is enabled.

Hicut, Freq
The HICUT switch enables hi-cut equalization on the final output. The FREQ numeric control sets the
corner pitch of the output in MIDI note values.

Echo
The echo is a monophonic module with several modes.

Mode
MSec mode is a ping-pong dual delay with time set in milliseconds; SYNC is also a ping-pong dual
delay, but time is set in tempo units. VRB is a simple reverb unit.

Time, Fbk
TIME sets the delay time and FBK the amount of feedback.

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Cut, FILT
The LOCUT switch enables a low-pass filter in the MSEC and SYNC feedback paths, and a high-shelf
EQ in the RVB feedback path. CUT sets the filter cutoff in MIDI note units.

Pan
Pan sets the panpot of the delay output.

AudioMod, Mod
AUDIOMOD enables audio-rate modulation of the delay time, and MOD sets the depth of audio-rate
modulation.

ModDest
MODDEST sets the parameter that can be modulated by events from matrix2.

Choir
Choir is a monophonic chorus unit with a couple of modes.

Mode
The 2X mode enables 2-band chorus; the 4X mode enables better sounding but more CPU intensive 4-
band chorus.

Del, Deep, Speed, Sep

DEL sets the chorus delay time, DEEP the depth, SPEED the rate of modulation, and SEP the stereo
separation.

ModDest
MODDEST sets the parameter that can be modulated by events from matrix2.

Recorder
The B panel contains a simple audio recorder on the output of the main mixer.

On, Wav-file
The ON switch enables audio recording. The WAV-file textfield lets you set a file to which the audio
recording is saved.

Record, Play
When the recorder is switched on, the RECORD and PLAY buttons let you capture audio and audition
the recording.

Sequencers
The four sequencers are viewable in the A panel by selecting the Edit button. They are also editable

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separately in the B panel.

Enable
The Enable button turns on and off all four sequencers.

Zoom
The zoom button just causes the view to show just those enabled steps for each sequencer, and does
not otherwise affect the sound.

Mode
For the MIDI modes, the sequence is transposed by the played MIDI key around middle C. For example,
playing the D above middle C causes the sequence to be transposed up two semitones; but only for the
MIDI modes! You can also use the event matrix to transpose the sequence; for example, sequencer 2 can
transpose sequencer 1.
z OFF: the sequencer is disabled.
z LOOP: The sequence loops. Loop position is controlled by song position, and the four sequencers
synchronize their steps when in loop mode.
z MSTEP: On receiving a MIDI note-on event, the sequencer advances one step.
z MGATE: While a MIDI note is on, the transposed sequence loops. Playing multiple MIDI notes
causes the sequence to play separately for each note. The loop steps are synchronized with other
sequencers, as in LOOP mode.
z MSYNC: When any MIDI note on is received, the transposed sequence starts at step 0 on the next
1/96 clock and loops until there is a corresponding note-off event.
z MSHOT: When any MIDI note on event is received, the transposed sequence plays through once,
then stops.
z HOLD: When a MIDI note on is received, the sequence starts to play. Additional keys while one
key is held down add additional transposed loops. When releasing all keys, the loops continue
until a key is pressed again, at which time all loops stop and the new loop starts.
z 1/2/3/4SHOT: when the corresponding sequencer advances one step, this sequencer plays its
pattern once, then stops.
z 1/2/3/4STEP: when the corresponding sequencer passes through step 0, this sequencer steps
forward once.
z LFO1/2/3: when one of the voices on the corresponding LFO passes from 0 to one, the sequencer
advances one step.

Rate
THE RATE list sets the duration of each step in tempo units.

SeqLen
The SEQLEN list sets the number of steps that are played in one iteration through the sequence.

Begin#
The BEGIN# field sets the first step for the sequence.

Permute

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In the B panel, the PERMUTE module lets you edit the sequences in various ways.

Seq, from, to
SEQ selects the sequencer for the operation. The FROM and TO knobs set the range of steps for the
operation.

