AirRaid Audio Relapse User manual

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[ OPERATION MANUAL 1.0 ]!
Updated: 26/08/14

Welcome!
Thank you for purchasing Relapse.!
Relapse is an innovative take on the traditional tape-delay concept. It offers three fully-
featured delay modules, per-band frequency shifters, tape saturators, and multimode
filters. Add to this our now standard collection of neutral cross-overs, stereo LFOs,
envelope followers and M/S mixing, and the possibilities become endless.!
Relapse is not just a delay device—it is a bona fide chaos designer.!
Examples of applications:!
- Classic modulated tape-delays.!
- Panned and filtered multi-tap delays, with cross-tap feedback.!
- Arpeggiated frequency shifter effects.!
- Tape saturation effects.!
- Wah-wah effects.!
- Chorus and flanger effects.!
- Synced reverse delay effects and granular re-pitching.!
And all of these can be performed in multiband mode!!
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Contents
Welcome! 1
Loading and saving patches 3
Controls and displays 3
1. Crossover (X-Over) 3
2. Band on / Mute / Solo / Bypass 4
3. Band Delay 5
4. Band FX 6
5. Band Mix 8
6. Band LFO 9
7. Envelope Follower (Env) 11
8. Global 12
9. Options 13
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Loading and saving patches
Loading and saving patches in Relapse is done in the same way as with any other
Reason device. See “Loading patches” and “Saving patches” in the Reason Operation
Manual for further information.!
Controls and displays
1. CROSSOVER (X-OVER)!
1.1. Lo/Mid Crossover Frequency — Sets the crossover frequency between the Low
and Mid audio bands. The frequency value is displayed on the readout above the
knob.!
1.2. Mid/High Crossover Frequency — Sets the crossover frequency between the
Mid and Hi audio bands. The frequency value is displayed on the readout above
the knob.!
Note: X-Over is deactivated in Serial and Parallel modes.!
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1.1
1.2

2. BAND ON / MUTE / SOLO / BYPASS!
2.1. Band On/Off— Toggles the band on or off. This only applies to the Lo and Hi
bands, as the Mid band is always active. If either the Hi or Lo bands are turned
off, then Relapse functions as a dual-band effect. If they are both switched off, it
acts as a single-band effect.!
2.2. Mute — Renders the band in question entirely silent.!
Note: Mute is deactivated in Serial mode.
2.3. Solo — Renders both other bands silent, unless they also have their Solo button
turned on. This allows you to quickly audition the output of the soloed band.!
Note: This control overrides the Mute control. If both buttons are switched on, the
Mute button ceases to have any effect.
Note: Solo is deactivated in Serial mode.
2.4. Bypass — Completely bypasses the band's effects mix controls, thus resulting in
a dry audio signal. !
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2.1
2.3
2.2
2.4

3. BAND DELAY!
Relapse’s three fully-featured delays make creating any kind of delay easy. We give you
full control over both the Left and the Right delay times, or allow you to conveniently link
the two together, for a simple mono delay effect. We also provide you with separate
feedback and cross-feedback controls, both of which can be set to positive or negative
values, and set to Equal, which ensures that the Left and Right feedback times are of
equal duration, regardless of their respective settings.!
3.1. L-Time — Sets the delay time of the Left channel. This time can either be synced
or free, depending on the setting of Sync (see 3.6). Synced times range from 1/64
to 1/2, while free delay times range from 1ms to 1000ms.!
3.2. R-Time — Sets the delay time of the Right channel. This time can either be
synced or free, depending on the setting of Sync (see 3.6). Synced times range
from 1/64 to 1/2, while free delay times range from 1ms to 1000ms.!
3.3. Feed — Controls amount of feedback per channel.!
3.4. Cross — Controls the amount of cross-feedback between the Left and Right
channels.!
3.5. ∞(link) — Links the Right channel’s delay time to the Left channels delay time,
disabling R-Time. Enabling this button will result in mono delay, whereas disabling
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3.1
3.3
3.5
3.6
3.7
3.2
3.4

it will create a stereo delay (so long as L-Time and R-Time are set to different
values). !
Note: By “mono delay”, we do not imply that the outputted audio signal will be
mono, as no summing takes place, only that the delay times of the Left and the
Right channels will be identical.
3.6. Sync — Syncs the Left and Right delay times to the song’s tempo.!
3.7. Equal — Ensures that the Left and Right channels’ feedback times are equal,
regardless of each one’s individual settings. For example, a Left channel delay of
1/4 would logically decay earlier than its 1/3 Right channel counterpart, which is
not always desirable, and enabling Equal resolves this.!
4. BAND FX!
Relapse’s FX modules provide you with a suite of powerful tools to sculpt the sound of
your delay line. On board is a bi-polar frequency shifter, and a multimode filter with five
filter types and built-in saturation. Both the frequency shifter and the filter’s frequency can
be modulated with global Envelope Follower and per-band LFOs. In addition, each effect
can be placed in or out of the band delay’s feedback loop, creating a substantially
different effect (see: 9.3 ).!
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4.1
4.2
4.4
4.3
4.6
4.5

