Reaktor live setup

I can imagine that an entire computer system with a running DAW is built into the desk. You can watch the entire video here. It should also be mentioned that Kraftwerk uses the Virsyn Matrix plugin as a live vocoder in the live setup. In summary, one can say that the live setup is relatively basic. To me, it looks like they have put together a live setup that allows them to easily perform tracks without taking any major risks.

According to the motto: the show must go on. A bit of a shame because fans of Kraftwerk expected more interesting ideas than classic midi controllers on stage. Exactly what Kraftwerk always wanted. The electronic band Kraftwerk and the German astronaut Alexander Gerst redefine space music during a concert in Stuttgart!

Kraftwerk, the icon of electronic music has always been in favor of breaking new ground. Was that […]. Today Florian Schneider, co-founder of the German band Kraftwerk and a true pioneer of electronic music, left us at the age of RIP A sad day for electronic music. Florian Schneider, co-founder of the […].

Maybe you should consider looking back in history: Kraftwerk where that innovative in the past that the tools they have inspired or were custom built for them e. Kraftwerk can, of couser, do this also. The same for Tangerine Dream Wolfgang Palm, PPG , Klaus Schulze and many ohther electronic nmusic pioneers who heavily influenced the instruments und tools we have so much fun with today. Those photos are 3d rendered. Take a closer look.

Save my name, email, and website in this browser for the next time I comment. This is because the Switch module defaults to be off, and thus none of the oscillators are considered to be active.

Choose a waveform from the new menu and, like before, you can play that waveform. Semitone should have a value ranging from a mininum of to a max. Next, Fine Tune should have a value from Next find the Add module also under the Math menu and place two of them in the structure.

Once everything is arranged neatly for clarity, it should look something like this:. Using the navigator to return to the panel, we find it is a mess, with all of the new knobs stacked on top of each other! Now you can drag and drop elements and rearrange them nicely. Using Macros allows you to represent a substantial amount of Reaktor code with a single module, allowing you to save screen space and reduce clutter, while keeping the code clean.

Add a Macro to the structure you can find one under the Macro menu. For now, it is empty save for the Input and Output modules. To return to parent structure, simply double click on any empty space. For now, the structure is back to being silent until we add something to control the amp of the macro.

For the rest of the tutorial I will simply explain the purpose of the modules and give their structures with a quick explanation of how they work and interact with each other they will be fairly self-explanatory, I hope. An envelope is generally used to control the amplitude of one or more oscillators.

For the purpose of this tutorial, a very simple one will do:. This will create a knob to control the parameter, with sensible Min and Max values already set. They will even be named properly! I prefer to use this method to add controls. The ensemble structure should now look like this:. We will return to the envelope macro in future tutorials and add some bells and whistles.

Synthesizers generally have more than one oscillator, in order to create bigger, wider, more complex sounds. Our synth will be no exception.

When you duplicate an object, it also duplicates all of the connections that have been made to that module, a feature that can be very useful. Again, I created a new macro. Now you can attach the oscillators into the inputs so the ensemble structure looks like this:. A filter shapes the sound of an oscillator by boosting or attenuating certain frequencies. Using the built-in filters in Reaktor, I made a quick macro:.

Similar to the structure of the Oscillator structure above, this macro allows you to choose one of 3 filter types. You should by now understand how to add the new macro to the end of the audio processing chain, leaving us with this:.

Despite being way longer than I originally intended, there was only space in this tutorial to create a very basic synth. I have focused on making structures that are easy to build, to explain and to understand, rather than ones that are optimal sound-wise. As such, there are countless improvements that can be made to the structure.

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