Transpose, Rotate, Amount

The TRANSPOSE button shifts the steps from FROM to TO in SEQ by AMOUNT. The RORATE
button rotates the steps clockwise or anticlockwise, by AMOUNT.

Copy, Paste, Clear

The COPY button places all the steps in the SEQ sequencer in the edit buffer. The PASTE button pastes
those steps in the range FROM to TO. The CLEAR button empties the sequencer steps in the sequencer
SEQ, in the range FROM to TO.

LFOs
The three LFOs are all polyphonic. Envelopes 1-3 also contain envelopes 4-6 respectively, sharing the
same gate and sync sources. The envelopes in the LFOs cause the LFO to fade in and/or fade out.
The LFOs contain the following identical controls:

On/Off
This is useful for monitoring the sound without the LFO being applied. Turn unused LFOs off to save
CPU.

Frequency
Frequency is adjustable over a scaled range of 0 to 110Hz. Frequencies above 10Hz are generally not
effective for the output mixer, because of its internal smoothing (to reduce clicks on large value
changes).

Fspr
When above zero, sets the amount that the frequency is attenuated for each individual voice, so that the
LFOs are all at different frequencies.

Wave Type
The LFOs provide sine (actually parabolic), triangle, saw, pulse, and random outputs.

Amplitude
The XY display provides attenuation of overall output amplitude.

Width
The width control does not affect saw waveform output. Otherwise it provides width ratio control in the
range 0% to 100%. The random waveform is sampled by the LFOs pulse output, so changing the width
introduces a shuffle into the timing of the random waveform output.

Phase
Sets the phase at which the LFO starts upon sync and envelope start.

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PhSpr
When above zero, causes all the LFO voices to have a different phase.

Gate
Selects the sync and gate source for the envelope.
z Off: the envelope and sync is disabled.
z Env1/2/3: The LFO syncs when the respective envelope starts, and the LFOs envelope is gated
by the envelope source. Note if the gating envelope source has a short gate, and the attack phase
for the LFOs own envelope is long, the fade in may not complete and the LFO amplitude will
remain low.
z S1/2/3/4step: The LFO syncs when the respective sequencer advances one step. For the
envelopes, the gate duration is half the step duration. Step sync and gate is polyphonic.
z S1/2/3/4loop: The LFO syncs at the first step of the respective sequencer.
z LFO1/2/3: The other LFO triggers this LFO when it passes above zero. The gate remains high
while the other LFO remains above zero.

Attack
When GATE is on, sets the attack duration (in tempo units) while the gate source is high. If the attack
duration is more than the gate duration, then the attack phase of the envelope will not complete, and the
LFOs output amplitude will be correspondingly lower.
If GATE is on but ATTACK is disabled, then the LFO and envelope output starts at full amplitude upon
receiving a trigger.

Release
When GATE is on, sets the release duration (in tempo units) when the gate source goes low. This has
the effect of fading out the LFO output. If GATE is on but RELEASE is disabled, then the LFO output
does not fade out.

Sample and Hold

There are two sample and hold sources. The panel for sample and hold lets you set the modulation
source and the sampling source for each.
The first listbox sets the modulation source, which may be any of the LFOs, sequencers, envelope, and
MIDI.
The second listbox sets the sampling source. Triggers from the sampling source cause the modulation
source values to be resampled. For example, if the modulation source is an LFO and the sampling source
is an envelope, then whenever that envelope is triggered, the LFO values are resampled for that source.
The following sampling sources are available:
z Env1/2/3: The sampling occurs for each voice individually upon envelope gate-on events.
z S1/2/3/4step: the sampling occurs for each voice individually when the respective sequencer
advances one step.
z S1/2/3/4loop: the sampling occurs for all voices when the respective sequencer starts its first step.

