MainStage 3 Instruments For OS X
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Contents 14 14 15 16 19 20 Chapter 1: Drum Kit Designer 21 21 22 22 23 23 24 25 25 26 27 28 28 28 29 30 30 30 31 32 33 Chapter 2: ES1 34 34 35 37 37 38 39 40 41 42 42 43 44 Chapter 3: ES2 Drum Kit Designer overview Drum Kit Designer Edit panel Use Drum Kit Designer Drum Kit Designer extended parameters Drum Kit Designer mappings ES1 overview ES1 oscillator parameters ES1 oscillator parameters overview ES1 oscillator waveforms Use the ES1 sub-oscillator ES1 global parameters ES1 filter parameters E
5 45 46 47 47 48 48 49 49 50 50 51 51 53 53 54 56 57 58 58 58 59 59 60 64 66 67 70 71 77 78 84 86 88 90 90 90 91 92 92 92 93 95 95 106 Balance ES2 oscillator levels ES2 oscillator start points Synchronize ES2 oscillators ES2 global parameters Global parameters overview Set the ES2 keyboard mode Use unison and voices in ES2 Set the ES2 glide time Set the ES2 pitch bend range ES2 filter parameters ES2 filter overview ES2 filter configuration Cross-fade between ES2 filters ES2 Filter 1 modes ES2 Filter 2 slo
111 111 113 113 115 115 116 117 118 119 119 120 Chapter 4: EFM1 121 121 122 123 124 125 125 126 Chapter 5: ES E 127 127 128 129 130 130 Chapter 6: ES M 131 131 132 133 134 135 136 136 Chapter 7: ES P EFM1 overview EFM1 modulator and carrier parameters Modulator and carrier overview Set the EFM1 tuning ratio Choose a different EFM1 modulator waveform EFM1 modulation parameters EFM1 global parameters EFM1 output parameters Create random EFM1 sounds EFM1 extended parameters EFM1 MIDI controller ass
137 137 137 138 139 140 141 143 143 144 146 147 147 148 149 151 152 153 153 153 154 155 156 Chapter 8: EVOC 20 PolySynth EVOC 20 PolySynth and vocoding EVOC 20 PolySynth overview Vocoder basics EVOC 20 PolySynth interface EVOC 20 PolySynth analysis parameters EVOC 20 PolySynth (U/V) detection parameters EVOC 20 PolySynth synthesis parameters EVOC 20 PolySynth synthesis parameters overview EVOC 20 PolySynth oscillator parameters EVOC 20 PolySynth tuning and pitch parameters EVOC 20 PolySynth filter paramet
192 EXS24 mkII Instrument Editor window 192 EXS24 mkII Instrument Editor overview 193 EXS24 mkII Zones and Groups view 195 Create instruments, zones, and groups 199 Edit EXS24 mkII zones and groups 211 Save, rename, and export EXS24 mkII instruments 212 Edit samples in the Logic Pro Audio File Editor 213 Use an external instrument editor with EXS24 mkII 214 EXS24 mkII preferences 217 EXS24 mkII memory management 219 Chapter 10: External Instrument 219 External Instrument overview 220 Use the External Instr
255 256 257 258 258 259 260 260 261 262 263 263 263 264 268 269 270 271 272 272 280 280 281 284 289 290 290 295 305 323 Sculpture amplitude envelope parameters Use Sculpture’s Waveshaper Sculpture filter parameters Sculpture delay effect parameters Sculpture delay effect overview Sculpture’s Groove Pad (stereo) Sculpture Body EQ parameters Sculpture Body EQ overview Use Sculpture’s Basic EQ model Use Sculpture’s Body EQ models Sculpture output parameters Sculpture modulation controls Sculpture modulation o
347 349 349 351 354 355 355 356 357 358 359 360 360 360 362 363 364 367 368 369 370 370 370 371 371 372 373 374 378 380 381 382 382 383 387 392 392 393 393 Use Ultrabeat oscillator 2 model mode Ultrabeat ring modulator Ultrabeat noise generator Use Ultrabeat’s filter section Ultrabeat distortion circuit Ultrabeat Output section Ultrabeat Output section overview Adjust Ultrabeat’s two-band EQ Ultrabeat pan and stereo spread Ultrabeat voice volume control Change Ultrabeat’s trigger mode Ultrabeat modulation
394 394 395 395 396 397 398 399 401 404 404 405 406 407 408 409 410 410 410 411 412 413 413 414 414 416 416 417 417 418 419 419 421 422 422 422 424 425 427 428 428 429 429 430 431 Chapter 15: Vintage B3 Vintage B3 overview Vintage B3 Main window Vintage B3 Main window overview Vintage B3 draw bar controls Vintage B3 Scanner Vibrato and Chorus Vintage B3 Percussion effect Use Vintage B3 preset keys Set up Vintage B3 for your MIDI equipment Vintage B3 Rotor Cabinet window Vintage B3 Rotor Cabinet window ove
432 432 433 434 434 435 436 437 438 439 439 440 440 441 442 443 443 443 444 445 446 447 448 448 449 Chapter 16: Vintage Clav 450 450 451 452 452 453 453 454 455 456 456 457 458 459 459 460 461 Chapter 17: Vintage Electric Piano Vintage Clav overview Vintage Clav interface Vintage Clav Main window Vintage Clav Main window overview Vintage Clav models Vintage Clav model characteristics Use Vintage Clav Pickup parameters Use Vintage Clav Stereo Spread parameters Vintage Clav Effects window Vintage Clav E
462 Appendix A: Legacy instruments 462 Legacy instruments overview 462 Emulated instruments 462 Bass 462 Church Organ 463 Drum Kits 463 Electric Clav(inet) 463 Electric Piano 464 Guitar 464 Horns 464 Piano 464 Sound Effects 464 Strings 465 Tuned Percussion 465 Voice 465 Woodwind 465 Tonewheel Organ 466 Synthesizers 466 Analog Basic 466 Analog Mono 467 Analog Pad 467 Analog Swirl 468 Analog Sync 468 Digital Basic 469 Digital Mono 469 Digital Stepper 470 Hybrid Basic 471 Hybrid Morph 472 472 473 473 474 474
492 Other synthesis methods 492 Other synthesis methods overview 492 Sample-based synthesis 493 Frequency modulation (FM) synthesis 494 Component modeling synthesis 495 Wavetable, Vector, and Linear Arithmetic synthesis 496 Additive synthesis 497 Phase distortion synthesis 497 Granular synthesis 498 A brief synthesizer history 498 Precursors to the synthesizer 499 Early voltage-controlled synthesizers 500 The Minimoog 501 Storage and polyphony 502 Digital synthesizers Contents 13
1 Drum Kit Designer Drum Kit Designer overview Drum Kit Designer lets you build custom drum kits from a wide selection of drum and percussion sounds. It also provides controls that change sound characteristics and the level of each piece in your kit. Further settings allow you to use different microphones and rooms to enhance Producer kits. Producer kits are identified in the Library by a “+” at the end of the patch name. See “Add drummers to a project” in Logic Pro Help for information on Producer kits.
Drum Kit Designer Edit panel The Edit panel is used to change sound characteristics and the level of each piece in your kit. Edit panel parameters •• Tune knob and field: Rotate to adjust the pitch. •• Dampen knob and field: Rotate to adjust the sustain. •• Gain knob and field: Rotate to adjust the volume. •• Leak switch (Producer kits only): Drag to On to include the sound in the mic of the other kit pieces.
Use Drum Kit Designer Drum Kit Designer shows a 3D representation of the drum kit for the currently loaded patch. For all kits, you can preview the drums, edit the pitch, sustain, and volume of each drum kit piece, and exchange the kick and snare drums. When working with Producer kits, you can additionally exchange toms, cymbals, and hi-hat. Producer kits let you turn different microphones, such as overheads or room mics, on or off.
2 To adjust settings, do any of the following: •• To adjust the pitch: Drag the Tune control vertically, or double-click the field and enter a new value. •• To adjust the sustain: Drag the Dampen control vertically, or double-click the field and enter a new value. •• To adjust the volume: Drag the Gain control vertically, or double-click the field and enter a new value. 3 To close open panels, click anywhere in the plug-in window background.
4 To close the panels, click anywhere in the plug-in window background. Adjust mic settings (Producer kits only) In the Edit panel, do any of the following: mm To include the sound in the mic of the other kit pieces: Turn on the Leak switch. This turns microphone bleed on or off, where the sound of a kit piece is picked up by the different mics from other kit pieces. mm To include the kit piece’s overhead mic in the sound: Turn on the Overheads switch.
Drum Kit Designer extended parameters Drum Kit Designer provides additional parameters that are accessed by clicking the disclosure triangle at the lower left. The Input Mapping pop-up menu lets you choose different mappings that provide enhanced control of HiHats. The maps also change the way Drum Kit Designer sounds are assigned across the MIDI note range. See Drum Kit Designer mappings. Extended parameters •• Input Mapping pop-up menu: Choose a keyboard mapping mode.
Drum Kit Designer mappings Drum Kit Designer is compatible with the GM standard. You can also choose GM+, which maps the keyboard ModWheel for hi-hat control. This means that you can use the keyboard ModWheel to adjust the degree to which the hi-hat opens and closes during the drum performance. Drum Kit Designer is also compatible with the V-Drum standard. The image shows how drum sounds are remapped when different modes are chosen with the Input Mapping pop-up menu in the extended parameters.
2 ES1 ES1 overview ES1 emulates the circuits of analog synthesizers in a simple, streamlined interface. ES1 produces sounds using subtractive synthesis. It provides an oscillator and sub-oscillator that generate harmonically rich waveforms. You subtract (cut, or filter out) portions of these waveforms and reshape them to create new sounds.
•• Modulation parameters: Located to the left and middle in the dark green/gray area, the modulation sources, modulation router, modulation envelope, and amplitude envelope are used to modulate the sound in a number of ways. See ES1 modulation parameters overview on page 30. ES1 oscillator parameters ES1 oscillator parameters overview ES1 includes a primary oscillator and a sub-oscillator.
ES1 oscillator waveforms The table outlines the basic tones of the oscillator waveforms—how they affect your synthesizer sound.
ES1 global parameters The global parameters affect the overall sound, or behavior, of the ES1 and are found primarily in the strip that spans the lower edge of the ES1 interface. The Glide slider is displayed above the left end of the strip. Global parameters •• Glide slider: Drag to set the amount of time it takes to slide between the pitches of each triggered note. The Glide trigger behavior depends on the value set in the Voices field (see below). •• Tune field: Drag to tune the instrument in cents.
ES1 filter parameters ES1 filter parameters overview This section outlines the filter parameters of the ES1. Filter parameters •• Cutoff slider: Drag to set the cutoff frequency of the ES1’s lowpass filter. •• Resonance slider: Drag to cut or boost the portions of the signal that surround the frequency defined by the Cutoff parameter. Boost can be set so intensively that the filter begins to oscillate by itself (see Drive the ES1 filter to self-oscillate on page 26).
•• ADSR via Vel sliders: Drag to determine how note velocity affects modulation of the filter cutoff frequency with the envelope generator. See ES1 envelope parameters overview on page 28. •• Filter Boost button (Extended Parameters area): Turn on to increase the output of the filter by approximately 10 decibels. The filter input has a corresponding decrease of approximately 10 decibels, maintaining the overall level. This parameter is particularly useful when applying high Resonance values.
ES1 amplifier parameters The parameters in the ES1 Amplifier section allow you to fine-tune the behavior of your sound’s level. These are separate from the global Out Level parameter, which acts as the ES1’s master volume control. See ES1 global parameters on page 24. Amplifier parameters •• Level via Vel slider: Drag to determine how note velocity affects the synthesizer level.
ES1 envelope parameters ES1 envelope parameters overview ES1 provides an attack, decay, sustain, and release (ADSR) envelope that can shape filter cutoff and the level of the sound over time. Envelope Parameters •• A(ttack) slider: Drag to set the time it takes for the envelope to reach the initial desired level. •• D(ecay) slider: Drag to set the time it takes for the envelope to fall to the sustain level, following the initial attack time.
ES1 amplifier envelope modulation The AGateR, ADSR, and GateR buttons in the Amplifier section determine which of the ADSR envelope controls affect the amplifier envelope. All ADSR parameters remain active for the filter. The letters A, D, S, and R refer to the attack, decay, sustain, and release phases of the envelope (see ES1 envelope parameters overview on page 28). Gate refers to a control signal used in analog synthesizers that is sent to an envelope generator when a key is pressed.
ES1 modulation ES1 modulation parameters overview ES1 offers a number of simple yet flexible modulation routing options. You use modulation to add animation to your sound over time, making it more interesting, lively, or realistic. A good example of this type of sonic animation is the vibrato used by orchestral string players. LFO parameters Router Modulation Envelope Modulation parameters •• LFO parameters: Used to modulate other ES1 parameters. See Use the ES1 LFO on page 31.
Use the ES1 LFO The LFO (low frequency oscillator) generates an adjustable, cyclic waveform that you can use to modulate other ES1 parameters. LFO parameters •• Wave knob: Rotate to set the LFO waveform. Each waveform has its own shape, providing different types of modulation. •• •• •• You can choose the following waveforms: triangle; ascending and descending sawtooth; square wave; sample & hold (random); and a lagged, smoothly changing random wave.
Use the ES1 modulation envelope The modulation envelope can directly modulate the parameter chosen in the router. It determines the time it takes for the modulation to fade in or fade out. At its center position (click Full), modulation intensity is static—no fade-in or fade-out occurs. When set to its full value, modulation intensity is at a constant level.
