Sweeper Modulation Effect : Panel reference

Panel reference
Global controls
Loading and saving patches
Loading and saving patches is done in the same way as with any other internal Reason device, see “Loading patches” and “Saving patches” for details.
Volume
This is the master volume control.
Routing
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Stereo: With this selected the L+R input signals are mixed before being sent into the stereo effect. This means you can connect a mono input signal and get stereo output signals.
Dual Mono: The L+R input channels are processed independently.
Spread
The Spread control detunes the stereo channels to generate a nice and wide stereo effect. Note, though, that the Spread control works a little differently and has different ranges in the Phaser, Flanger and Filter.
Dry/Wet
This controls the mix of the dry and processed signals.
LFO -> Freq
This controls the modulation amount from the LFO (see “LFO”) to the Frequency control of the Phaser (see “Frequency”), Flanger (see “Frequency”) and Filter (see “Frequency”) section.
The control is bipolar, which means that negative values will invert the modulation.
Mod -> Freq
This controls the modulation amount from the Modulator (see “The Envelope Modulator” and “The Audio Follower Modulator”) to the Frequency control of the Phaser (see “Frequency”), Flanger (see “Frequency”) and Filter (see “Frequency”) section.
The control is bipolar, which means that negative values will invert the modulation.
LFO -> Volume
This controls the modulation amount from the LFO (see “LFO”) to a separate built-in amplifier. The control is bipolar, which means that negative values will invert the modulation.
Mod -> Volume
This controls the modulation amount from the Modulator (see “The Envelope Modulator” and “The Audio Follower Modulator”) to a separate built-in amplifier.
The control is bipolar, which means that negative values will invert the modulation.
The Phaser
The Phaser consists of a number of all-pass filters (1 to 40) with feedback, which can be used for creating really nice phasing effects. An all-pass filter lets all frequencies of a signal through - but phase inverted 180 degrees. The principle is to split the input signal in two, run one signal dry and the other through a series of all-pass filters, and then sum the two signals. The picture below shows the basic principle of a phaser:
Frequency
Here you set the frequency of the all-pass filter(s) in the phaser.
Range: 37.6 Hz to 16.17 kHz
Bandwidth
This controls the bandwidth of the all-pass filter(s) in the phaser.
Feedback
This controls the level/intensity of the phaser peaks and notches.
Stages
In a phaser, a stage (also known as “pole”) is represented by an all-pass filter. Here you set the number of all-pass filters you want to use. Each all-pass filter contributes with one notch/peak in the frequency spectrum.
Range: 1-40 stages (notches)
Polarity
Pressing this button will invert the polarity of the Phaser filter, so that instead of notches in the frequency spectrum, there will be peaks:
Mute Dry
Pressing this button mutes the dry signal in the Phaser section, turning the effect into a frequency-dependent delay. Since no dry signal is mixed with the effect signal, there will be no notches in the frequency spectrum:
This will give more of a “tremolo” effect rather than phasing.
The Flanger
The Flanger is basically a Comb Filter with adjustable feedback, which can be used for creating a wide variety of chorus effects and frequency swirls. The principle is to split the input signal in two, run one signal dry and the other through a comb filter delay, and then sum the two signals. The picture below shows the basic principle of a flanger:
Frequency
Here you set the comb filter frequency (in practice, the delay time between the dry and processed signals).
Range: 37.6 Hz to 16.17 kHz
Feedback
This intensifies the flange effect by increasing the resonance peaks via feedback.
Polarity
Pressing this button will invert the polarity of the Flanger, so that instead of peaks in the frequency spectrum, there will be notches:
Mute Dry
Pressing this button mutes most of the dry signal in the Flanger section:
The Filter
The Filter section features a selection of great sounding filters with various characteristics, derived from the Europa Shapeshifting Synthesizer.
Drive
This amplifies and introduces an overdrive type of distortion to the signal in the filter.
Frequency
Here you set the cutoff frequency (for the HP and LP filter types) or the center frequency (for the BP and Notch filter types).
Resonance
This controls the resonance amount, i.e. the amplification of the signal around the cutoff frequency.
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(Filter) Type
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A state variable (SVF) highpass filter with a 12dB/octave slope.
A state variable (SVF) bandpass filter with 12dB/octave slopes.
A state variable (SVF) lowpass filter with a 12dB/octave slope.
A state variable (SVF) notch filter.
A ladder-type lowpass filter with a 24dB/octave slope. The resonance peak more narrow in this filter type than in the MFB LP 24dB filter (see below). The filter can be driven to self-oscillate.
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A multiple feedback (MFB) lowpass filter with a 12dB/octave slope. If you turn up the Resonance high, additional resonance peaks appear.
A multiple feedback (MFB) lowpass filter with a 24dB/octave slope. The resonance peak is wider in this filter type that in the Ladder filter (see above). The filter can be driven to self-oscillate. If you turn up the Resonance high, additional resonance peaks appear.
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A multiple feedback (MFB) highpass filter with a 24dB/octave slope. If you turn up the Resonance high, additional resonance peaks appear.
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An “early MS-20 type” of lowpass filter with a 12dB/octave slope. The filter can be driven to self-oscillate.
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LFO
The LFO can be used for cyclic modulation of the Frequency parameter of the Phaser/Flanger/Filter section - and/or for modulating the Volume. The LFO Rate can also be synced to the Reason sequencer. You can also modulate the LFO Rate from the Modulator (see “The Envelope Modulator” and “The Audio Follower Modulator”).
Waveform selector
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Ten different LFO waveforms are available. Besides the standard waveforms (sine, triangle, pulse, etc.) there are random, slope and stepped waveforms. The shape of the waveforms are shown in the display.
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Rate
Here you set the LFO Rate.
Range: 0.050-50.00 Hz
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Range in Sync mode: 8 Bars to 1/64.
Rate Mod
If you like, you can modulate the LFO Rate from the Modulator signal (see “The Envelope Modulator” below). If the LFO is in SYNC mode, modulating the Rate will force the LFO to switch between the sync divisions.
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The Envelope Modulator
The Modulator section features an Envelope and an Audio Follower. You can use either the Envelope or the Audio Follower (but not together).
The Envelope is taken straight from the Europa Shapeshifting Synthesizer, so if you are familiar with Europa you will find your way around easily. The Envelope is extremely flexible, and you can draw your own custom modulation shapes by clicking and drawing in the display area. There are also a number of preset shapes that you can use as starting points (or use as is). If you use Loop mode, you could turn the envelope into an advanced LFO and design your own wave shapes.
The Envelope can then be used for modulating the Frequency parameter of the Phaser/Flanger/Filter section, for modulating the Volume, and for modulating the LFO Rate.
Preset
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Let’s select a standard ADSR style of envelope curve:
 
