Reaktor Usagology in Logic

[Aliztair]

Hello,

I'm fairly new to Reaktor but am a long time user of Logic and a bunch of the other NI gear.

Any thoughts on the following topics would be appreciated:
1- It is possible (and/or preferable) to use Reaktor as a multi instrument in Logic, then load multiple instruments into Reaktor, with multiple midi channels feeding them, which then feed multiple Logic Auxes? (Like a Kontakt player)- or is that silly? What's the best way to use a lot of Reaktor stuff in Logic, given that it uses a lot of CPU?

2- When using a sequencer or Groove box is it preferable to have them running through the Logic sequence and then automate everything? Or it is better to create beats and sounds in a stand alone Reatkor and bring them into Logic as audio?

Thanks,

Aliztair

L7.2 G5d2 Reaktor5.1

[thelocalhost]

A main benifit of having multiple instances of Reaktor, (instead of a multi) is the ability to freeze the track.

For Grooveboxes, I think it's best to have the freedom to refine the sound in the Logic. So use program changes in the Arrange window to write in patterns changes of the groovebox in Logic.

good luck.

[Justin C]

1. In some cases it is preferable. You'll use fewer resources if used as a mutli but most productions (assuming recording over performance) will offer a better workflow and thanks to freezing etc, better overall performance. If you are using a sampler (for instance and you want multiple outs it will typically be better to load 1 multi as opposed to 8 stereo. Sooo... I insert as stereo most often by far.

2. I sequence with Logic when possible. There are of course exceptions but I prefer to have the sequence available in Logic. It is usually faster for how I work. As far as creation and building, I go standalone when possible for stability and speed. Yes, reaktor is GUI oriented for programming but once you get used to how Reaktor works you'll quickly see what I mean. I run Reaktor as standalone alongside Logic as well (i.e. not as a plugin).

Finally, I did not buy Reaktor for the grooveboxes so your inclinations may be entirely different. Some aspects of reaktor cannot be controlled from Logic, but only from the Reaktor plugin or app. So no matter what app you host with, there are some objects that do not transmit parameters.

[Aliztair]

Thanks very much. That's got me going in the right direction.

It seems like the automation is quite straight forward, but what's the best way to just stop and start the seq synths and groove boxes in the Logic sequence? Is there something like the gate in on Travelizer that can easily turn them on/off?

[Justin C]

This is typically handled by "External Sync" but this is Reaktor and there are hundreds of builders so there is not consistence from ens to ens.

[limitedwave]

I'd love to know the same - how to start and stop sequences from the groove boxes from a host sequence. ? Is the entire Reaktor sequence done in-line within Reaktor right along with the host? Automated track mutes? Snapshot audtomation? All of the above?

[thelocalhost]

limitedwave wrote: I'd love to know the same - how to start and stop sequences from the groove boxes from a host sequence. ? Is the entire Reaktor sequence done in-line within Reaktor right along with the host? Automated track mutes? Snapshot audtomation? All of the above?

Just use the snapshots with program changes. Make a 'blank' snapshot to correspond to 'muting', or 'no pattern'.

[herzbow]

Just wanted to clarify how to control Reaktor snapshot changes from a Logic time-line

I just noticed that an "Audio Instrument" track (where Reaktor lives as an AU Plug-In) does not have a parameter for "Program Change". In order to record a program change I had to:

1) Go to a "Midi Instrument" track.
2) Hit pause/record on the Logic transport.
3) Adjust the "Program" to the program number that corresponds with my desired Reaktor "Snapshot". Adjusting the program here records program change data to the midi segment.
4) Drag that midi segment up to the "Audio Instrument" track that is home to my Reaktor Plug_in instance. Done.

IMPORTANT NOTES...

a) Program changes are zero based while Reaktor snapshots are not. This means that a Logic program change of 1 will call Reaktor Snapshot 2, a program change of 2 will call a program change of 3 etc...

b) You would not have to repeat this process every time you want to change the Reaktor snapshot in your composition. Merely copy the midi segment that contains the program change information and edit it with the Logic "Event Editor". There should only be one event there and the number is, you guessed it, the number of your program change. Just do a few option > drags and you are in control.

I sure wish Reaktor step sequencers behaved more like Ultrabeat when it comes to making pattern changes. Other than that, they smoke Ultrabeat. Especially SineBeats

Good Luck.

[Loopy C]

Just my general 2 cents as to the combination.

One way to look at Logic is as a macro shell for Reaktor, a 'systems' control structure to build around a specific ensemble, expanding that ensemble's ability for linear and precise change over specified periods. A 'V'ger' (oblique Star Trek reference ;-)), this allows a custom designed automation controlled aural structure over larger time periods than Reaktor alone allows...scanning through the spectrum of possibilities in a microscopic but determinate way of a particular ensemble configuration, the ensemble as a 'study', still single minded in it's nature as specified by it's designer but greatly enhanced by control options and time mapping. These 'studies' can then be bounced with proper textual management for use in a variety of more 'normal' applications or larger projects.

I have also found that, due to the limitations of my laptop not being able to run too many instances of particular ensembles without lowering the sample rate, suggested a layering/mixing method. For instance, running a 'trio' of the same ensemble (say 'Skrewell') at:

11 khz
22 khz
44 khz

creates a basic natural 'mix' that is texturally layered due to the changes in sound/fx at different sample rates that is actually quite interesting and helpful for certain types of audio sound art.

To paraphrase an Eno oblique strategy, 'Honor thy limitation as intention'. ;-)