ES1 MIDI controllers ES1 responds to the following MIDI continuous controller numbers (CC).
ES2 3 ES2 overview ES2 combines subtractive synthesis with elements of FM and wavetable synthesis to help you generate an extraordinary variety of sounds. This makes it the perfect choice for creating powerful pads, evolving textures, rich basses, or synthetic brass. If you’re new to synthesizers, see Synthesizer basics overview on page 472, which introduces you to the fundamentals and terminology of different synthesis systems.
ES2 interface ES2’s graphical interface is divided into the following main areas. Modulation router Global parameters Oscillator section Global parameters Effect section Filter section Planar Pad Amplifier parameters Click here to display the Vector Envelope. Random parameters Macro Sound parameters Modulation controls and parameters •• Oscillator section: The oscillator parameters are shown in the upper-left area of the ES2 interface.
•• Modulation controls and parameters: The area immediately below the router is where you can assign and adjust the modulation generator parameters (such as LFO and envelope controls). See ES2 modulation overview on page 59. •• Planar Pad: The square area at the top right is a two-dimensional controller known as the Planar Pad. The Planar Pad facilitates the simultaneous manipulation of two assignable parameters, and can be controlled with the mouse, another controller, or the Vector Envelope.
ES2 sound sources ES2 oscillator parameters overview ES2 oscillators are used to generate one or more waveforms. This signal is then sent to other portions of the synthesizer engine for shaping, processing, or manipulation. •• Oscillators 2 and 3 are almost identical to each other, but they differ from oscillator 1. •• Oscillator 1 can be frequency modulated by oscillator 2, for FM synthesis sounds. •• Oscillators 2 and 3 can be synchronized to, or ring modulated with, oscillator 1.
ES2 basic oscillator waveforms All ES2 oscillators output a number of standard waveforms—sine, pulse, rectangular, sawtooth, and triangular waves—or, alternately, any of 100 Digiwaves (see Use ES2 Digiwaves on page 42). The following table covers the basic waveforms: Waveform Basic tone Comments Pulse/Rectangular Nasal sounding Great for reed instruments, synth blips, and basses Square Hollow and woody sounding Useful for basses, clarinets, and oboes.
Use pulse width modulation in ES2 You can alter the tonal color of rectangular waveforms by scaling the width of waveform pulses to any value. This is known as pulse width modulation. ES2 pulse width modulation features are extensive. For example, if rectangular waves are chosen for all oscillators, you can simultaneously modulate the pulse width of oscillator 1 and the synchronized pulse waves of oscillator 2 (or the square wave of oscillator 2’s ring modulator) and oscillator 3.
Use frequency modulation in ES2 The principle of frequency modulation (FM) synthesis was developed in the late 1960s and early 1970s by John Chowning. It was popularized by Yamaha’s range of DX synthesizers in the 1980s. Although the ES2 can’t be compared with the DX series in the discipline of pure FM synthesis, it can achieve some of the signature sounds of these instruments. In pure FM synthesis, the frequency of one signal generator, or oscillator, is altered (modulated) by another signal generator.
Use ring modulation in ES2 Ring modulation is a powerful tool for the creation of inharmonic, metallic, bell-like sounds. The spectra resulting from its use are inharmonic at almost every frequency ratio. The ring modulator is a device that dates back to the early days of the synthesizer. A ring modulator has two inputs. At the output you hear both the sum and difference frequencies of the input signals.
Use ES2 Digiwaves In addition to the basic synthesizer waveforms, all ES2 oscillators provide 100 additional waveforms, called Digiwaves. These are very short samples of the attack transients of various sounds and instruments. Choose a Digiwave mm Set the Wave knob to Sine (6 o’clock position), then do one of the following: •• Control-click or right-click the Sine label, then choose a waveform from the pop-up menu. •• Drag the Sine label vertically.
ES2 emulation of detuned analog oscillators The Analog parameter randomly alters the pitch of each note and the filter cutoff frequency. •• Low Analog values can add a subtle richness to the sound. •• Medium Analog values simulate the tuning instabilities of analog synthesizer circuitry, which can be useful in achieving that much sought-after “warmth” of analog hardware synthesizers.
Stretch tuning in ES2 The (coarse) Frequency knob of each oscillator enables you to tune oscillators 1, 2, and 3 in semitones or octaves. The (fine tune) Frequency parameter enables you to fine-tune each oscillator in cents (1/100th of a semitone). Precise detuning between oscillators can result in beats, or phasing, between the oscillator frequencies. The higher the played frequency/pitch, the faster the phasing beats.
Balance ES2 oscillator levels The position of the pointer in the Triangle is described by two parameters—x and y coordinates—which are used when automating the oscillator mix. These parameters, called OscLevelX and OscLevelY, are available as targets in the router. Drag the pointer in the Triangle to cross-fade—set the level relationships—between the three oscillators. This is self-evident in use.
Synchronize ES2 oscillators Typical oscillator sync sounds tend toward the aggressive, screaming leads that synthesizer manufacturers like to talk about. The rectangular and sawtooth waveforms of oscillators 2 and 3 feature a Sync option. When this parameter is turned on, the phase of oscillator 2 or 3 is synchronized with oscillator 1. Every time oscillator 1 starts a new oscillation phase, the synchronized oscillator (oscillator 2 or 3) is also forced to restart its phase from the beginning.
ES2 global parameters Global parameters overview The ES2 global parameters affect the overall instrument sound produced by ES2. You can find global parameters to the left of the oscillators and above the filter and output sections. Global parameters Global parameters Global parameters •• Keyboard Mode buttons: Switch ES2 between polyphonic, monophonic, and legato behaviors. See Set the ES2 keyboard mode on page 48. •• Unison button: Click to turn unison mode on or off.
Set the ES2 keyboard mode A polyphonic instrument, such as an organ or a piano, allows several notes to be played simultaneously. Many older analog synthesizers are monophonic, which means that only one note can be played at a time, much like a brass or reed instrument. This shouldn’t be viewed as a disadvantage; instead, it allows playing styles that are not possible with polyphonic instruments. Change the keyboard mode mm Click the Poly, Mono, or Legato button.
Set the ES2 glide time The Glide parameter (also known as portamento) sets the time it takes for the pitch of one played note to travel to the pitch of another played note. Make portamento active mm Rotate the Glide knob. Glide behavior is dependent on the chosen keyboard mode. See Set the ES2 keyboard mode. •• If the keyboard mode is set to Poly or Mono, and Glide is set to a value other than 0, portamento is active.
ES2 filter parameters ES2 filter overview ES2 features two discrete, and different, filters. •• Filter 1 can operate as a lowpass, highpass, bandpass, band reject, or peak filter. •• Filter 2 is a lowpass filter that offers variable slopes (measured in dB/octave). Filter 1 Resonance Filter 1 Cutoff Filter Blend Filter 2 Cutoff Filter 2 Resonance Filter 2 Slope Filter FM Filter Drive Filter button Click here to choose a parallel or series filter configuration.
ES2 filter configuration The Filter Configuration button lets you switch between a parallel and series filter routing. When either is chosen, the entire circular filter element rotates, and the positions and direction of the filter controls clearly indicate the signal flow. The button name also changes in each mode. Parallel filter signal flow Series filter signal flow In the figure to the left, the filters are cabled in series.
•• Filter Blend: Parallel filter configuration information In a parallel configuration, the overdrive/distortion circuit—the Drive parameter—is always wired after the oscillator mix stage—the Triangle—and before the filters. The filters receive a mono input signal from the output of the overdrive circuit. The outputs of both filters are mixed to mono via Filter Blend. Filter 1 Mix Drive Filter 2 The Filter Blend parameter is available as a modulation target in the router.
ES2 Filter 1 modes Filter 1 can operate in several modes, allowing specific frequency bands to be filtered (cut away) or emphasized. Click one of the following filter mode buttons for Filter 1: •• Lo (lowpass): Allows frequencies that fall below the cutoff frequency to pass. The slope of Filter 1 is fixed at 12 dB/octave. •• Hi (highpass): Allows frequencies above the cutoff frequency to pass. The slope of Filter 1 is fixed at 12 dB/octave. •• Peak: Filter 1 works as a peak filter.
ES2 filter cutoff and resonance Filter cutoff and resonance overview In every lowpass filter (ES2: Lo mode for Filter 1; Filter 2 is a lowpass filter), all frequency portions above the cutoff frequency are suppressed, or cut off, hence the name. If you’re new to synthesizers and the concepts behind filters, see Synthesizer basics overview on page 472. Cutoff and resonance parameters •• Cutoff Frequency knob: Rotate to control the brilliance of the signal.
Control two filter parameters simultaneously The ability to change the Cutoff and Resonance controls at the same time is essential for creating expressive synthesizer sounds. mm Drag one of the three chain symbols in the ES2 filter section. Click here to simultaneously adjust the cutoff and resonance of Filter 1. Click here to simultaneously adjust the cutoff of both Filter 1 and Filter 2. Click here to simultaneously adjust the cutoff and resonance of Filter 2.
Compensate for high resonance values with the Fat(ness) parameter mm Click to turn on the Fat(ness) button—below the other filter slope buttons. An increase of the resonance value results in a rejection of bass—low frequency energy—when using lowpass filters. Use the Fatness button to compensate for this side effect and to obtain a richer sound. Overdrive ES2 filters The filters are equipped with discrete overdrive modules. You can set the overdrive intensity by rotating the Drive parameter.
Modulate ES2’s Filter 2 Frequency Filter 2 cutoff frequency can be modulated by the sine wave of oscillator 1, which is always generated, even when the oscillator is switched off. The level of this sine signal can be mixed in at the output stage with the Sine Level parameter (see Sine Level enhanced ES2 sounds on page 58). The effect of such filter modulations in the audio spectrum is unpredictable, but the results tend to remain harmonic if you avoid high modulation intensity values.
ES2 amplifier parameters Use ES2’s dynamic stage The dynamic stage of a synthesizer defines the level, or perceived volume, of a played note. The change in level over time is controlled by an envelope generator. For more information about envelope generators, see Synthesizer basics overview on page 472. ENV 3 is hard wired to the dynamic stage of the ES2—it is always used to control the level of each note. See ES2 envelopes overview. The dynamic stage can be modulated by any router modulation source.
ES2 modulation ES2 modulation overview ES2 is equipped with a huge number of modulation sources and targets, making it a synthesizer that can generate extraordinary sounds that constantly evolve, sound like audio loops, or are just plain expressive to play. Modulation router Planar Pad Click here to display the Vector Envelope.
ES2 modulation router Use the modulation router The modulation router—or router—spans the center of the ES2 interface. Click the Router button to view it if the Vector Envelope is displayed (these components share the same section of the interface). You can hide or show the router/Vector Envelope by clicking the disclosure triangle at the lower left of the section. If you are new to synthesizer modulation routings, see Modulation overview on page 488.
Create a basic modulation routing 1 Choose the parameter you want to modulate from the Target pop-up menu. 2 Choose the parameter you want to use for modulation of the target from the Source pop-up menu. 3 Vertically drag the Intensity slider to set a fixed modulation intensity. When via is active, this slider sets the minimum modulation intensity. Bypass a modulation routing mm Click the “b/p” button at the top right of the modulation routing next to the Target parameter.
Control ES2 modulation intensity with via sources In a basic modulation routing comprised of a target and source, you can set a fixed modulation intensity by vertically dragging the Intensity slider to the right of the routing. The slider value always defines a constant modulation intensity. You can choose a further modulation source from the via pop-up menu, which controls modulation intensity. Choosing a value other than off for via divides the Intensity slider into two halves.
5 Vertically drag the lower arrowhead of the Intensity slider to set the minimum modulation intensity. Move the entire via range mm Vertically drag the range (the area between the two slider halves). Both arrowheads move simultaneously. If this area is too small to drag, drag an unused section of the Intensity slider “track” to move the area. Set the modulation intensity to zero mm Click the zero symbol beside the via parameter.
ES2 LFOs ES2 LFO overview ES2 features two multi-waveform LFOs. Both are available as sources in the router. LFO 1 is polyphonic, which means that if used for any modulation of multiple voices, they will not be phase-locked. LFO 1 is also key-synced: each time you play a key, LFO 1 modulation of this voice is started from zero. To understand the non phase-locked characteristic more fully, imagine a scenario where a chord is played on the keyboard.
ES2 LFO waveforms Choose a waveform for LFO 1 or LFO 2 with the LFO Wave buttons. The table outlines how these waveforms can affect your sounds. Tip: Try using the waveforms while a modulation routing of Pitch123 (the pitch of all three oscillators) is engaged and running Waveform Comments Triangle Suitable for vibrato effects Sawtooth Suitable for helicopter and space gun sounds. Intense modulations of oscillator frequencies with a negative (inverse) sawtooth wave lead to “bubbling” sounds.
Use ES2 LFOs The ES2 LFO’s can be used to create delayed modulations, free modulations, and modulations that are synchronized with your host application. Set the LFO 1 modulation fade time mm To fade in the modulation: Set a positive LFO 1 EG value. The higher the value, the longer the delay time. mm To fade out the modulation: Set a negative LFO 1 EG value. The lower the slider is positioned onscreen, the shorter the fade out time.
ES2 envelopes ES2 envelopes overview ES2 features three envelope generators per voice. They are abbreviated as ENV 1, ENV 2, and ENV 3 in the interface and router. In addition, ES2 features the sophisticated Vector Envelope. See Use the Vector Envelope. To learn more about the roots of the term “envelope generator” and its basic function, see Amplifier envelope overview on page 486. The parameters of ENV 2 and ENV 3 are identical. ENV 3 defines the changes in level over time for each note played.