4.1. Shift — A bi-polar knob which controls the amount of frequency shifting. If turned
counterclockwise, or left, it will shift the frequency of both channels downwards. If
turned clockwise, or right, it will shift the frequency of both channels upwards.
Values range from -6kHz to 6kHz. !
Tip: While typically suited for creating atonal, metallic sounds, the frequency
shifter can be placed within the feedback loop to create multiple stages of
shifting, which can produce surprisingly musical, “arpeggiated” effects. (see: 9.3).
4.2. Filter — Selects the filter type of our multi-mode filter. Types include LP, HP, BP
BR and EQ (a peak filter). Each mode has been carefully tuned for “musical”
results. !
Tip: As per the frequency shifter, the Filter can be placed within the feedback
loop, which is ideal, in this case, for creating long, self-degrading dub delays.
(see: 9.4).
4.3. Sat — Controls the amount of pre-filter saturation. This effect has been designed
to mimic the sound of tape-saturation, and comes with a built-in compression—
ideal not just for warming your sound, but also taming runaway feedback!!
Tip: Even though the saturator is part of the filter block, it is still active even when
no filter type is selected. This allows you to create warm, saturated effects which
are completely unfiltered. A practical use for this would be, for example, adding
subtle, multiband warmth to a master track or fattening up a beat.
4.4. Freq — Controls the frequency of the multi-mode filter. Values range from 50Hz to
10kHz.!
4.5. Res — Controls the resonance of there filter in all modes, except EQ mode, in
which in controls the gain of the EQ node.!
4.6. Width — Only active in BP, BR and EQ modes, Width controls the width of the
filter. In BP mode, the greater the width, the less sound is filtered, and therefore
the more subtle the effect; whereas in BR and EQ modes, greater widths result in
a more stated effect. !
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5. BAND MIX !
5.1. Mix — Crossfades between the wet output from M/S and a completely dry audio
signal.!
5.2. Vol — Controls the volume level of the band’s output, allowing you to either
attenuate it completely or boost it by up to 6 decibels.!
5.3. M/S — Controls the mix between the mono and stereo components of the wet
audio signal. When turned fully counterclockwise, to the left, only the mono signal
is heard. When turned fully clockwise, to the right, only the stereo signal is heard.
When turned to the center position, the signal remains unaffected.!
5.4. Pan — Pans the band’s output left or right.!
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5.2
5.1
5.4
5.3

6. BAND LFO!
Relapse features a stereo LFO per band which can be assigned to modulate its Time,
Feed, Shift and Freq parameters either positively or negatively, and independently of each
other. With built-in Phase, Spin and Offset controls, a wide range of effects is possible
which can greatly expand upon Relapse’s already powerful sound-sculpting capabilities.!
6.1. LFO Type — Selects the waveform type for the modulation LFO. The available
waveforms are Sine, Triangle, Square, Saw, Inverse Saw, Cross-Saw and Inverse
Cross-Saw.!
6.2. Amp — Controls the level of modulation that the main LFO performs on all its
destinations (see 6.8).!
6.3. Freq — Controls the frequency of the LFO. Values range from 0.05Hz to 15Hz
(unsynced), and 1/32 to 8/1 (synced).!
6.4. Sync — Syncs the LFO to the song’s tempo.!
6.5. Mode — Toggles between Phase and Spin modes (see 6.6).!
6.6. Phase/Spin — If the Mode button (6.5) is turned off, this knob is set to Phase
mode, and controls the offset of the right audio channel’s LFO relative to that of
the left audio channel. If it is set to either 0 or 360 degrees, it acts as a
conventional mono LFO. Otherwise, it functions in stereo, with separate LFOs per
channel running in sync, each with their own phase.!
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6.3
6.1
6.5
6.7
6.2
6.8
6.4
6.6

