Rob Papen Predator Manual de usuario

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Filter Mode Bypass The filter is bypassed and the sound passes through unaffected 6dB LowPass Low frequencies pass through this filter; freque

Vowel Sets the vowel (a,e,i,o and u) used by the vox filter 12dB BandPass This filter mode is a combination of 12dB LowPass and 12dB HighPass filt

Pre-Filter Distortion It is possible to overdrive the oscillator sound ahead of going into the Filter. This can be done in a smooth way or in an edgy

To hear the full effect of the Filter Envelope you have to open the Env amount, which you can find in the filter section next to the Cutoff Frequency

Filter LFO An LFO (Low Frequency Oscillator) is an oscillator at a very low pitch/frequency. In Predator-RE the LFO can have a frequency between 0.03H

Amount control Here you can select the controller to adjust the LFO modulation inside the 'Filter section'. This can be a positive or a nega

Filter 2 section Filter 2(F2) is an extra filter after the main filter that you can turn on or off. Great if you want to take away bass from a sequenc

Amplifier section The audio that comes from the 'Filter section' moves on to the 'Amp section'. This section amplifies the signal

The first part is known as the attack stage, this is the time it takes to reach 100% The second part is known as the decay, this is the time it takes

Free modulation section You find the free modulation section is at the bottom right hand corner of the Predator panel. This section holds 2 Envelopes,

Welcome Thank you for purchasing Rob Papen Predator-RE. Predator-RE is a killer synthesizer that combines inspiring patches and first-class features

Decay After the attack stage, with the envelope at 100%, the decay stage is reached. Decay reduces the envelope level to the sustain level over a set

Amount control Envelope 1 This is where you select the controller for controlling the amount Envelope 1 parameter. With amount you can set the how dee

Mode Poly, Free and Mono. This controls how the LFO responds when you hit one or more keys. Poly mode Each note you play has its own Filter LFO and

Destination amount 1 - 5 This is where you select the amount of the modulation. This can be a positive or a negative modulation depending on the selec

Arpeggiator section Predator-RE offers a unique and very powerful arpeggiator, because it not only offers many features, but it can also be used as a

Mode This controls how the arpeggiator plays any keys that are held down. Up the notes are played in the order they are pressed Down the notes are pla

Host sync This turns the arpeggiator synchronisation to the Reason sequencer on and off. The synchronisation works with a 1/16th note quantisation. I

Step 1-16 on/off This shows the arp sequencer step number. Clicking on it turns this step On or Off. If it is set to off when an arpeggiator is played

Play mode section In Play Mode you can control how Predator-RE responds to notes played, either polyphonic or monophonic or by passing them into the a

Uni detune Unison detune controls the detuning between the stacked voice in Unison2/4/6 play modes. So Predator-RE has to be in unison2/4/6 mode for t

Patch and Modulation Controls At the top of the Predator-RE panel you find the patch control section and modulation controls. Patch Controls Pre

FX section In this section you can configure up to 3 effects for a Predator-RE patch. These are connected in series. The output of FX1 feeds into FX2,

Stereo Delay Two tempo based delays. One delay for each of the audio channels (left and Right). This is useful for making deep pad sounds if you use 1

Reverb This effect reproduces the sound of acoustics in rooms using different sizes and reflections. Pre-Delay Pre-delay amount of the reverb signal

Flanger The flanger effect is a very short delay which changes overtime, to make a whooshing type sound. Length Length of the flanger Width Maximum

Wah/Delay This effect produces a wah-wah type effect by running the sound through a low pass-filter that's frequency is changed over time. There

Clipper Distortion This distorts the audio clipping the tops and troughs of the input signal waveform. Drive Pre-boost amount Limit Sets the signal

WaveShaper The waveshaper effect shapes the in-going sound to a kind of distorted version of it. It is then passed through a low pass filter that&apos

Gator The gator uses a 16 step sequencer to alter the volume of the sound to give a 'trancegate' type effect. Basically it is a sequencer co

Mode This selects whether the sound in (sample or input) is the modulator or the carrier in the Vocoder. For most purposes you want it set so that th

Compressor The compressor is an audio effect that changes the dynamic range and response of a signal. Threshold This sets the threshold on which the

Oscillator section Predator-RE's sound begins with the oscillator section. Predator-RE can use up to 3 oscillators to generate its basic sound. O

Multi Distort Allows you to use several different types of distortion effects Type Different type of distortion allowed, they are None, Atan, Cos, Cro

Analogue Phaser The analogue phaser effect emulates the classic phasing effect built up from discrete analogue electronic components. The phaser is bu

Back Panel The Predator-RE back panel shows a number of controls and connections. It also displays program credits. Input Here you connect audio inp

CV Input Predator-RE has four CV inputs, which can be used as modulation sources. Gate Input Predator-RE has six CV Gate inputs, which are used to r

Modulation Sources ModWhl Mod Wheel ModAft Mod Wheel / Aftertouch After Aftertouch Velocity Last note velocity Pitchbend Pitch Breath Breath (mi

CV4 External CV input 4

Modulation Destinations Global Controls Main Pitch Port Pitch LFO Speed Pitch LFO Amount Oscillator 1 Volume 1 Semi-tuning 1 Fine-tuning 1 S

Filter Filter Frequency Filter Q Filter Distort Filter Vowel Filter Envelope Amount Filter Envelope Speed Filter LFO Amount Filter LFO Speed

Free Envelope2 Sustain Free Envelope2 Fade Free Envelope2 Release Free Envelope2 Mod Amount Free LFO1 Amount Free LFO 1 Speed Free LFO 1 Mod Amount

FX 3 FX 3 Mix FX 3 Pan FX 3 1 FX 3 2 FX 3 3 FX 3 4 FX 3 5 FX 3 6 FX 3 7 FX 3 8

Free on/off When this is turned off, it returns an oscillator to its initial waveform position (phase) every time you play a new note. When it's

CC Remote Names # Remote Name 4 Midi CC4 7 Volume 10 Pan 16 Midi CC16 17 Midi CC17 18 Midi CC18 19 Midi CC19 20 Midi CC20 21 Midi CC21 22 LFO 1 A

77 Osc 3 Spread 78 Osc 3 Volume 79 Osc 3 Modulation Amount 80 Filter Type 81 Filter Frequency 82 Filter Q 83 Envelope > Filter 84 Midi CC84 85 Midi

136 Osc 2 Free Running 137 Osc 2 Tracking 138 Osc 2 Sync 139 Osc 2 Output 140 Osc 3 141 Osc 3 Octave 142 Osc 3 Mode 143 Osc 3 Free Running 144 Osc 3 T

180 Envelope 1 Release in MS 181 Envelope 1 Attack in QB 182 Envelope 1 Decay in QB 183 Envelope 1 Synced Sustain 184 Envelope 1 Fade in QB 185 Envelo

224 Chord Note 6 225 Chord Note 7 226 Chord Note 8 227 Chord Note 9 228 Pitch Bend Up 229 Pitch Bend Down Note: CC1, 4, 7, 10, 16-21 & 84-95 are

PWM PWM stands for Pulse Width Modulation. This controls the maximum PWM modulation amount of the LFO (see speed parameter). PWM alters the symmetry s

Modulation Amount This controls the amount of cross modulation applied to Osc2 and Osc 3.

Pitch Modulation section This section shows how you can alter the overall pitch of the sound, either using an LFO to change the pitch over time (vibra

Filter section The sound generated in the oscillators is passed on the filter section. The filter type alters the harmonic content of the sound coming