•• Decay/Release mode button: Switches ENV 1 between an Attack/Decay or an Attack/Release envelope. The button label changes to reflect the mode that is activated (D=Decay, R=Release). •• In Attack/Decay mode: The level falls to zero after the attack phase has completed, whether or not the note is sustained. It decays at the same speed, even if you release the key. The decay time is set with the D (Decay time) slider.
•• Sustain and Sustain Time sliders: The two sustain parameters interact with each other. One controls the sustain level, and the other controls the sustain time. See Use ES2 Envelope 2 and 3 sustain controls on page 69. •• (R) Release Time slider: Defines the time required for the (sustain) level to decay to zero, after the key is released. •• Vel (Velocity Sensitivity) slider: Determines the velocity sensitivity of the entire envelope.
Use the Vector Envelope The Vector Envelope is a multipoint, loop-capable control source. Its sole purpose is to provide real-time control of pointer movements in the Triangle and the Planar Pad. The Vector Envelope shares the space occupied by the modulation router. Each played voice has an independent Vector Envelope, which is triggered from its start point with every new keystrike (MIDI note-on message).
Vector Envelope points, times, and loops Use Vector Envelope points The Vector Envelope time axis runs from left to right. Vector Envelope time axis Sustain point is shown on row above time axis. Point 1 Point time value shown in milliseconds (ms). Loop point is shown on row below time axis. Up to 16 points can be displayed on the time axis (10 are shown in the figure above). Each point can control the pointer positions of the Triangle and the Planar Pad.
Delete a point mm Control-click the point. Revert to the default value for a point Do one of the following: mm Option-click the Triangle. The pointer is set to the center position of the Triangle, and all oscillators are set to output the same level. mm Option-click the Planar Pad. The pointer is set to the center position of the Planar Pad. Both axis values are set to zero. Use Vector Envelope solo and sustain points You use the Solo Point button to turn the Vector Envelope on or off.
Set up Vector Envelope loops The Vector Envelope can run in one-shot mode, as long as the note is sustained; it can be set to repeat a specific number of times or it can repeat indefinitely, much like an LFO modulation. You achieve repetitions by using the loop functions. Although the loop parameters seem similar to the loop parameters available for samples, there are significant differences between them.
Set the Vector Envelope Loop Rate Do one of the following: mm Drag the green indicator in the center of the Loop Rate bar to the left or right. mm Drag vertically in the value field “as set” (shown in the figure below). The Vector Envelope loop can cycle at a defined speed. It can also be synchronized with the host application tempo. •• As set: If you switch the Loop Rate to “as set,” the loop cycle length equals the sum of the times between the sustain and Loop points.
Vector Envelope release phase behavior There are two release phase options in the Env Mode menu: Normal and Finish. In Normal mode, the release phase—the phase after the Sustain point—begins as soon as you release the key (note off). In other words, the release phase starts from the Vector Envelope point where you released the key. The following behaviors apply: •• If looping is turned off and the Vector Envelope reaches the Sustain point, the Sustain point value is retained for as long as you hold a key.
Set Vector Envelope times With the exception of the first point, which is tied to the beginning of each played note, every point has a Time parameter. This parameter defines the period of time required for the position indicator to travel from the point that preceded it. The times are normally displayed in milliseconds (ms). Set a time value mm Drag the numerical value vertically. Note: Changing a time value alters the absolute time positions of all subsequent points.
Use the Planar Pad The Planar Pad has two axes—X (horizontal) and Y (vertical). Two user-defined parameters can be modulated with the X and Y values, allowing you to use the mouse like a joystick. The X and Y axes have positive and negative value ranges. When you drag the pointer (the square icon), the values of both axes are continuously transmitted.
ES2 modulation target reference ES2 oscillator modulation targets The table below shows all oscillator-related modulation targets. Target Comments Pitch123 Modulates the frequencies (pitch) of all three oscillators. If you select an LFO as the source, this target leads to siren or vibrato sounds. Select one of the envelope generators with zero attack, short decay, zero sustain, and short release as the source for tom and kick drum sounds. Pitch 1 Modulates the frequency (pitch) of oscillator 1.
Target Comments OscWaves Depending on the waveforms set in the three oscillators, this target can be used to modulate: •• •• •• •• The pulse width of rectangular and pulse waves The amount of frequency modulation (oscillator 1 only) Noise color (oscillator 3 only) The position of the Digiwaves OscWaves affects all oscillators simultaneously.
Target Comments OscLScle OscLScle (Osc Level Scale) modulates the levels of all three oscillators simultaneously. A modulation value of 0 mutes all oscillators, whereas a value of 1 raises the gain of the entire mix by 12 dB. The modulation is applied before the overdrive stage, allowing for dynamic distortions. Osc1Levl (Osc 1 Level) allows modulation of oscillator 1’s level. Osc2Levl (Osc 2 Level) allows modulation of oscillator 2’s level.
ES2 filter modulation targets The table below includes all filter-related modulation targets. Target Comments Cutoff 1 Modulates the Cutoff Frequency parameter of Filter 1. See Filter cutoff and resonance overview on page 54. Resonance 1 (Reso 1) Modulates the Resonance parameter of Filter 1. Cutoff 2 Modulates the Cutoff Frequency parameter of Filter 2. Resonance 2 (Reso 2) Modulates the Resonance parameter of Filter 2.
Other ES2 modulation targets The table below includes all other modulation targets. Target Comments Amp This target modulates the dynamic stage, or level of voices. If you select Amp as the target and modulate it with an LFO as the source, the level changes periodically, and you hear a tremolo. Pan This target modulates the panorama position of the sound in the stereo spectrum. Modulating Pan with an LFO results in a stereo tremolo (auto panning).
Scaled ES2 modulation targets All of the following modulation targets result in a scaled modulation, which means that the target parameter value is multiplied by the modulation value. This works as follows: a modulation value of 0.0 results in no change, a modulation value of +1.0 equals a 10x multiplication, and a modulation value of −1.0 equals a multiplication by 0.04. Target Comments LFO1Rate This target modulates the frequency (rate) of LFO 1.
ES2 modulation source reference The following modulation sources are available: Source Comment LFO1 LFO 1 is used as a source. LFO2 LFO 2 is used as a source. ENV1 Envelope Generator 1 is used as a source. ENV2 Envelope Generator 2 is used as a source. ENV3 Envelope Generator 3 is used as a source. Envelope Generator 3 always controls the level of the overall sound. Pad-X, Pad-Y Define the axes of the Planar Pad as modulation sources for the selected modulation target.
Source Comment RndN01 RndNO1 (Note On Random1) outputs a random modulation value between −1.0 and 1.0, that changes when a note is triggered or retriggered. The (random) note-on modulation remains constant throughout the note duration, until the next note-on trigger. There is no value change when playing legato while in legato mode. RndN02 RndNO2 (Note On Random 2) behaves like Note On Random1, but it glides, rather than steps, to the new random value, using the Glide time (inclusive of modulation).
ES2 via modulation source reference The following sources may be used to control the modulation intensity. Via source Comment LFO1 The modulation undulates at the speed and waveform of LFO 1, which controls the modulation intensity. LFO2 The modulation undulates at the speed and waveform of LFO 2, which controls the modulation intensity. ENV1 ENV1 controls the modulation intensity. ENV2 ENV2 controls the modulation intensity. ENV3 ENV3 controls the modulation intensity.
Via source Comment RndN01 RndNO1 (Note On Random1) outputs a random modulation intensity value between −1.0 and 1.0, which changes when a note is triggered or retriggered. The random note-on modulation remains constant throughout the note duration, until the next note-on trigger.Note: There is no value change when playing legato while in legato mode.
ES2 integrated effects processor ES2 is equipped with an integrated effects processor. Any changes to the parameters of these effects are saved with each sound setting. Click to choose a hard or soft type of Distortion effect. Use the Tone parameter to alter the tonal color of the Distortion effect. Adjust to set the level of Distortion. Click to choose Chorus, Flanger, or Phaser effect. Intensity and Speed parameters are shared by the Chorus, Flanger, and Phaser effects.
Distortion parameters •• Soft button: Activates the Distortion effect Soft mode. The distortion circuit sounds somewhat like a tube overdrive. •• Hard button: Activates the Distortion effect Hard mode. The distortion effect sounds like a fully transistorized fuzz box. •• Distortion knob: Rotate to set the amount of distortion. Turn this knob to zero to disable the effect. •• Tone knob: Rotate to control the treble portion of the distortion signal.
ES2 macro controls and controller assignments ES2 macro and controller assignment overview The section at the bottom of the ES2 interface provides three views: Click here to choose a view. Macro control parameters •• Macro: Click to show a number of macro controls that affect groups of other parameters. •• MIDI: Click to assign MIDI controllers to particular modulation routings. See ES2 via modulation source reference on page 86.
Make ES2 controller assignments The Controller Assignments area enables you to assign your MIDi keyboard’s knobs, sliders, and other controls to act as control sources for ES2 parameters. There are six menus, for Ctrl A to Ctrl F. You can use any MIDI controller shown in the menus for these control sources. These parameters are saved with each setting. They are updated only if the default setting that is loaded on instantiating the plug-in is used or if the setting was saved with a project.
ES2 extended parameters ES2 provides additional parameters that can be accessed by clicking the disclosure triangle at the lower left of the interface. Extended parameters •• MIDI Mono Mode pop-up menu: Choose Off, On (with common base channel 1), or On (with common base channel 16). In either mode, each voice receives on a different MIDI channel. Controllers and MIDI messages sent on the base channel affect all voices. •• Mono Mode Pitch Range pop-up menu: Choose 0, 24, or 48.
Restriction of ES2 randomization You can restrict randomization to particular groups of parameters using the Randomize Section pop-up menu. Some aspects of your sound may already be ideal for the sound you had in mind. For example, your sound setting has a nice percussiveness, and you’d like to try a few sonic color variations while retaining this percussive feel. To avoid the random variation of any attack times, you can restrict the variation to oscillator or filter parameters.
Randomize section Comments Vector Env XY Pad Options The Planar Pad pointer positions (the Vector Envelope points) are randomized. The X/Y routing, however, is not changed. The rhythm and tempo of the modulation (the time parameters of the points) are also left unaltered. You can specify a single direction for randomization by choosing either: •• •• Vector Env XY Pad X only Vector Env XY Pad Y only Vec Env Times Only the time parameters of the Vector Envelope points are altered.
ES2 tutorials Create ES2 sounds from scratch ES2 sound design from scratch overview The “Create ES2 sounds from scratch” tutorials guide you—from the ground up (from scratch)— through the creation of commonly used sounds. The ES2 sound design with templates on page 106 tutorials also guide you through the sound creation process, but you use a number of templates as your starting point. To see the settings for these tutorials in the ES2 window, choose Tutorial Settings from the Settings pop-up menu.
Create fat ES2 sounds “Fat” synthesizer sounds have always been popular and are likely to remain so, given their use in modern trance, techno, R & B, and other styles. Create fat ES2 sounds with oscillator detuning and unison mode The Analog Saw 3 Osc setting features three detuned oscillators, and sounds fat as it is. The following introduces you to some additional tools to fatten the sound even more. In many factory settings, the Unison mode is active. This demands a lot of processing power.
Create ES2 bass sounds Not every sound needs to consist of several oscillators. There are numerous simple, effective, sounds that make use of a single oscillator. This is especially true of synthesizer bass sounds, which can be created quickly and easily with the Analog Bass Clean setting. Create clean single-oscillator bass sounds In the Analog Bass Clean setting, the basic sound is a rectangular wave that is transposed down by one octave. The sound is filtered by Filter 2.
Create ES2 FM sounds In the ES2, oscillator 1 is always the carrier, and oscillator 2 the modulator. In other words, oscillator 2 modulates oscillator 1. The FM Start setting is great for familiarizing yourself with linear frequency modulation (FM) synthesis. Use FM Intensity and Frequency to create new sounds Load the FM Start setting to hear an unmodulated sine sound, generated by oscillator 1.
Use FM Drive and Filter FM to change the tonal color The FM Drive setting illustrates how dramatically the character of FM sounds can be altered when you apply Drive and Filter FM. The results are reminiscent of the feedback circuits of classic FM synthesizers. Do the following: mm Check out different Drive and Filter FM settings. mm Lower the Cutoff Frequency of Filter 2 to 0. Envelope 2 modulates Filter 2. This modulation routing is already present in the setting.
If you’re unconcerned with the pitch of your sound, you can get the weirdest spectra out of odd frequency ratios—oscillator intervals. The FM Out of Tune setting offers a bell-like sound, reminiscent of a ring modulator. It was achieved through a setting of 30 s 0 c, with the modulator set to a value of 0 s 0 c. Sounds like this were commonly used in the electronic music of the eighties and have had a resurgence in popularity in ambient and trance music styles.
Create ES2 PWM sounds Pulse width modulation (PWM) is one of the most essential features of any analog synthesizer. Set up a basic PWM sound mm Choose the PWM Start setting, and move the Wave control slowly back and forth between the rectangular and the pulse wave symbols. Both are green. What you will hear is a manual pulse width modulation. mm Choose the PWM Slow setting. Here, LFO 1 controls the pulse width modulation source, not your manual movements. The result should be quite similar.
Create ES2 ring modulated sounds A ring modulator takes its two input signals and outputs their sum and difference frequencies. In the ES2, oscillator 2 outputs a ring modulation, which is fed with a square wave of oscillator 2 and the wave of oscillator 1, when Ring is set as oscillator 2’s waveform. Odd intervals (frequency ratios) between the oscillators result in bell-like spectra, much like those heard in the Ringmod Start setting.