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z LFO1/2/3: the sampling occurs for each voice individually when the value for the voice in the
corresponding LFO passes from 0 to one.
Its possible to select the same source for sampling and modulation, for example an LFO could sample
itself upon crossing zero. This could be useful to generate triggers for other modules, but generally
would not be used. However setting the same source introduces an event loop, which could crash
Reaktor. The sample& hold logic therefore includes a single-cycle event delay (2.5msec by default) to
stop Reaktor from crashing should you set the same modulation and sampling source.

MIDI
The B panel includes a shaper to set the aftertouch response curve. See the Getting Started section and
the tooltips for more information on MIDI.

Tempo
The single tempo knob sets the division rate applied to the internal or external clock source. The tempo
division is then applied to the times for:
z Sequencer steps
z Envelope 1-3 hold and predelay/repeat
z Envelope 4-6 attack and release
z Glide times
Other timing parameters, such as delay time and LFO frequency, are not changed by the tempo control.
When the external MIDI clock is off (or the Reaktor tempo control in the application toolbar is stopped),
then the instrument automatically uses its own internal 1/96 clock. If tempo is set to 4, the tempo
exactly matches the 1/96 clock from external midi. Regardless whether an external clock is on or off, the
tempo control divides down the clock rate. Matrix 2 can also modulate tempo in any desired manner.
The instrument can both receive song position, and also transmit its internal song position counter if
MIDI out is enabled. The ENABLE button in the sequencer resets the song position to zero.

Scope
The scope has an input list to monitor voice 1 of any source. Turn off the scope to reduce CPU usage.
The Auto switch automatically adjusts the amplitude so it fits in the window, otherwise the Y gain can
be adjusted manually. FREQ controls the refresh rate.

Matrix Modulation
To set up an event route, select a source (from the from list), a destination (from the to list), and set
the amount of modulation. To make it more readable the amount of modulation is shows as a percentage
(0% to 100%).
The matrix panels also have a + button letting you invert the modulation, and a +/- button to change
its range. By default modulations are in the range 0 to 1. Turning off the + button causes the

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modulation to be in range 0 to 1. Turning on the +/- button causes the modulation to be in range 1
to +1.
There are two event matrix panels. The main audio matrix panel provides 60 different modulations of
oscillators, filters, shapers, submixers, and output mixer. The source modulation panel lets you
modulate 60 LFO, envelope, and sequencer parameters.
If either the source or destination is off, or the amount is zero, then the matrix disconnects the route to
save CPU.

Event Sources
There are 30 different event sources for both audio and source modulation. All event sources range
between 0 and 1 (with pitch values scaled so that middle C is 0.5).

Event Sources:
Polyphonic Lfo The polyphonic LFO values.
Env The envelope amplitudes.
Env The envelopes for Lfo1, Lfo2, and Lfo3, respectively.
Velocity The velocity of each active note.
Pitch track The pitch of each active note from the respective source (see
Env Pitch note below), in the range 0 to 1 with Middle C as 0.5.
Osc Pitch
Voice spread Equally spaced values between 0 and 1 depending on the
voice number.
Shaper The event output of the waveshaper unit.
S&H1, S&H2 Values from the sample and hold modules.
Monophonic Modwheel From MIDI mod wheel (controller 0)
Seq Pitch Values between 0 and 1 when modulating non-pitch
destinations. When modulating oscillator or sequencer pitch,
each single LVL scales the seq pitch by one semitone (if set
to 1, each row up in the sequencer raises pitch by 1 semitone;
if set to 12, each row changes pitch by one octave; and so on).
MIDI Pitch The pitch of the last received note from MIDI, in the range 0
to 1 with Middle C as 0.5.
Pitch Bend From MIDI (center value of 0.5). Use the +/- button to get
bipolar range).
Sustain On/off value from MIDI sustain pedal (cc64)
Hold On/off value from MIDI hold pedal (cc66)
Aftertouch Channel aftertouch from MIDI keyboard.
Linear The amount knob in the matrix directly sets the output
value.

Different Pitch Sources

You may wonder about all the different types of pitch tracking data. Here is an explanation:
z The envelope pitch is the raw pitch generated by the envelopes 1-3 when they are creating notes
(if the envelope is following another envelope, it doesnt create notes).
z Pitch track is taken from global pitch, after scaling, mircotuning, transposition, glide, and
modulation.

