AMM 4M

The Reason Subtractor Analog Synthesizer

(From The Reason Manual)

Subtractor is an analog-type polyphonic synthesizer based on subtractive synthesis, the method used in analog synthesizers.

The Subtractor has the following basic features:

  • Up to 99 Voice Polyphony.
  • You can set the number of voices for each Patch.
  • Dual Filters.
  • A combination of a multimode filter and a second, linkable, lowpass filter allows for complex filtering effects.
  • Two Oscillators, each with 32 waveforms.
  • Frequency Modulation (FM).
  • Oscillator Phase Offset Modulation.
  • This is an unique Subtractor feature that generates waveform variations.
  • Two Low Frequency Oscillators (LFO:s)
  • Three Envelope Generators.
  • Extensive Velocity Control.
  • Extensive CV/Gate Modulation possibilities.
  • Waveform
    Description

    Sawtooth

  • This waveform contains all harmonics and produces a bright and rich sound. The Sawtooth is perhaps the most "general purpose" of all the available waveforms.

    Square

  • A square wave only contains odd number harmonics, which produces a distinct, hollow sound.

    Triangle

  • The Triangle waveform generates only a few harmonics, spaced at odd harmonic numbers. This produces a flute-like sound, with a slightly hollow character.

    Sine

  • The sine wave is the simplest possible waveform, with no harmonics (overtones). The sine wave produces a neutral, soft timbre.

    5
    This waveform emphasizes the higher harmonics, a bit like a sawtooth wave, only slightly less bright-sounding.

    6
    This waveform features a rich, complex harmonic structure, suitable for emulating the sound of an acoustic piano.

    7
    This waveform generates a glassy, smooth timbre. Good for electric piano-type sounds.

    8
    This waveform is suitable for keyboard-type sounds such as harpsichord or clavinet.

    9
    This waveform is suitable for electric bass-type sounds.

    10
    This is a good waveform for deep, sub-bass sounds.

    11
    This produces a waveform with strong formants, suitable for voice-like sounds.

    12
    This waveform produces a metallic timbre, suitable for a variety of sounds.

    13
    This produces a waveform suitable for organ-type sounds.

    14
    This waveform is also good for organ-type sounds. Has a brighter sound compared to waveform 13.

    15
    This waveform is suitable for bowed string sounds, like violin or cello.

    16
    Similar to 15, but with a slightly different character.

    17
    Another waveform suitable for string-type sounds.

    18
    This waveform is rich in harmonics and suitable for steel string guitar-type sounds.

    19
    This waveform is suitable for brass-type sounds.

    20
    This waveform is suitable for muted brass-type sounds.

    21
    This waveform is suitable for saxophone-like sounds.

    22
    A waveform suitable for brass and trumpet-type sounds.

    23
    This waveform is good for emulating mallet instruments such as marimba.

    24
    Similar to 23, but with a slightly different character.

    25
    This waveform is suitable for guitar-type sounds.

    26
    This is a good waveform for plucked string sounds, like harp.

    27
    Another waveform suitable for mallet-type sounds (see 23-24), but has a brighter quality, good for vibraphone-type sounds.

    28
    Similar to 27, but with a slightly different character.

    29
    This waveform has complex, enharmonic overtones, suitable for metallic bell-type sounds.

    30
    Similar to 29, but with a slightly different character. By using FM and setting the Osc Mix to Osc 1, this and the following two waveforms can produce noise.

    31
    Similar to 30, but with a slightly different character.

    32
    Similar to 30, but with a slightly different character.

Experiments With Subtractor Assignment