Vector synthesis in the ES2 This tutorial provides some hints for Vector Envelope programming. Familiarize yourself with the Vector Envelope In the Vector Start setting, the “mix” of the oscillators is controlled by the Vector Envelope. Each oscillator has been set to a different waveform. mm Switch from the Router view to Vector view. mm In its basic (default) setting, the Vector Envelope has three envelope points.
mm Drag the pointer in the Planar Pad all the way up, which results in the leftmost panorama position. mm Switch on Solo Point. The sound begins with a strongly filtered sawtooth wave and turns into an unfiltered square wave. It initially sounds from the right, and then it moves to the left while morphing into a triangular wave. After you release the key, the saw sound is heard.
Create kick drums with a self-oscillating filter and the Vector Envelope Electronic kick drum sounds are often created with modulated, self-oscillating filters. This approach can also be taken with the ES2, particularly when the Vector Envelope is used for filter modulation. An advantage of the Vector Envelope, in comparison with conventional ADSR envelopes, is its ability to define and provide two independent decay phases.
Create ES2 sounds with templates ES2 sound design with templates There are a number of tutorial templates that you can open from the Settings pop-up menu (choose the Tutorial Settings folder). This programming tour of the ES2 is included as a part of the toolbox to help you learn the ES2’s architecture through experimentation with these template sounds. As you become more familiar with ES2 functions and parameters, you can create your own templates to use as starting points when designing new sounds.
Velocity is set up to be very responsive, because many synthesizer players don’t strike keys like a piano player would with a weighted-action “punch.” Therefore, you should play this patch softly, or you may find that the slap tends to sweep a little. Alternatively, you can adjust the sensitivity of the filter modulation’s velocity value to match your personal touch.
You can also use LFO 2 to increase the pitch diffusion against LFO 1’s pitch and pan movements. Just exchange it for LFO 1 on modulation routings 2 and 3. Note that there will be no modulation source for the Leslie acceleration, so you’ll need to use it in a static way, just fading it in. Alternatively, you’ll need to sacrifice one of the other modulations in favor of a second twirl.
Other controls have a variety of functions: •• Envelope 1 also affects the pitch of oscillator 2 against oscillator 3. This results in both pitches clashing with each other, and also with the stable pitch of oscillator 1 in the attack phase of the sound. •• The filter envelope’s design closes with a short stab in the attack phase, then reopens for a slower crescendo phase.
ES2 Wheelsyncer setting Never obsolete—and undergoing a renaissance in electronic music—are sync sounds. Wheelsyncer is a single-oscillator lead sound; all other oscillators are switched off. Although oscillator 2 is the only one actively making any sound, it is directly dependent on oscillator 1. If you change oscillator 1’s pitch or tuning, the overall pitch of the sound will go out of tune or will be transposed. The pitch of oscillator 2 provides the tone-color (or the harmonics) for the sync sound.
4 EFM1 EFM1 overview The 16-voice EFM1 is a simple but powerful frequency modulation synthesizer. It can produce the rich bell and digital sounds that frequency modulation (FM) synthesis has become synonymous with. If you’re new to synthesizers, see Synthesizer basics overview on page 472, which will introduce you to the terminology and give you an overview of various synthesis systems and how they work.
EFM1 is divided into several areas. •• Global parameters: The top section contains parameters that set the overall tuning of EFM1. Further controls enable you to set the Glide (portamento) time, limit the number of voices, and thicken the sound with Unison. See EFM1 global parameters on page 117. •• Modulator and Carrier parameters: The FM engine consists of the modulator and carrier parameters (raised, darker sections), and the FM Intensity knob (in the center).
EFM1 modulator and carrier parameters Modulator and carrier overview In FM synthesis, the basic sound is generated by setting different tuning ratios between the modulator and carrier oscillators and by altering the FM intensity. The tuning ratio determines the basic overtone structure, and FM intensity controls the level of these overtones. At the core of the EFM1 synthesis system is a multiwave modulator oscillator and a sine wave carrier oscillator.
Modulator parameters •• Harmonic knob: Rotate to set the tuning ratio between the modulator (left) and carrier (right) oscillators. See Set the EFM1 tuning ratio on page 115. •• Fine (tune) knob: Rotate to adjust the tuning between two adjacent harmonics, as determined by the Harmonic knobs of both oscillators. The range of this control is ±0.5 harmonic. In the center (0) position, Fine tune does not have an effect. Click the “0” to center the Fine tune knob.
Set the EFM1 tuning ratio The carrier frequency is determined by the played key, and the modulator frequency is typically a multiple of the carrier frequency. You can tune the modulator and carrier to any of the first 32 harmonics. The tuning relationship, or ratio, between the two significantly changes the base sound of the EFM1, and is best set by ear. You use the Harmonic knobs to set the tuning ratio between the modulator (left) and carrier (right) oscillators.
EFM1 modulation parameters FM synthesis is, at its core, caused by the intensity and type of modulations that take place in the signal path. Therefore, the modulators outlined in this section have a different impact and role to play than equivalent envelopes and LFOs found in analog synthesizer designs. Modulator Pitch Modulation Envelope FM Depth LFO parameters Modulation parameters •• Modulation Env(elope) sliders: Control both the FM (Intensity) and Modulator pitch parameters over time.
•• •• LFO (low frequency oscillator) knob: Rotate to set the amount of modulation applied to FM intensity or pitch. •• If you turn the LFO knob clockwise, you increase the effect of the LFO on FM Intensity. If you turn the knob counterclockwise, you introduce a vibrato. •• If you click the “0” to center the LFO knob, the LFO has no effect. Rate knob: Rotate to set the speed of the LFO.
EFM1 output parameters EFM1 provides the following level controls. Sub Osc Level knob Stereo Detune knob Volume envelope Main Level knob Velocity knob Output parameters •• Sub Osc Level knob: Rotate to introduce a sub-oscillator signal that enhances bass response. EFM1 features a sine wave sub-oscillator. This operates one octave below the FM engine, as determined by the Transpose parameter. Turning up the Sub Osc Level control mixes the suboscillator sine wave with EFM1’s FM engine output.
Create random EFM1 sounds The Randomize feature in the lower-right corner of the interface generates new sounds. It does this by randomly altering a number of key EFM1 parameter values. This feature is ideal for creating subtle variations of a particular sound or for creating totally new sounds. It is useful when getting started with FM synthesis. Randomize parameters •• Randomize button: Creates a new sound by randomizing multiple parameters.
EFM1 MIDI controller assignments The EFM1 Extended Parameters area allows you remotely control EFM1 with your MIDI controller keyboard or other MIDI device. You can assign any unused MIDI controller to the following parameters: •• FM Amount •• Vibrato Note: EFM1 also responds to MIDI pitch bend data. Pitch bend is hard-wired to the overall pitch of EFM1. Assign a MIDI controller 1 Choose the controller name or number from the Ctrl FM or Ctrl Vibrato pop-up menu.
5 ES E ES E overview The eight-voice ES E (ES Ensemble) synthesizer is ideal for quickly creating warm, rich pad and ensemble sounds. ES E produces sounds using subtractive synthesis. It features an oscillator that generates harmonically rich waveforms. You subtract—cut, or filter out—portions of these waveforms and reshape them to create new sounds.
•• Output parameters: The area at the extreme right houses the switches for the integrated modulation effects and the Volume knob, which is responsible for the main output level. The effects can be used to color or thicken the sound. See ES E output parameters on page 125. •• Extended parameters: Not shown in the image, the extended parameters are accessed by clicking the triangle at the lower left of the interface. These parameters include bend and tuning functions.
ES E LFO parameters The LFO (low frequency oscillator) generates a cyclic waveform that is used to modulate the ES E waveform. The behavior and effect of the LFO depend on whether a sawtooth or pulse wave is selected. •• If Wave is set to sawtooth, the LFO modulates the frequency of the waveform, resulting in a vibrato or siren effect—depending on the LFO speed and intensity. •• If Wave is set to a pulse wave, the LFO modulates the waveform’s pulse width—pulse width modulation (PWM).
ES E filter parameters ES E includes a lowpass filter that lets you contour the output from the oscillator. Filter parameters •• Cutoff knob: Rotate to control the cutoff frequency of the filter. •• Resonance knob: Rotate to boost or cut portions of the signal that surround the frequency defined by the Cutoff parameter. Note: Increasing the Resonance value results in a rejection of bass—low frequency energy— when using lowpass filters.
ES E envelope parameters The AR (Attack and Release) envelope affects both the filter cutoff (AR Int) and the level of the sound over time. Envelope parameters •• Attack slider: Move to set the time it takes for the signal to reach the initial signal level, known as the sustain level. •• Release slider: Move to set the time it takes for the signal to fall from the sustain level to a level of 0. ES E output parameters The ES E output stage consists of the Volume section and the Chorus/Ensemble buttons.
Extended ES E parameters ES E offers three additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface. Extended parameters •• Pos. Bender Range: Move to set the positive—upward—pitch bend range in semitone steps. This allows you to use the pitch bend controller of your keyboard to bend the ES E pitch. •• Neg. Bender Range: Move to set the negative—downward—pitch bend range in semitone steps, by up to 2 octaves—a value of 24. The default Neg.
6 ES M ES M overview The monophonic ES M (ES Mono) synthesizer is a good starting point if you’re looking for bass sounds that punch through your mix. ES M features an automatic fingered portamento mode, making bass slides easy. It also provides an automatic filter compensation circuit that delivers rich, creamy basses, even when you use higher resonance values. ES M produces sounds using subtractive synthesis. It has an oscillator that generates harmonically rich waveforms.
•• Output parameters: The angle-shaped area to the lower right contains the level envelope and output parameters, which control the level of the sound over time. The Overdrive knob is located near the right edge of the interface, halfway up. The Overdrive can be used to color or add bite to the sound. See ES M level envelope and output controls on page 130. •• Extended parameters: Not shown in the image, the extended parameters are accessed by clicking the triangle at the lower left of the interface.
ES M filter and filter envelope The ES M includes a lowpass filter that lets you contour the output from the oscillator. The filter has a dedicated envelope. Cutoff knob Filter envelope parameters Resonance knob Filter and filter envelope parameters •• Cutoff knob: Rotate to set the cutoff frequency of the ES M filter. Its slope is 24 dB/octave. •• Resonance knob: Rotate to boost or cut portions of the signal that surround the frequency defined by the Cutoff parameter.
ES M level envelope and output controls The output stage of the ES M offers the following parameters. Level parameters Envelope and output parameters •• Decay knob: Rotate to set the decay time of the dynamic stage. The attack, release, and sustain times of the synthesizer are internally set to 0. •• Velo knob: Rotate to determine the velocity sensitivity of the dynamic stage. •• Vol knob: Rotate to set the ES M master output level.
7 ES P ES P overview The eight-voice ES P (ES Poly) emulates classic polyphonic synthesizers of the 1980s. It is a versatile instrument that is capable of producing a huge variety of useful musical sounds. The creation of classic analog synthesizer brass sounds is just one of its many strengths. ES P produces sounds using subtractive synthesis. It features an oscillator that generates harmonically rich waveforms.
•• Extended parameters: Not shown in the image, the extended parameters are accessed by clicking the disclosure triangle at the lower left of the interface. These parameters include bend and tuning functions. See Extended ES P parameters on page 136. ES P oscillator parameters ES P features several oscillators that output different waveforms. These signals can be mixed together—at different levels—providing countless variations of the raw material used for your sounds.
ES P LFO parameters ES P features an LFO (low frequency oscillator), which can generate a vibrato or wah effect. •• Modulate the frequency of the oscillators, resulting in a vibrato •• Modulate the cutoff frequency of the dynamic lowpass filter, resulting in a wah wah effect LFO parameters •• Vib/Wah knob: Turn to the left to set a vibrato; turn to the right to cyclically modulate the filter. •• Speed knob: Rotate to set the rate of the vibrato or cutoff frequency modulation.
ES P filter parameters ES P includes a lowpass filter that lets you contour the output signals from the oscillator. Filter parameters •• Frequency knob: Rotate to set the cutoff frequency of the ES P’s lowpass filter. •• Resonance knob: Rotate to boost or cut portions of the signal that surround the frequency defined by the Frequency knob. Note: Increasing the Resonance value results in a rejection of bass—low frequency energy— when using lowpass filters.
ES P envelope and level controls ES P features an ADSR envelope that affects both the filter cutoff (ADSR Int) and the level of the sound over time. This section also covers the master level control parameters. Envelope and level parameters •• Attack slider: Move to set the time it takes for the signal to reach the initial, desired signal level (the sustain level). •• Decay slider: Move to set the time it takes for the signal to fall from the attack level to the sustain level.
Integrated ES P effects processor ES P offers integrated stereo chorus and overdrive effects. These are based on similar effects processors found in the affordable Japanese synthesizers of the 1980s—which the ES P emulates. ES P effect parameters •• Chorus knob: Rotate to set the intensity (depth) of the integrated chorus effect. •• Overdrive knob: Rotate to set the overdrive/distortion level of the ES P output.
EVOC 20 PolySynth 8 EVOC 20 PolySynth and vocoding EVOC 20 PolySynth overview EVOC 20 PolySynth combines a vocoder with a polyphonic synthesizer and can be played in real time. It can create classic vocoder sounds, made famous by groups such as Kraftwerk during the 1970s and 1980s. Vocoding remains popular in current electronic, hip-hop, R & B, and other music styles.