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z The oscillator pitch is the pitch of the oscillators after their own transposition, scaling, and
modulation.
Its useful to have all these kinds of pitch because they provide a wide variety of different sound
possibilities. For example, an oscillator pitch can warble, but the pitch for a filter can be taken from the
global pitch, so the filter does not track the warbling. Another possibility is that filter pitch tracking is
taken directly from an envelope, and the global pitch transposed by a modwheel without affecting the
filter cutoff frequency.
Moreover, in the Hegel instrument, two or three envelopes can send different notes to one oscillator,
which could then feed into, say, the same distortion unit. The pitch from one envelope can modulate
distortion amount, and then the notes from other envelopes do not affect the distortion characteristics.
Another possibility is to mix a couple of oscillators into one filter. The filter pitch tracking can follow
either of the oscillators.
The oscillators still generate pitch track values even if their audio is not turned on. So pitch modulations
can be sent to an oscillator and the resulting pitch track values used to modulate something else, even if
the oscillator itself is not being used.
The envelopes also generate pitch values when the audio is turned off, as long as they are not set to
follow the gate signals of another envelope. For example, one envelope can be triggered by a sequencer
to generate stepped pitch values, which are used to modulate a filter being played by another envelope
which has been set to audio mode.

Matrix 1
The first switchless modulation matrix provides modulation of the synthesizer audio parameters
oscillators, filters, mixers, and so on. Unless otherwise noted, the sources are polyphonic (monophonic
sources take their values from voice 1).

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Matrix 1 Destinations:
Global Pitch Semitone +/- 100 semitones in semitone steps.
Fine Tune +/- 1 semitone in cent steps.
Scale Map Monophonic. Each 1% step moves to next scale map;
higher values wrap back through the scale map table.
Scale Key Monophonic. Each 1% step moves to next key; higher
values wrap back through the key list.
Microtune Monophonic. Each 1% step moves to next microtune table;
higher values wrap back through the tables.
Glide Attenuates glide time as percentage of set glide duration.
For example a +50% modulation of glide time reduces
glide to 1/8.
Oscillators Xpose +/- 100 semitones in semitone steps.
Tune +/- 1 semitone in cent steps.
AM/FM Sets amount of modulator as percentage of value that has
been set by the oscillator panels AM/FM level control. If
AM is switched off and the AM level is above zero, then
source modulations directly attenuate oscillator gain.
Likewise FM can be switched off, and the FM level in the
oscillator panel set above zero, in which case the
modulation affects oscillator pitch exponentially.
Ph/Waveset For Sync oscillators, modulates the phase; for waveset
oscillators, changes the waveset. Modulations are added to
those set in the panel, and values at range boundaries are
clipped.
Contour For width-modulated (W) oscillators, modulates the width
ratio over a total range of 5% to 95%. For Waveset
oscillators, modulates the wave start position, with each
percentage step changing start position by 1 oscillation.
For NoiseQ, sets the amount of noise resonance over total
range of +/-0.98Q. Modulations are added to those set in
the panel, and values at range boundaries are clipped.
Glide Attenuates glide time as percentage of set glide duration.
For example a +50% modulation of glide time reduces
glide to 1/8.
Submixers Submix1~ Modulates mix or AM amount for each submixer over a
Submix6 total range of +/-1. Modulations are added to those set in
the panel, and values at range boundaries are clipped.
Filters Freq Modulates cutoff frequency in semitone steps. Modulations
are added to those set in the panel, and values at range
boundaries are clipped.
Resonance Modulates resonance over a total range of +/-0.98Q.
Modulations are added to those set in the panel, and values
at range boundaries are clipped.
FM Sets amount of modulator as percentage of value that has
been set by the filter panels FM level control. If FM is
switched off and the FM level is above zero, then
modulations change filter cutoff frequency exponentially.
Mix Modulates mix/saturation level depending on filter settings
over a total gain range of +/-1. Modulations are added to