Adding and removing envelope points
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Changing the envelope curve shape
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Looping the envelope
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Here we have edited a stepped curve from the Presets. We have also enabled Sync and set the rate to 4/4. This means that each step in the curve now represents an 1/16th note.
Editing levels only
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In this mode you cannot change the time positions of the envelope points, only their levels (height). This is extra useful with a stepped Preset curve, because dragging up or down will change the value of an entire segment, turning the Envelope into a pseudo-sequencer.
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Adjusting the level of a segment.
Creating “free form” envelope curves
In the Edit mode, you can also draw “free form” curves:
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Audio Trig
It’s also possible to trigger the envelope from the audio running through Sweeper.
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When the audio level in Sweeper exceeds the set Threshold value, or quickly increases when above the Threshold level, the envelope is triggered.
The Audio Follower Modulator
The other part of the Modulator section is the Audio Follower. This is basically an envelope follower, which tracks the level of the audio running through Sweeper and outputs a control signal that can be used for modulating the Frequency parameter of the Phaser/Flanger/Filter section, for modulating the Volume, and for modulating the LFO Rate. The tracked (followed) audio level is shown in real-time in the display.
Gain In
Here you can attenuate or gain the modulation signal level, to adjust it to the audio signal level.
Attack
This controls how fast the envelope follower should react after the input signal level has increased from one value to a higher.
Release
This controls how fast the envelope follower should react after the input signal level has decreased from one value to a lower.

Sweeper Modulation Effect : Panel reference