Vocoder basics The word vocoder is an abbreviation for voice encoder. A vocoder analyzes and transfers the sonic character of the audio signal arriving at its analysis input to the synthesizer’s sound generators. The result of this process is heard at the output of the vocoder. The classic vocoder sound uses speech as the analysis signal and a synthesizer sound as the synthesis signal. This sound was popularized in the late 1970s and early 1980s.
The more bands a vocoder offers, the more precisely the original sound’s character will be reproduced by the synthesis filter bank. EVOC 20 PolySynth provides up to 20 bands per bank. See EVOC 20 block diagram on page 156 for a detailed image of the EVOC 20 PolySynth signal path. EVOC 20 PolySynth interface The EVOC 20 PolySynth interface is divided into six main parameter sections.
EVOC 20 PolySynth analysis parameters The parameters in the Sidechain Analysis section control how EVOC 20 PolySynth analyzes and uses the input signal. Be precise with these parameters to attain the best possible speech intelligibility and the most accurate tracking. Sidechain analysis parameters •• Attack knob: Rotate to determine how quickly each envelope follower—coupled to each analysis filter band—reacts to rising signal levels.
Set the number of filter bank bands mm To set the number of frequency bands the EVOC 20 PolySynth’s filter bank uses, drag the Bands field vertically. The greater the number of frequency bands, the more precisely the sound can be reshaped. As the number of bands is reduced, the source signal’s frequency range is divided up into fewer bands, and the resulting sound is formed with less precision by the synthesis engine.
U/V detection parameters •• Sensitivity knob: Rotate to determine how responsive U/V detection is. Turn to the right for higher settings, where more of the individual unvoiced portions of the input signal are recognized. When high settings are used, the increased sensitivity to unvoiced signals can lead to the U/V sound source being used on the majority of the input signal, including voiced signals.
EVOC 20 PolySynth synthesis parameters EVOC 20 PolySynth synthesis parameters overview EVOC 20 PolySynth is equipped with a polyphonic synthesizer that is capable of accepting MIDI note input. The parameters of the Synthesis section are described below. Global parameters Filter parameters Envelope parameters Tuning and Pitch parameters Oscillator parameters Synthesis parameters •• Oscillator parameters: Determine the basic waveforms for the synthesis engine of the EVOC 20 PolySynth.
EVOC 20 PolySynth oscillator parameters EVOC 20 PolySynth oscillators overview EVOC 20 PolySynth has two oscillators, which you can switch between Dual mode and FM mode. The Synthesis section also incorporates a noise generator that can add a further color to your sound. Click here to switch between Dual and FM mode. •• Dual mode: Each oscillator allows you to choose a digital waveform. •• FM mode: Oscillator 1 generates a sine wave. The frequency, or pitch, of oscillator 1 is modulated by oscillator 2.
EVOC 20 PolySynth oscillator dual mode In dual mode, each oscillator can use any of 50 digital waveforms. Balance slider Semi and Detune parameters are shown in Dual mode. Dual mode oscillator parameters •• Semi field: Drag to adjust the tuning of oscillator 2 in semitone steps. •• Detune field: Drag to fine-tune both oscillators in cents. One hundred cents equals one semitone step. •• Balance slider: Drag to set the level balance between the two oscillator signals.
EVOC 20 PolySynth noise generator The noise generator provides a further sound source that can be used alongside the two oscillators. Important: The noise generator in the oscillator section is independent of the noise generator in the U/V detection area. For further information about voiced and unvoiced signals, see EVOC 20 PolySynth (U/V) detection parameters on page 141. Noise generator parameters •• Level knob: Rotate to control the amount of noise added to the signals of the two oscillators.
EVOC 20 PolySynth filter parameters The Synthesis section includes a lowpass filter that is used for coarse signal shaping, before the signal is more precisely shaped by the individual bands of the formant filter banks. Filter parameters •• Cutoff knob: Rotate to set the cutoff frequency of the lowpass filter. Turn to the left to remove high-frequency content from the synthesizer signal. •• Resonance knob: Rotate to boost or cut the signal portion that surrounds the frequency defined by the Cutoff knob.
EVOC 20 PolySynth global parameters The parameters at the top left of the interface determine the keyboard mode and number of voices used by EVOC 20 PolySynth. Global parameters •• Poly/Mono/Legato buttons: Click a button to determine the keyboard mode. •• When Poly is on, you can set the maximum number of voices in the Voices field. (When Mono or Legato is on, a single voice is heard.
EVOC 20 PolySynth formant filter EVOC 20 PolySynth features two formant filter banks—one for the Analysis section and one for the Synthesis section. Each bank provides up to 20 individual filters. The entire frequency spectrum of an incoming signal is analyzed by the Analysis section and is divided equally into a number of frequency bands. These analysis filter bands are mirrored by a corresponding number of bands in the synthesis filter bank.
•• Formant Stretch knob: Rotate to change the width and distribution of all bands in the synthesis filter bank. This can be a broader or narrower frequency range than that defined by the Low and High Frequency parameters. •• •• When Formant Stretch is set to 0, the width and distribution of the bands in the synthesis filter bank match the width of the bands in the analysis filter bank. Low values narrow the width of each band in the synthesis filter bank, whereas high values widen the bands.
EVOC 20 PolySynth modulation parameters The Modulation section contains two LFOs that can either run freely or be synchronized with the host application tempo. •• The Pitch LFO controls pitch modulation of the oscillators, enabling you to produce vibrato effects. •• The Shift LFO controls the Formant Shift parameter of the synthesis filter bank, enabling you to produce dynamic phasing-like effects. Modulation parameters •• Int via Whl slider: Drag to set the intensity of LFO pitch modulation.
EVOC 20 PolySynth output parameters The Output section provides control over the type of signal, stereo width, and level of signal that is sent from EVOC 20 PolySynth. The Output section also has an ensemble effect processor. Output parameters •• Signal pop-up menu: Choose the signal that is sent to the EVOC 20 PolySynth main outputs. •• Voc(oder): Choose to hear the vocoder effect. •• Syn(thesis): Choose to hear only the synthesizer signal. •• Ana(lysis): Choose to hear only the analysis signal.
EVOC 20 PolySynth performance tips Level and frequency tips A vocoder always generates the intersection point of the analysis and synthesis signals. If there’s no treble portion in the analysis signal, the resulting vocoder output also lacks treble. This is also the case when the synthesis signal has a lot of high-frequency content. Because this is true of each frequency band, the vocoder demands a stable level in all frequency bands from both input signals to obtain the best results.
When you gate speech and vocals with the Noise Gate plug-in, use Threshold to define the level above which the gate will open, and use Hysteresis to define a lower Threshold level below which the gate will close. The Hysteresis value is relative to the Threshold level. The figure above shows a Threshold setting that is well-suited for speech compression. Unwanted triggering by low or high frequency noise is avoided by the dedicated sidechain filters of the Noise Gate plug-in.
Vocoder history The development of the vocoder dates back to the 1930s in the telecommunications industry. Homer Dudley, a research physicist at Bell Laboratories in New Jersey, developed the vocoder (short for voice encoder) as a research machine. It was originally designed to test compression schemes for the secure transmission of voice signals over copper phone lines.
In 1979, Roland released the VP 330 ensemble/vocoder keyboard. The late 1970s and early 1980s were the heyday of the vocoder. Artists who used them included ELO, Pink Floyd, Eurythmics, Tangerine Dream, Telex, David Bowie, Kate Bush, and many more. On the production side, vocoders could—and can still—be picked up cheaply in the form of kits from electronics stores. From 1980 to the present, EMS in the UK, Synton in Holland, and PAiA in the USA have been— and remain—the main flyers of the vocoding flag.
EXS24 mkII 9 EXS24 mkII overview EXS24 mkII is a software sampler. It plays back audio files, called samples, that you load into it. These samples are combined into tuned, organized collections called sampler instruments. Because sampler instruments are based on audio recordings, they are ideally suited to emulating real instruments such as guitars, pianos, and drums. EXS24 mkII lets you play, edit, and create sampler instruments.
There are two EXS24 mkII windows. •• Parameter window: This window is used to load sampler instruments and contains synthesis and modulation options that enable you to customize your sounds. See EXS24 mkII Parameter window overview. •• Instrument Editor window: This window is used to create and edit sampler instruments. Click the Edit button in the Parameter window to open the Instrument Editor window. See EXS24 mkII Instrument Editor overview.
Sampler instruments Sampler instruments overview A sampler instrument is the file type that is loaded into EXS24 mkII. You load sampler instruments using the Sampler Instruments pop-up menu directly above the Cutoff knob. When you choose a sampler instrument, the associated audio files are automatically located on the hard disk (or disks), and are loaded into your computer’s RAM. You play and record the loaded sampler instrument in the same way as any software instrument.
Manage sampler instruments As your sample library grows, the list of sampler instruments also expands. To help you keep the list of sampler instruments manageable, EXS24 mkII provides a simple, flexible file management method. It is recommended that you copy any sampler instruments and all associated audio files to your hard drive.
Copy sampler instruments to your hard drive 1 To open the Library folder in a Finder window, Option-click the Go menu from the desktop, then click Library. 2 Copy the sampler instrument file into the ~/Library/Application Support/Logic/Sampler Instruments folder. 3 Copy the associated samples into a folder named Samples in the same folder as the Sampler Instruments folder.
Import SoundFont2, DLS, and Gigasampler files EXS24 mkII recognizes SoundFont2, DLS, and Gigasampler files placed inside the Sampler Instruments folder and converts them into sampler instruments. You can store your imported sampler instruments in any folder on any of your computer’s hard drives. To access these instruments from the Sampler Instruments pop-up menu, you need to create an alias pointing to the target folder within the ~/Library/Application Support/Logic/ Sampler Instruments folder.
When you load a SoundFont2 Bank into EXS24 mkII, it creates a Bank folder and a Samples folder, named after the SoundFont2 Bank file. The word Bank or Samples is appended to each folder name. A sampler instrument file is automatically created for all sounds in the bank, and placed in the new Bank folder. The Sampler Instruments pop-up menu automatically updates to reflect the new folder hierarchy. All samples associated with the bank are automatically added to a Samples folder inside the SoundFont folder.
Convert audio regions to sampler instruments You can convert audio regions to sampler instruments with the Convert Regions to New Sampler Track function (default key command: Control-E). All selected regions are sequentially mapped— in accordance with their timeline positions—to the specified key range, starting with the lowest note. A new track is also created, with automatically created trigger notes for the converted audio regions. These trigger notes match the time positions of the source audio regions.
Convert ReCycle files to sampler instruments ReCycle, a sample editing program from Propellerhead Software, can generate a number of file types that can be read by Logic Pro and EXS24 mkII. ReCycle separates sample material into small segments called slices, based on waveform peaks, or transients, in the audio file. In this way, ReCycle is able to split an audio file into musically relevant slices.
Tip: The Extract MIDI Region and Add Samples to Current Instrument command also allows you to add the slices of a ReCycle loop to any sampler instrument currently opened in the Instrument Editor. This allows you to use several different ReCycle loops in a single sampler instrument. Assign a complete ReCycle loop to a zone mm Choose Instrument > ReCycle Convert > Slice Loop and Make New Instrument to create a sampler instrument from a ReCycle loop.
EXS24 mkII Parameter window EXS24 mkII Parameter window overview You use the EXS24 mkII Parameter window to change and control the entire loaded sampler instrument. You control individual samples (zones), or grouped samples, in the Instrument Editor window. See EXS24 mkII Instrument Editor overview on page 192.
Sampler Instruments pop-up menu Use the Sampler Instruments pop-up menu This section outlines the use of the Sampler Instruments pop-up menu. The Edit button opens the Instrument Editor window. The Options button opens a pop-up menu. See EXS24 mkII Options pop-up menu commands on page 170. Load an instrument 1 Click the Sampler Instruments field to open the Sampler Instruments pop-up menu. Click here to open the sampler instruments menu. 2 Choose the sampler instrument you want to edit or play.
Load sampler instruments from other locations You can manually load sampler instruments that are not shown in the Sampler Instruments pop-up menu. This is done using the Instrument pop-up menu in the Instrument Editor window. 1 To open the Instrument Editor window, click the Edit button in the Parameter window. 2 Choose Instrument > Open, then browse to the instrument in the dialog. Open the Instrument Editor window mm Click the Edit button to open the Instrument Editor window.
EXS24 mkII Options pop-up menu commands Click Options to open a pop-up menu of settings and sampler instruments management commands, to import non-native samples and instruments, and to access EXS24 mkII preferences and memory management. •• Recall Default EXS24 Settings: Recalls a neutral setting for all parameters in the Parameter window. This provides a “clean slate” when you are adjusting the parameters of your sampler instrument.
EXS24 mkII global parameters EXS24 mkII global parameters overview The global parameters affect the overall behavior of EXS24 mkII. Keyboard mode buttons Voices/Used fields Crossfade parameters Unison button Hold via field Vel Offset field Global parameters •• Keyboard mode buttons: Switch EXS24 mkII between legato, monophonic, and polyphonic behaviors. See Set the EXS24 mkII keyboard mode on page 172. •• Unison button: Turns Unison mode on or off. See Use Unison and Voices in EXS24 mkII on page 172.
Set the EXS24 mkII keyboard mode A polyphonic instrument, such as an organ or piano, allows several notes to be played simultaneously. Brass or reed instruments are monophonic, which means that only one note can be played at a time. EXS24 mkII lets you choose an appropriate keyboard mode for the type of instrument that is loaded. You are free to use a monophonic mode for polyphonic instruments, which allows playing styles that are not possible with polyphonic instruments.