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those set in the panel, and values at range boundaries are

clipped.
EQ Freq Modulates center frequency of parametric EQ in semitone
steps. Modulations are added to those set in the panel, and
values at range boundaries are clipped.
Band Modulates boost/cut over a total range of +/20dB.
Modulations are added to those set in the panel.
Resonance Modulates resonance over a total range of +/-0.98Q.
Modulations are added to those set in the panel, and values
at range boundaries are clipped.
Distortion and Distort Lvl/Sym Modulates distortion level over total range of +/-1.
Shapers Modulations are added to those set in the panel, and values
at range boundaries are clipped.
Shaper Drive Modulates drive level over total range of +/-1. Modulations
are added to those set in the panel, and values at range
boundaries are clipped.
Shaper Scene Morphs shaper output between preset, user1, and user2
curves. Modulations are added to those set in the panel,
and values at range boundaries are clipped.
Shaper Mod Adds to the event shaper scan rate.

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Env Lvl Adds to level set in output mixer.

Env Pan Adds to pan set in output mixer. Values exceeding range
are wrapped.
Env Echo Adds to echo send level as set in output mixer.
Env Epan Pans channel between left and right echo channels.
Env Choir Adds to chorus send level as set in output mixer.
Del/Chor Mod Monophonic. Routes modulations to target as set in the
effects Mod Dest List boxes.
Del/Chor Lvl Monophonic. Adds to effect return level as set in output
mixer.

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Output Mixer

Matrix 2
The second matrix is similar but provides modulation of the modulation sources themselvesLFOs,
envelopes, and sequencers. Hegel stops feedback (when sources modulate themselves in some way)
from crashing Reaktor by putting a tiny microdelay (one control-rate sample period, 2.5msec by default)
in the loopback path. So that sequencers can then sum all modulations that have been sent to them
before issuing the next step, the sequencers use an additional microdelay for a total of 5msec latency.
You can reduce the latency by setting higher control rates in the application menu.

Envelope Modulations
Except for sustain, envelope modulation values are latched at gate-on time. Sustain modulations are
continuous, so for example an LFO can modulate the sustain level of a playing note.
Why doesnt the sequencer have dedicated tables for controlling note velocity? Well they arent
necessary, because:
z The matrix lets one sequencer send pitch values to an envelope, and another sequencer can adjust
its velocity or sustain level.
z Alternatively, the other sequencer can modulate the envelopes channel level, in the output mixer.
In this case, if you also use the envelope as a modulation source in the matrix, then the envelope
level is unaffected for modulations, but the audio output can have polyphonic level changes (and
also be modulated by other things, for instance an LFO can simultaneously apply tremolo effects).
Note that PREDELAY and REPEAT modes can then be used to cause flam and staccato effects.
z LFOs and note pitch can also modulate envelope amplitude. Interesting effects are possible by
syncing an LFO to when a sequencer starts (the trigger mode called CYCLE). The LFO waveform
and phase can be adjusted so that the envelope velocity varies in some interesting pattern.

Sequencer Pitch Modulations

The instrument contains special logic to adjust the sequencer modulation range, depending whether it is
modulating another sequencers pitch, or modulating something else:
z For modulation of one sequencers pitch by another in semitones, set the matrix LVL to 1 (with +-
button off). Then, if modulating sequencer 1 by sequencer 2s pitch for example, then values at
the bottom of sequencer 2s table have no effect; values one semitone up increase sequencer 1s
output by one semitone; two rows up increase sequencer 1 by two semitones. If you set LVL to
12, then each row changes pitch by octaves; setting LVL to 5 causes each row to change pitch by
fifths; and so on. Sequencers can modulate each others pitch in series or in parallel. (Note: a
sequencer can modulate anothers pitch and also drive an audio envelope at the same time).
z Similarly, you can modulate sequencer pitch by an LFO. If the LFO is set to full amplitude (with
the LFOs XY slider) then setting LVL to 12 causes the LFO to modulate the sequencer pitch over
a one-octave range; setting LVL to 1 provides a one-semitone range; and so on.
z Instead of modulating a sequencers pitch directly, you can send the modulation to the global
pitch or oscillator units. For example, say you want a sequencer to modulate global pitch. There
are a total of 25 levels in the sequencer tables, so if you set LVL to 4, then each row in the
sequencer changes the global pitch by 1 semitone. If you set level 48, then each row in the
sequencer changes pitch by an octave. Note, if keyscale remapping or microtuning is enabled,
then fractional semitones can cause different results depending on the note.