If the Mode button (5.5) is turned on, the knob is set to Spin mode. This works by
offsetting the frequency of the right LFO relative to the left one, causing the
modulation effect to “spin” around in the stereo field.!
6.7. Offset — Offsets the phase of both the left and right LFO in unison. For example,
with Offset and Phase set to 0, a square LFO synced to 1/4 will be up on the kick
and down on the snare. With Offset set to 180 and Phase set to 0, it will be down
on the kick and up on the snare. And with Offset set to 0 and Phase set to 180,
the LFO on the left channel will be up on the kick and down on the snare, while
the LFO on the right channel will be down on the kick and up on the snare. By
playing with Phase and Offset it is possible to create a comprehensive range of
detailed rhythmic effects.!
6.8. LFO Mod Amount — Located to the right of each band’s Time, Feed, Shift and
Freq controls and highlighted in purple (Low band), green (Mid band) and blue
(High band), these mini-knobs control the LFO modulation amount for each of
their corresponding parameters. Turning them counterclockwise, to the left,
creates negative modulation, whereas turning them clockwise, to the right,
creates positive modulation.!
The total amount of modulation applied to each destination is the product of its
LFO Mod Amount and the band’s LFO Amp (6.2). For example, if the LFO Mod
Amount knob is set to 1.00 and the LFO Amp is set to 20%, then the total amount
of modulation applied to the destination will be 0.20.!
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7. ENVELOPE FOLLOWER (ENV)!
The Envelope Follower generates a control signal from the device's audio input which can
be applied independently, either positively or negatively, to each band’s main controls in
addition to Global Time. This signal can be “smoothed” using the Attack and Release
controls. Used alone or in combination with Relapse’s per band LFOs, the Enveloper
Follower greatly expands upon Relapse’s already powerful sound-sculpting capabilities.!
7.1. Envelope Amp — Controls the global amount of envelope modulation applied to
the destinations specified by the individual Envelope Mod Amount controls (6.4). !
7.2. Attack — Controls the attack of the envelope. Higher settings result in a slower
attack, whereas lower settings are much faster.!
7.3. Release —Controls the release or decay of the envelope. Higher settings result in
a slower release, whereas lower settings are much faster.!
7.4. Envelope Mod Amount — Located to the left of each band’s Boost, P1 and P2
controls and highlighted in magenta, these mini-knobs control the amount of
envelope modulation applied each of their corresponding parameters. Turning
them counterclockwise, to the left, creates negative modulation, whereas turning
them clockwise, to the right, creates positive modulation.!
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7.1
7.2
7.3

8. GLOBAL!
8.1. Vol — Controls the volume level of the device’s output, allowing you to either
attenuate it or boost it by up to 6 decibels.!
8.2. Mix — Controls the dry/wet mix of the device.!
8.3. Time — Controls the master time by multiplying each band’s individual delay time
settings by a factor of 0.125 to 8.0. This control is exceptionally useful either for
mangling Relapse’s output, or redefining the range of the device’s individual band
delay times. For example, in unsynced mode, band delay times span from 1ms to
1000ms, which can make fine-tuning short delay times a tricky business. But by
setting the master time to x0.125 (1/8th), then the maximum band delay time
becomes 125ms, allowing you far more precision.!
8.4. Master Time Mod Amounts — Controls the modulation amount of the master
time by Relapse’s Env and LFO generators, as indicated by their color. Turning
them counterclockwise, to the left, creates negative modulation, whereas turning
them clockwise, to the right, creates positive modulation.!
Tip: The LFO Mods are active even when their corresponding bands are not,
which effectively allows you to have all three LFOs running on a one band setup.
This can be used, for example, to apply different LFO values to the Time and Freq
controls of a single band!
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7.1
7.2
7.3
7.4

9. OPTIONS!
9.1. Routing — Controls the overall signal flow of the effect.!
X -> Delay —The audio input is split up and filtered according to the values of the
crossover frequency controls. Each filtered signal is then fed into its
corresponding band. !
Delay -> X —The audio input is copied across three identical bands running in
parallel. These audio bands are then passed through their respective delay and
FX modules, before being filtered according to the values of the crossover
controls. As an example, if the Lo/Mid Crossover is set to 500 Hz, and the Mid/Hi
Crossover to 2000 Hz, the delayed Lo band will be low-pass filtered at 500 Hz,
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9.2
9.3
9.1
9.4
9.5

the Hi band will be high-pass filtered at 2000 Hz, and the Mid band will be both
high-pass filtered at 500 Hz and low-pass filtered at 2000 Hz.!
SERIAL — The crossover is deactivated and the individual bands are fed into
each other serially in the following order: Low -> Mid -> Hi.!
PARALLEL — The audio input is copied across three identical bands running in
parallel. These audio bands are then passed through their respective delay and
FX modules before being summed.!
9.2. Global FB — Routes all feedback (see 3.3 and 3.4) to the audio input, or in other
words, toggles between per-band and global feedback. This will have a
significantly different effect depending on which routing configuration is selected
in 9.1. For example, setting Routing to X-Over -> Delay with Global FB switched
on will produce cross-band feedback, which will feed any high frequencies
generated by the Low band’s effects (e.g., with the frequency shifter) back into
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the Mid band or High band, depending on the X-Over settings. In contrast, with
Routing set to Serial, the feedback of all three bands will be fed back into the first,
i.e., Low band.!
Generally, switching Global FB on will produce a richer, denser sound, but as
always, we recommend experimentation! !
9.3. Shift FB — Places each band’s frequency shifter within the feedback loop. This
creates a very musical effect—with each loop, the signal gets re-shifted, creating
an “arpeggiated” effect. Combining this feature with the extensive Routing
options can produce a wide range of musical effects and textures. As with Global
FB, a healthy dose of experimentation is highly recommended! !
9.4. Filter FB — Places each band’s filter (and saturator) within the feedback loop
(see: 9.4). This is useful or creating long, self-degrading dub delays. Higher Res
setting will create high-pitched, “screaming” sounds—wonderful when combined
with a modulated filter Freq.!
9.5. HQ Mode — Improves the overall quality of the sound by increasing the
oversampling rate. This is especially useful for effects with a lot of high end, such
frequency shifting.!
Note: As this option will result in a higher CPU load, you may wish to only activate
it when exporting your audio.
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