Use polyphonic unison mode mm Click the Poly and Unison buttons. In Poly/Unison mode, each played note is effectively doubled, or—more correctly—the polyphony value of the Voices parameter is halved. These two voices are heard when you trigger the note. Selecting Poly and Unison has the same effect as setting the EXS24 mkII to Mono and Unison with Voices set to 2, but you can play polyphonically.
Crossfade (Xfade) parameters •• Amount field: Expands the velocity range of all zones by applying an identical value to each layered zone. The crossfade takes place in the extended velocity range area. When the Amount parameter is set to 0, EXS24 mkII switches from one zone to another. Note: You can also set other modulation sources, such as the modulation wheel of your MIDI keyboard, to modulate the Amount parameter.
•• Remote field: Use to remotely change the pitch of complete EXS24 mkII instruments in real time. You can define a key on your MIDI keyboard that is used as the original, or “reference” pitch. After the reference pitch is set, playing any of the keys in a range of ±1 octave above or below this key changes the pitch of the entire instrument, rather than triggering a sample. This is similar to the Pitch Bend function but is quantized to semitones.
EXS24 mkII filter parameters EXS24 mkII filter overview These parameters control the EXS24 mkII filter. You can configure the type of filter, filter resonance, cutoff frequency, drive, and amount of key follow. For details about the filter envelope, see EXS24 mkII envelope overview on page 187. Filter parameters •• Filter On/Off button: Turns the entire filter section and the filter envelope on or off.
•• •• •• Drive knob: Rotate to overdrive the filter input, leading to a denser, more saturated signal, which introduces additional harmonics. Drive affects each voice independently. When every voice is overdriven individually—like having six fuzz boxes for a guitar, one for each string— you can play extremely complex harmonies over the entire keyboard range. They’ll sound clean, without unwanted intermodulation effects spoiling the sound. Some Drive settings lead to a different tonal character.
mm BP (bandpass): Allows a frequency band directly surrounding the cutoff frequency to pass—all other frequencies are cut. The Resonance parameter controls the width of the frequency band. The bandpass filter is a twopole filter with a slope of 6 dB/octave on each side of the center frequency of the band. EXS24 mkII output parameters The EXS24 mkII output parameters define the level—the perceived volume—of a played note. The change in level over time is controlled by an envelope generator, ENV 2.
EXS24 mkII extended parameters EXS24 mkII provides additional parameters that can be accessed by clicking the disclosure triangle at the lower left of the interface. Extended parameters •• MIDI Mono Mode pop-up menu: Choose Off, On (with common base channel 1), or On (with common base channel 16). In either mode, each voice receives on a different MIDI channel. Controllers and MIDI messages sent on the base channel affect all voices. •• Mono Mode Pitch Range pop-up menu: Choose 0, 24, or 48.
EXS24 mkII modulation router Use the EXS24 mkII modulation router The modulation router spans the center of the EXS24 mkII interface. If you are new to synthesizer modulation routings, see Modulation overview on page 488. Modulation destinations are shown at the top of each modulation routing. Modulation sources are shown at the bottom of each modulation routing. Via sources are shown in the middle of each modulation routing.
Create a basic modulation routing 1 Choose the parameter you want to modulate from the Dest pop-up menu. Click here to choose a modulation destination. Click here to choose a modulation source. 2 Choose the parameter you want to use to modulate the destination from the Src pop-up menu. 3 Drag the intensity slider to set a fixed modulation intensity. Modulation intensity slider Bypass a modulation routing mm Click the Bypass (b/p) button at the top right of the modulation routing.
Create a modulation routing that includes a via source 1 Choose the target parameter you want to modulate from the Dest pop-up menu. Click here to choose a modulation destination. Click here to choose a modulation source. 2 Choose a modulation source from the Src pop-up menu. 3 Choose the modulation source that you want to use for control of modulation intensity from the via pop-up menu. 4 Vertically drag the upper intensity slider to set the maximum modulation intensity.
Set the modulation intensity to zero mm Click the small 0 symbol that is halfway up the intensity slider control. Invert the effect of the via modulation source mm Click the Invert (inv) button to invert the effect of the via modulation source. EXS24 mkI modulation paths Many of the hard-wired modulation paths that were available as sliders on the original EXS24 (mkI) are now integrated into the modulation router, which was not available in the original EXS24.
EXS24 mkII LFOs EXS24 mkII LFO overview EXS24 mkII includes three LFOs (low frequency oscillators). They are all available as sources and targets in the router. If you are new to synthesizers and the concept behind LFOs, see Common modulation sources on page 490. LFO 1 is polyphonic, which means that if it is used for any modulation of multiple voices, they will not be phase-locked. LFO 1 is also key-synced—each time you play a key, LFO 1 modulation of this voice is started from 0.
EXS24 mkII LFO waveforms You can use the Wave buttons to choose different waveforms for LFO 1 and LFO 2. The table outlines how these waveforms can affect your sounds. Tip: Try different waveforms while a modulation routing of Pitch is engaged and running. Waveform Comments Triangle Well-suited for vibrato effects Sawtooth Well-suited for helicopter and space gun sounds. Intense modulations of pitch with a negative (inverse) sawtooth wave lead to “bubbling” sounds.
Use EXS24 mkII’s LFO 1 envelope generator LFO 1 provides a simple envelope generator (EG) that sets the time it takes for the LFO modulation to fade in or fade out. At its center position (click the middle mark) the modulation intensity is static—no fade-in or fade-out occurs. Set the LFO 1 modulation fade time mm To fade in the modulation: Drag the LFO 1 EG knob to a positive value. The higher the value, the longer the delay time. mm To fade out the modulation: Drag the LFO 1 EG knob to a negative value.
EXS24 mkII envelope overview EXS24 mkII features two envelope generators per voice, abbreviated as ENV 1 and ENV 2 in the interface and router. For details on the roots of the term envelope generator and its basic function, see Amplifier envelope overview on page 486. The parameters of ENV 1 and ENV 2 are identical. •• ENV 1 controls the filter over time. •• ENV 2 defines the changes in level over time—for each note played.
EXS24 mkII modulation reference EXS24 mkII modulation target reference The following targets, or destinations, are available in the Dest pop-up menu for real-time modulation. Destination Comments Sample Select Modulates the sample (zone) that is played. By default, Sample Select is controlled by velocity— through the default Velocity to Sample Select modulation routing.
Destination Comments Pan Modulates the panorama position of the sound in the stereo spectrum. Modulating Pan with an LFO results in a stereo tremolo (auto panning). In unison mode, the panorama positions of all voices are spread across the entire stereo spectrum. Nevertheless, you can still modulate pan, moving the positions in parallel. Relative Volume Adds or subtracts the specified amount to or from the Volume parameter. LFO 1 Dcy.
EXS24 mkII modulation source reference The following modulation sources are available in the Src pop-up menu: Source Comments Side Chain Side Chain modulation uses a side-chain signal as a modulation signal. The side-chain source can be chosen from the Side Chain pop-up menu in the header of the plug-in window. It is fed to the internal envelope follower, which creates a modulation value based on the current side-chain input signal level.
EXS24 mkII modulation via source reference The following sources may be chosen from the Via pop-up menu to control the modulation intensity. Via source Comments Side Chain Side Chain modulation uses a side-chain signal as a modulation intensity (trigger) signal. You can choose the side-chain source from the Side Chain pop-up menu in the upper-right corner of the plug-in window.
EXS24 mkII Instrument Editor window EXS24 mkII Instrument Editor overview The Instrument Editor is used to create and edit sampler instruments. A sampler instrument consists of zones and groups: •• A zone is a location into which a single sample (an audio file) is loaded from a hard disk. You can edit zone parameters in Zones view. •• Zones can be assigned to groups, which provide parameters that allow you to simultaneously edit all zones in the group. You can define as many groups as required.
EXS24 mkII Zones and Groups view There are two views in the Instrument Editor window: Zones and Groups. In Zones view, the area above the keyboard displays the Zones area. The general menus, buttons, and so on, are displayed in both Zones and Groups views. Click to switch between Zones and Groups views. Zones column Keyboard Parameters area Zones/Group area Velocity area •• Zones column: Displays all zones of the instrument.
In Groups view, the area above the keyboard displays Groups. The general menus, buttons, and so on, are displayed in both Zones and Groups views. Instrument Editor in Groups view Click here to reopen a closed EXS24 mkII Parameter window. Note: Clicking the EXS24 button does not display the Parameter window in the foreground if it is covered by other floating windows.
Create instruments, zones, and groups Create EXS24 mkII instruments You can add zones and groups to loaded instruments, or you can create a new, empty instrument and fill it with zones and groups. Important: EXS24 mkII cannot directly record samples as you would with a hardware sampler. You need to record the samples in a suitable application, such as Logic Pro. Create a new instrument mm If you are in the Parameter window and no sampler instrument is loaded: Click the Edit button.
3 Locate the audio file you want and select it. •• If you select the “Hide used audio files” checkbox, files used in the currently loaded sampler instrument are dimmed. •• If you select the “Preview audio file in EXS Instrument” checkbox, the sample files in the currently selected zone are temporarily replaced. The zone is not directly triggered by selecting this option, but it can be triggered by playing MIDI notes while the file selector is open—and different files are chosen.
Create multiple zones in one operation 1 Choose Zone > Load Multiple Samples in the Instrument Editor (or use the Load Multiple Samples key command). 2 Browse to the source files location, then use the Add or Add All buttons to select the samples you want to use. 3 Click Done.
Create EXS24 mkII groups Imagine a drum kit with a number of different samples used in several zones, mapped across the keyboard. You might decide that you want to change the parameters of each sample independently—to alter the decay of the snare, or to use a different cutoff setting for the hi-hat samples, for example. In this context, EXS24 mkII’s groups feature is useful. Groups allow for flexible sample organization. You can define as many groups as you need and assign each zone to one of these groups.
Delete all groups that do not have a zone assignment mm Choose Group > Delete Unused Groups in the Instrument Editor. Remap pitch bend and modulation wheel events To create realistic-sounding performances in an easy and intuitive way, the Jam Pack 4 (Symphony Orchestra) instruments use the modulation wheel to switch between articulations— legato, staccato, and so on. The pitch bend wheel is used to change expression—crescendo, diminuendo, and so on. For more information, see the Jam Pack 4 documentation.
Select a zone or group for editing There are a number of ways you can select zones and groups for editing. To make selection easier, you can first use the sort options. Sort zones or groups You can easily sort zones and groups in the Instrument Editor. For example, if you want to sort your zones by name, click the Name subcolumn heading in the Zone column and your zones are sorted alphabetically.
Make advanced EXS24 mkII group selections You can define a specific event to use as a group selection switch. Whenever the defined selection event is triggered, zones pointing to this group can be played, while other groups selected with a different event are not played. The defined event does not play or alter a sound; it acts only as a group selection switch. The Select Group By command is available in the View menu when you are in Groups view.
Define a “base” group and switch between groups with MIDI notes If you want EXS24 mkII to automatically switch between two string sample groups, for example—one for staccato samples and one for legato samples—you could set the Select Group By menu to MIDI notes, and assign a different MIDI note to trigger each group. You can then use a note that is not triggering a sound as a remote group switch. The following assumes that several groups already exist. See Create EXS24 mkII groups.
Set up a round robin in EXS24 mkII The term round robin is used to describe sample switching when a single key is struck repeatedly. This feature can be particularly useful in live performance or for avoiding abrupt, machine-gunlike effects when switching between real instrument samples. In EXS24 mkII, you can use a group as the selection criteria for the Select Group By condition. When one group is played, other groups are silent. 1 Click the Sampler Instruments pop-up menu and load an instrument.
Show or hide zone and group parameters Use the View menu to determine which zone and group parameters are shown in the Instrument Editor: •• View All: Shows all available columns and subcolumns. •• Individual Zone and Group display settings: Choose the individual columns and subcolumns you want to display. The zone entries are available in Zones view. The group entries are available in Groups view. Tip: Press Option, then choose a disabled zone or group column to limit the display to the chosen column.
Reset a label set mm Choose Reset Label Set As from the pop-up menu in the Output Labels window. All changes that you have made to label names are reset. Delete a label set 1 Choose the label set name from the pop-up menu in the Output Labels window. 2 Choose Delete “label set name” from the pop-up menu in the Output Labels window. Zone and group Edit menu commands Use the Edit menu for all basic sampler instrument editing operations, such as copying zones, undoing edit operations, and so on.
Change the start or end note of a zone or group 1 Move the pointer to the beginning or end of a zone or group (the pointer changes to the resize icon). 2 Drag the start or end point of the zone or group to the target position.
EXS24 mkII zone parameters The zone parameters provide extensive control over each zone, or sample, in your sampler instrument. Zone parameters •• Zone Name field: Displays the zone name. New zones are automatically assigned a consecutive number. Click a zone number to enter a name. •• Audio File menu: Displays the audio filename. Move the pointer over a name to reveal a help tag with additional information, such as format, bit depth, sample rate, and so on.
•• 1Shot checkbox: Click to make the zone ignore the length of incoming MIDI note events— resulting in the sample always being played from beginning to end whenever a note-on event is received. This is useful for drum samples, where you often don’t want the MIDI note length to affect sample playback. Also see the Fade field parameter below. •• Reverse checkbox: Click to play the sample from the end to the beginning. •• Group menu: Shows the group assignment of a zone.
EXS24 mkII zone loop parameters EXS24 mkII can loop playback of either an entire sample or a portion of it, when sustained MIDI notes are received. Zone loop parameters •• Loop On checkbox: Click to enable looping and to allow access to the other Loop parameters. •• Loop Start, Loop End fields: Define discrete loop start and end points, allowing you to loop a portion of the audio file.