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Whats the difference between modulation sequencer pitch and modulating global or oscillator
pitch? The sequencers only output a new value on their next step, so changes in between each
sequencer step dont have any effect; whereas if you send the modulation to global pitch directly,
then the pitch changes immediately.
z When a sequencer is modulating anything besides another sequencers pitch, pitch modulations
sent to that sequencer are ignored. Instead the sequencers modulation output is always scaled so
that its output is 0 at the tables bottom and +1 at the tables top. This is to say, pitch modulations
sent to a sequencer only affect the pitch that the sequencer sends to the output envelopes, and
nothing else.

What if you want to modulate something by sequencer after it has been modulated by something
else? Then simply trigger an envelope from the sequencer, and use the envelope pitch as the
modulation source, instead of the sequencer pitch.
Some bizarre strange permutations are possible: for example you can modulate a sequencers pitch with
its own pitch, causing a rising or descending tone until it is inaudible. If you modulate a sequencer pitch
by an oscillator, the sequencer and oscillator actually modulate each other, causing fractional tones.

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Matrix 2 Destinations:
Envelopes Hold Percentage is added to the base set period. For example, if
Predelay/Repeat modulation amount is 50% and predelay time was set to ,
then resulting predelay time is . Negative modulations
decrease the period. Values below the event rate period (2.5
msec by default) are clipped.
Attack Modulation multiplied by 100 and added to A/D/R time. For
Decay example if attack modulation amount is 50% then attack time
Release increases by 50. Negative values decrease the period. Values
below 0 are clipped.
Time Modulation is applied to attack, decay, and release, so the
entire envelope shrinks or expands.
Sustain Directly adds to level as a percentage. For example if
Velocity modulation is 50% then sustain level is increased by 0.5.
Resulting values above 1 or below 0 are clipped.
Sequencers Pitch When modulation amount is 1%, a single semitone change
from another sequencer or pitch source changes sequencer
pitch by one semitone. If set to 12%, a single-semitone change
from the pitch source transposes sequencer output by an
octave. Pitch values outside the audible range are clipped.
Rate Positive values increase rate.
Length Positive values increase length.
Begin# A modulation amount of 1% increases the begin step by 1.
LFOs Frequency Modulations change frequency as a percentage of the current
set frequency. For example, if set frequency is 10Hz then a
modulation of 100% sets frequency to 100Hz.
Amplitude Same as for envelope sustain.
Type For each 20% of modulation, the LFO advances to the next
waveform Intermediate modulation values mix the two
waveforms.
Width Modulation amount adds to current set width. Values below
0% and above 100% are clipped.
Attack Modulates attack time as for envelope hold times.
Decay Modulates decay time as for envelope hold times.
Tempo Tempo Modulates the tempo, affecting sequencer, envelopes, LFOs,
and glide time (but not echo time).

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Getting Helpand Recognition!

If you like the instrument and have designed an interesting snap, please email the snap to me at
ernest.meyer@comcast.net . (You can save the snap bank in reactor for this). Then I will include the
snaps in the next release. If you have questions or issues, I will try to answer them for you.
And many thanks to the following folks for their assistance!
z Herwig, Sakabeat and Pete Ascdi for their beta testing.
z James Walker Hall, for his 3DEX instrument.
z Nick Dan, for his microtune macro.
z Laurent Veliscek, for his scale mapping macro.

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