Native Instruments Reaktor Spark Manual page 16

the filter and shaper settings to get a feel for the filters behaviour within the feedback loop
and its interaction with the shaper.
Once you have had your fun with that, leave the S F c at 24.0, the F
tatic ilter utoFF ilter
r at 0.8, and the F t at 0.3. The last parameter gives us all the lower fre-
eSonance ilter ype
quencies below the cutoff frequency, with a slight amount of the frequencies above the cutoff
frequency thrown into the mix. The cutoff frequency is chosen so that we still have quite a
soft, warm, but not dull sound and the resonance setting gives us quite a lot of frequency
excitation in the feedback loop (especially with the action of the shaper) that is still not out
of control.
The controls in the Mixer section allow you to selectively choose the spectral components in the sound.
We can also tap into the filter outputs directly and selectively, using the Mixer section. The
knobs labelled lp-2, lp-4, bp-2, bp-4, hp-2, and hp-4 determine the amount of signal from
the 2-pole lowpass, 4-pole lowpass, 2-pole bandpass, 4-pole bandpass, 2-pole highpass, and
4-pole highpass filters in the mix that gets routed to the Effects section. The "pole-number"
is a measure for the strength of the filter. A 4-pole lowpass filter suppresses the frequencies
above the cutoff frequency twice as much as a 2-pole lowpass filter. A bandpass filter sup-
presses all frequencies beyond a certain distance from the cutoff frequency and the highpass
filter suppresses frequencies below the cutoff frequency. See the Control Reference section
on more information on the filters. We want to add the fundamental Sine tone to our mix for
the low end and turn up the knobs for the bandpass and highpass filters to add the higher
frequencies, so set the knobs in the Mixer section as shown in the figure above.
REAKTOR SPARK – 16