EXS24 mkII group parameters Group parameters provide simultaneous control of all assigned zones. Group parameters •• Group Name field: Displays the group name. Click to enter a name. •• Key Range fields: Define a key range for the group. •• Lo: Sets the lowest note for the group. •• Hi: Sets the highest note for the group. Playing notes outside this range does not trigger the zones assigned to this group.
•• Cutoff and Reso(nance) fields: Independently offset the Cutoff and Resonance settings for each group. This can be useful if you want the initial impact of a note to be unfiltered for one group but not other groups. •• Envelope 1/Envelope 2 Offsets fields: Independently offset the envelope settings in the Parameter window for each group. This is useful if you want the filter (Envelope 1) or volume (Envelope 2) envelopes to affect the samples in a group—after the initial impact of the triggered sounds.
Edit samples in the Logic Pro Audio File Editor EXS24 mkII and the Logic Pro Audio File Editor are built to work together. The Logic Pro Audio File Editor provides an intuitive way to adjust sample and loop start and end points by working directly on a visual representation of the waveform. Open the Logic Pro Audio File Editor mm Control-click either the Loop Start or Loop End parameter fields of the zone you want to edit in the Instrument Editor window.
Update zone information After you save and reopen a sample that was edited in either the Logic Pro Audio File Editor or a sample editor not made by Apple, it is likely that either the Start and End, or Loop point values— shown in the Parameters area—will no longer be accurate. mm Choose the Update Selected Zone(s) Info from Audio File command from the Zone menu.
EXS24 mkII preferences The EXS24 mkII Sampler Preferences window provides access to sample-related preferences, such as sample rate conversion quality, velocity response, sample storage, search-related parameters, and so on. Sampler preferences •• Sample Rate Conversion pop-up menu: Determines the interpolation quality used by EXS24 mkII. Choose Best to maintain the highest possible sound quality when transposing.
•• •• Read root key from pop-up menu: Sets the method used by EXS24 mkII to determine the root key or velocity (or both) of loaded audio files. You can choose from the following: •• File/filename: Initially reads information about the root key/velocity from the audio file itself (in the header of the AIFF or WAV file) when loading it into a zone. If no information of this type exists in the file header, a smart analysis of the filename may detect a root key/velocity.
•• •• Velocity at File Name Position pop-up menu: EXS24 mkII can determine the velocity from the file header of the loaded audio file. On occasion you may want manual control over this parameter, if you feel that the velocity is not being properly determined. •• Auto: Provides a smart analysis of velocity from the filename. An abbreviation in the filename can be recognized—pp or ff, for example.
EXS24 mkII memory management Multigigabyte sample libraries are commonplace today, delivering incredibly detailed and accurate instrument sounds. In many cases, these sample libraries are too large to fit into your computer’s random-access memory (RAM). To use these huge sampler instruments, EXS24 mkII can use a portion of your hard drive as virtual memory.
•• Requires Constant RAM Allocation Of field: Shows the memory requirements of the above parameters. The slower your hard drive and the higher your hard disk recording activity, the more RAM you will need to allocate to virtual memory. •• Performance section: Shows the current disk I/O traffic and the data not read from disk in time. If these numbers start rising, EXS24 mkII may glitch when trying to stream samples from disk.
External Instrument 10 External Instrument overview You can use the External Instrument to route external MIDI sound generators through the Mixer, which you can then process with effects. You can also use the External Instrument to transmit and receive MIDI information through the instrument channel strip that it is inserted into. This enables you to control an external sound module—both MIDI and audio—from within one element.
Use the External Instrument The track routed to an instrument channel strip that is being used for an external MIDI sound module behaves just like a standard software instrument track. This enables you to record and play back MIDI regions on it, with the following benefits: •• You can use the sounds and synthesis engine of your MIDI module with no overhead on your computer CPU apart from effects used in the channel strip. •• You can use insert and send effects.
11 Klopfgeist Klopfgeist parameters Klopfgeist is an instrument that provides a metronome click. It is inserted into instrument channel strip 256 by default and is used to generate the MIDI metronome click. Klopfgeist can also be inserted into any other instrument channel strip for use as an instrument.
•• Damp slider and field: Drag to set the release time. The shortest release time is attained when Damp is at its maximum value, 1.00. •• Level via Vel slider and fields: Drag to set velocity sensitivity. The top slider sets the volume at maximum velocity. The lower slider sets the volume at minimum velocity. Drag the area between the two slider segments to move both simultaneously.
Retro Synth 12 Retro Synth overview Retro Synth is a flexible 16-voice synthesizer that can produce a wide variety of sounds. Retro Synth provides four types of synthesizer engines—Analog, FM, Sync, and Wavetable. Each engine can generate unique sounds that are difficult, or impossible, to achieve with other types of synthesizers. Retro Synth is very easy to use, with many identical controls found in each synthesizer engine.
Retro Synth Analog oscillator controls The synthesizer oscillators are used to generate one or more waveforms. You set the basic tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound, and set the level relationships between oscillators. The signal of one or both oscillators is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation.
Retro Synth Sync oscillator controls The synthesizer oscillators are used to generate one or more waveforms. You set the basic tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound, and set the level relationships between oscillators. The signal of one or both oscillators is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation.
Retro Synth Table oscillator controls The synthesizer oscillators are used to generate one or more waveforms. You set the basic tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound, and set the level relationships between oscillators. The signal of one or both oscillators is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation.
Retro Synth FM oscillator controls The synthesizer oscillators are used to generate the basic tonal color. This signal is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation. See Retro Synth filter controls, Retro Synth amp and effect controls, Use Retro Synth modulation, and Retro Synth global and controller settings.
FM oscillator parameters •• Vibrato knob: Rotate to set the amount of vibrato (pitch modulation). •• Modulation knob: Rotate to choose an FM amount modulation source, and to set the modulation intensity. •• FM (Amount) slider: The carrier waveform is a simple sine wave. Drag to adjust the level of this basic tone. •• FM/Harmonic switch: Switch to control the harmonic/inharmonic content of your sound with the LFO or Filter Envelope.
Retro Synth filter controls Retro Synth features a flexible filter that can operate as a lowpass, highpass, bandpass, band reject, or peak filter. The filter can subtly, or dramatically, affect the basic tone sent from the oscillators. Filter use is straightforward. Choose a filter type and set a filter slope (if applicable). Adjust the filter cutoff and resonance controls to sculpt the sound.
•• Cutoff control: Drag the handle horizontally to set the brilliance of the signal. •• In a lowpass filter: the higher the Cutoff frequency is set, the higher the frequencies of signals that are allowed to pass. •• In a highpass filter: Cutoff sets the point where low frequencies are suppressed. •• In a bandpass, band reject, or peak filter: Cutoff sets the center frequency of the band that is allowed to pass, is suppressed, or is emphasized.
Retro Synth amp and effect controls Retro Synth’s Amp controls set the overall volume. You can also mix a sine wave directly into the output stage, which thickens the sound. You can make the sound richer with Retro Synth’s integrated Chorus effect or add a sweeping, metallic character with the Flanger effect. If you’re new to synthesizers and the concepts behind amp controls, see Synthesizer basics overview.
Retro Synth modulation controls Use Retro Synth modulation Retro Synth’s Glide/Autobend, LFOs, and envelopes are known as modulation generators. These modulation sources are used to control modulation targets, such as oscillator pitch or filter cutoff. The Volume Envelope is dedicated to control of your sound’s level over time. The Filter Envelope controls the filter over time. See Retro Synth envelopes. Retro Synth’s LFO is used as a source for multiple modulation targets.
Use vibrato to modulate oscillator pitch 1 Rotate the Vibrato knob to set the amount of vibrato (pitch modulation). 2 Click the Vibrato tab if the LFO is visible. 3 Select a vibrato waveform. 4 If the Sync switch is turned off, drag the Rate note to set the vibrato speed. If the Sync switch is turned on, vibrato speed is controlled by the host application tempo. See Retro Synth LFO and Vibrato.
Retro Synth LFO and Vibrato Retro Synth’s LFO (Low Frequency Oscillator) is a multiwaveform, polyphonic modulation generator that modulates each voice, or note you play, individually. It can be used as a source for multiple modulation targets. Retro Synth also provides a dedicated Vibrato LFO for pitch modulation. Although they are oscillators, LFOs are not audible—but their effects can certainly be heard. The sole purpose of an LFO is to modulate other sound generating elements of the synthesizer.
Retro Synth envelopes Retro Synth features two identical attack, decay, sustain, and release (ADSR) envelopes that shape the filter cutoff and the level of the sound over time. When you think of different sounds, such as a snare drum, piano, or strings, they’re not only tonally different, but the characteristics of the sound change over time. Both the snare drum and piano are heard immediately when struck. This is because they both have a short attack phase.
Retro Synth global and controller settings Retro Synth global controls are used to set the overall tuning, polyphony, and other aspects of your instrument. The controller settings let you assign MIDI keyboard features to Retro Synth controls. You can use three MIDI controllers—velocity, modulation wheel, and aftertouch—to change Retro Synth’s Filter Cutoff, Wave Shape (Pulse Width), or LFO/Vibrato Rate controls.
•• Double switch: Turns unison mode on or off. The behavior of unison mode depends on the number of voices set with the Voices parameter. One of the strengths of polyphonic analog synthesizers is unison—or stacked voices—mode. Traditionally, in unison mode classic analog polysynths run monophonically, with all voices playing simultaneously when a single note is struck. Because the voices of an analog synthesizer are never perfectly in tune, this results in a rich, chorus-like effect with great sonic depth.
Sculpture 13 Sculpture overview This section contains key information and concepts that you need to understand before taking a look at Sculpture features and parameters. If you’re new to synthesizers, it might be best to start off with Synthesizer basics overview on page 472, which will introduce you to the terminology and give you an overview of different synthesis methods and how they work. Sculpture is a synthesizer that generates sounds by simulating the physical properties of a vibrating string.
Sculpture enables you to virtually model the physical consistency and behavior of all components involved—hence component modeling synthesis. Objects String Pickups Amplitude envelope Wave Shaper Filter Delay Body EQ Level Limiter This figure shows the signal flow of Sculpture’s core synthesis engine.
Sculpture is an instrument that requires some investment of your time, but it will reward you with beautifully warm and organic sounds, evolving soundscapes—or a harsh and metallic “Hell’s Bells” patch, if required. Don’t be afraid to experiment; that’s what Sculpture was created to do. Sculpture interface Sound engine Modulation section Global control sources The user interface of Sculpture is divided into three main areas. •• Sound engine: The top two-thirds of Sculpture contains the sound engine.
Sculpture string parameters Sculpture string overview The string is responsible for the basic tone of your sound. You can define its material—what it’s made of—and determine its behavior when bowed, plucked, struck, and so on. The string itself doesn’t make a sound unless it is stimulated—excited or disturbed—by at least one object. Up to three different types of objects are used to excite, disturb, or damp the string (make it vibrate or affect its movement). See Sculpture objects overview on page 247.
String parameters •• Hide, Keyscale, and Release view buttons: Show or hide different groups of parameters. •• Material Pad: Determines the basic tone of the string by setting the stiffness and damping properties. •• String parameter sliders: Shown on the outer ring of the Material Pad, the String parameter sliders further define the properties and behavior of the string. •• Resolution sliders: Determine the maximum number of harmonics contained in the sound at C3 (middle C).
Sculpture’s basic Material Pad parameters The Material Pad works as a matrix of Stiffness (x-axis) and Inner Loss (y-axis) values. Inner Loss axis Material Pad ball Stiffness axis The four corners of the Material Pad display different material names. These each represent a combination of maximum/minimum Stiffness and Inner Loss values. The combination of the Inner Loss and Stiffness parameter positions determine the string material and, therefore, the general timbre of your sound.
Use Sculpture’s Material Pad in Keyscale or Release view In Keyscale or Release view, the Material Pad shows additional controls for the Keyscale and Release parameters. Diamond control Keyscale view Crosshair control Diamond control Release view Line control Material Pad Keyscale and Release parameters •• Diamond controls: Drag to adjust the Stiffness and Inner Loss Keyscale and Release parameters.
Adjust Inner Loss release scaling in the Material Pad In Release view, you define changes to the damping amount when the key is released. Conservative use of this parameter—in conjunction with Media Loss Scale Release—allows a natural simulation of strings that are dampened when a note-off message is received. See Use Sculpture’s string parameter sliders on page 245. 1 Click the Release button. 2 Vertically drag the blue Release line.
•• Tension Mod slider: Drag to set the momentary detuning of the string. •• Tension Mod High Scaling slider (blue): Drag to set the tension modulation behavior for notes above middle C. •• Tension Mod Resolution Low Scaling slider (green): Drag to set the tension modulation behavior for notes below middle C. Note: This nonlinear effect can deliver surprising results and can also make the entire model unstable, especially when combined with low Media Loss and Inner Loss values.
Sculpture objects parameters Sculpture objects overview The objects are used to stimulate or otherwise affect the string in some way. The object parameters discussed in this section apply on a per-voice basis. You will note a number of parameter names followed by (morphable). This indicates that the parameters can be morphed between up to five morph points. For more information, see Sculpture morph overview on page 280.
Object parameters •• On/Off buttons (1, 2, and 3): Turn the object on or off. •• Type pop-up menus: Choose each object type. See Sculpture excite table (objects 1 and 2) on page 248 and Sculpture disturb and damp table (objects 2 and 3) on page 250. •• Gate mode buttons: Click to determine when the object is active—that is, when it disturbs or excites the string.
Name Description Strength controls Timbre controls Variation controls GravStrike Like hammer but with gravitation toward the string, leading to multiple hammer-string interactions and disturbed string vibrations Hammer start speed Felt stiffness Gravitation Pick Finger or plectrum picking Pickup force and speed Force/speed ratio Plectrum stiffness Bow Bowing of the string Bow speed Bow pressure Slip stick characteristics Bow wide Same as bow, but wider, resulting in a more mellow tone,
Sculpture disturb and damp table (objects 2 and 3) The following table lists all disturb and damp types available for Objects 2 and 3. For information on excite types available for Objects 1 and 2, see Sculpture excite table (objects 1 and 2) on page 248. Name Description Strength controls Timbre controls Variation controls Disturb A disturb object that is placed at a fixed distance from the string’s resting position The hardness of the object The distance from the resting position Controls width.
Name Description Strength controls Timbre controls Variation controls Bound A boundary that limits and reflects string movement. This is much like a fingerboard that limits string movement when the string is plucked very firmly. The distance from the boundary center position to the string’s resting position The slope (steepness) of the boundary. A value of 0.0 places the boundary parallel to the string.
Sculpture pickups parameters Use Sculpture pickup parameters The pickup parameters discussed in this section apply on a per-voice basis. You will note a number of parameter names followed by (morphable). This indicates that the parameters can be morphed between up to five morph points. See Sculpture morph overview on page 280. The pickups are the first element beyond the sound-generating portion of Sculpture—consisting of the string and objects—and act as the input to the virtual signal processing chain.
Adjust an object pickup position mm Drag the corresponding numerical slider handle (the 1, 2, or 3 arrows) for each object. Adjustments to object positions will disturb/excite a given portion of the string. The vertical orange lines represent the positions of Objects 1, 2, and 3. The thickness and brightness of these lines indicate the strength of the objects. Object 1 can be an exciter. Object 3 can be a damper. Object 2 has two arrows, indicating that it can be used as either an exciter or damper.
Sculpture global parameters These are found across the top of the Sculpture interface, unless otherwise specified. Global parameters •• Glide Time field: Drag to set the time required to slide from the pitch of one played note to another. The Glide parameter behavior depends on the keyboard mode you choose. •• If you set the keyboard mode to Poly or Mono and set Glide to a value other than 0, portamento is active.
•• Bender Range Up/Down fields: Drag to set the upward/downward pitch bend range. •• Separate settings are available for upward and downward pitch bends—using your MIDI keyboard’s pitch bend controller. •• When Bender Range Down is set to Linked, the Bender Range Up value is used for both (up and down) directions. Note: Bending the string, just like the string on a real guitar, will alter the shape of the modeled string, rather than merely act as a simple pitch bend.
Use Sculpture’s Waveshaper The Waveshaper imposes a nonlinear shaping curve on each voice of the signal coming from the pickups and amplitude envelope. This reshaped signal is then passed on to the filter. This process is quite similar to the waveshaping of oscillators in synthesizers such as Korg’s O1/W. Waveshaper parameters •• Waveshaper On/Off button: Turns the Waveshaper on or off. •• Type pop-up menu: Select one of four waveshaping curves. See the table.
Sculpture filter parameters The parameters discussed in this section apply on a per-voice basis. A number of parameter names are followed by (morphable), which indicates that the parameters can be morphed between as many as five morph points. For more information, see Sculpture morph overview on page 280. The filter parameters provide further timbral/spectral control over your sound. They will be familiar to you if you have any experience with synthesizers.
•• Resonance knob (morphable): Rotate to set the filter resonance value. •• In highpass and lowpass modes, Resonance emphasizes the portions of the signal that surround the center frequency. •• In Peak, Bandpass, and Notch modes, Resonance controls the width of the band that surrounds the center frequency. •• Key (tracking) knob: Rotate to determine how cutoff frequency responds to key position. The farther up or down the keyboard you play, the more bright or mellow the sound becomes.
•• •• •• •• •• •• HiCut slider: Determines the cutoff frequency of the lowpass filter at the delay line output/ feedback loop. Groove Pad: Use to graphically adjust delay times in stereo instances. See Sculpture’s Groove Pad (stereo) on page 259. Input Balance slider: Drag to move the stereo center of the Delay input to the left or right, without the loss of any signal components. This makes it ideal for ping-pong delays. Delay Time slider and field: Drag to set the delay time.
Sculpture Body EQ parameters Sculpture Body EQ overview The Body EQ can work as a simple EQ, as a complex spectral shaper, or as a body response simulator. In effect, the Body EQ can emulate the resonant characteristics of a wooden or metallic body—such as that of a guitar, violin, or flute. The various models are derived from impulse response recordings of actual instrument bodies.
Use Sculpture’s Basic EQ model The Basic EQ parameters differ from other EQ models. Low knob Mid knob High knob Mid Frequency slider Basic EQ parameters •• Low knob: Rotate to set the gain of a low shelving filter. •• Mid knob: Rotate to set the gain of a peak filter (sweepable—see “Mid Frequency slider” below). •• High knob: Rotate to set the gain of a high shelving filter. •• Mid Frequency slider: Drag to sweep the center frequency of the mid band between 100 Hz and 10 kHz.
Use Sculpture’s Body EQ models All other Body EQ models provide the following parameters: Intensity Shift Stretch Fine Structure slider Body EQ parameters •• Formant–Intensity knob: Rotate to scale the intensity of the model’s formants. Any formants (harmonics) in the model become louder or are inverted, depending on how this parameter is used. A value of 0.0 results in a flat response. A value of 1.0 results in strong formants. Negative values invert the formants.
Sculpture output parameters The Level Limiter is useful for softening some of the more aggressive aspects—such as snarling or roaring sonic artifacts—that you may encounter when using Sculpture. Output parameters •• Level knob: Rotate to set the overall output level of Sculpture. •• Level Limiter mode buttons: •• Off: Turns the Level Limiter off. •• Mono: Turns on a monophonic limiter that processes the summed signal of all voices.
Sculpture also includes a number of specially designed modulation sources that are less conventional. These include: •• Two jitter generators with adjustable bandwidth—used to create random variations. •• Two Randomizers that change values only at note start/on—perfect for emulating the lip, breath, and tongue effects of brass instrument players, for example.
Both LFOs can also be faded in or out automatically, courtesy of built-in envelope generators. Waveform menu Rate knob Sync/Free buttons Rate Mod slider Source menu Phase knob Envelope knob Curve knob LFO parameters •• Waveform pop-up menu: Choose the waveform used for LFO modulation. See Sculpture LFO waveforms on page 266. •• Waveform display: Shows the results of changes to the Waveform pop-up menu and Curve knob parameter settings.
Sculpture LFO waveforms The LFO Waveform pop-up menus set different waveforms for the LFOs. The table below outlines how these can affect your modulations. Waveform Comments Sine Ideal for constant, even, modulations. Triangle Well-suited for vibrato effects. Sawtooth Well-suited for helicopter and space gun sounds. Intense modulations of the oscillator frequencies with a negative (inverse) sawtooth wave lead to “bubbling” sounds.
Modulate Sculpture LFOs Two modulation targets can be assigned per LFO. An optional via modulation can also be assigned. The LFOs also feature a simple envelope generator, which is used to control the time it takes for the LFO modulation to fade in or fade out. At its center position, which is accessed by clicking the middle mark, the modulation intensity is static—in other words, no fade-in or fade-out will occur. Click the 1 or 2 buttons to activate each source.
Sculpture Vibrato parameters One LFO is hard-wired to pitch, for vibrato effects, periodic pitch modulations. You can adjust the strength of the vibrato effect by the MIDI controller you choose from the Vib Depth Ctrl pop-up menu, which is in the MIDI Controller Assignment section. See Define Sculpture MIDI controllers on page 289.
Sculpture Jitter generators Many sounds can benefit from small, random modulations to parameters. These can emulate the subtle variations that occur when particular instruments are played. The two jitter generators are special LFO sources that are designed to produce continuous, random variations—such as those of smooth bow position changes. The jitter generators are equivalent to general purpose LFOs set to a noise waveform.
Sculpture note-on random modulators The two note-on random sources are intended for random variations between different notes or voices. Values are randomly generated for each note and remain constant until the voice is released. Such randomizations are useful for adding interest or thickening the sound when you play polyphonically. Note-on random is also useful for emulating the periodic fluctuations that a musician introduces when playing an instrument—even when repeating the same note.
Sculpture velocity modulators The excite objects and the filter have dedicated velocity sensitivity controls. Many other modulation routings also allow you to select velocity as a via source. In some cases, however, it may be useful to directly control other synthesis core parameters by velocity. This can be done in this section—where two independent target/amount/velocity curve slots are available. Target menu Curve buttons Amount slider Click the 1 or 2 buttons to activate each velocity source.
Use Controller A and B in Sculpture These parameters define two discrete modulation targets. The modulation intensity, or strength, is assigned to Controller A, Controller B, or both. Target menu Continue button Amount slider Click the 1 or 2 buttons to activate each controller source. Controller A and B parameters •• On/Off buttons (1 and 2): Turn the controller A and B modulation sources on or off.
Control envelope parameters •• Envelope 1 and 2 buttons: Choose control envelope 1 or 2, and access the parameters of each. •• On/Off buttons (1 and 2): Turn the control envelope 1 and 2 modulation sources on or off. •• Target pop-up menus: Choose modulation targets 1 and 2. Two targets can be assigned per envelope, with an optional via modulation. Targets include string, object, pickup, Waveshaper, and filter parameters.
Sculpture active envelope parameters The following parameters are active only if the envelope is engaged (Mode buttons set to either Env or Ctrl+Env). Envelope parameters •• A-Time Velosens slider: Move to set velocity sensitivity for the attack phase of the envelope. Positive values reduce the attack time at lower velocities. Negative values reduce the attack time at higher velocities.
Use Sculpture’s envelope display The envelope curve is shown in the display to the lower right of the Sculpture interface. The envelope display is active only if the envelope is engaged (Mode buttons are set to either Env or Ctrl+Env). •• The overall time/length of the envelope is indicated by the numerical entry at the top right of the window (2400 ms in the figure). •• The maximum time/length of the envelope is 48 bars/40 seconds.
Use Sculpture envelope nodes When an envelope is first opened, a default envelope curve is automatically created for each envelope. Click the (Mode) Env button to view it. A few handles (nodes) are placed—from left to right—along a straight line within the envelope. These are indicators of the following parameters.
Loop Sculpture envelopes The envelope can run in one-shot mode, like any envelope—the envelope phases run for as long as the note is held. It can also run through each phase several times or in an infinite cycle, much like an LFO. You can achieve this through the use of loops. You can synchronize loops to the project tempo automatically by using the sync and ms buttons.
Record Sculpture envelopes It is important to note that you can only record the movements of the assigned MIDI controller. MIDI controller assignments for the envelopes must be set in the MIDI Controller Assignment section at the bottom of the Sculpture interface (see Define Sculpture MIDI controllers on page 289). Envelope MIDI controller assignments Envelope recording parameters •• R(ecord) button: Starts or stops envelope recording.
Record an envelope 1 Choose a Record Trigger Mode, such as Note + Ctrl. 2 Click the Record button (the “R”) to start recording. 3 Play, and hold, a key—and start moving the controllers assigned to envelope controls 1 or 2 or both, such as the modulation wheel. Stop an envelope recording Do one of the following: mm Click the Record button ( the “R”) to disengage it. mm Release all voices. mm Play a new note after releasing all keys.
Sculpture morph parameters Sculpture morph overview Sculpture has a number of morphable parameters, indicated in the Sculpture interface by an orange value bar, rather than a blue or turquoise one. This makes it easy to identify, and edit, the values of these parameters. All morphable parameters can be independently adjusted and stored in a morph point. In essence, the values of all morphable parameters are captured at a particular moment in time, much like a photograph.
During a morph, the red line in the Morph Envelope timeline shows the current time position, and the Morph Pad displays a moving dot that indicates the current morph position. Note: The current morph position is only shown if one note is being played. Use Sculpture’s Morph Pad Morph points in Sculpture’s Morph Pad One of the five Morph Pad points (A, B, C, D, and Center) is always selected for editing. This selected point is indicated by two concentric circles that surround it.
Randomize morph points in Sculpture’s Morph Pad The randomize feature creates random variations of selected morph points. When combined with the copy/paste function, randomizing lends itself to using the Morph Pad as an automatic sound generator. Use of the Morph Pad can yield interesting composite sounds—hybrids of the original and morphed sound. You can copy this hybrid sound to a corner of the Morph Pad, or to several corners, and randomize it by a definable amount.
Randomize morph points This example provides a general approach that you can follow for morph point randomization. 1 Select a Point button (the top, five-point button, for example). 2 Turn on Auto Select. 3 Drag the Int(ensity) slider to a value of 25%. 4 Click the Rnd button. Note the movement of a number of the parameters in the core synthesis engine. 5 Drag the morph ball to each corner in the Morph Pad. Do this along the edges and through the center of the Morph Pad. Note how this affects the morph.
Use Sculpture’s Morph Envelope Use Sculpture’s Morph Envelope display The Morph Envelope contains nine points and eight segments, and it has recording behavior that is much like that of the controller envelopes. The selected (orange) point in the lower panel (the Timeline) corresponds to the selected point in the Morph Pad trajectory. •• The overall time/length of the Morph Envelope is indicated by the numerical entry at the top right of the display.
Sculpture Morph Envelope parameters The following section describes the Morph Envelope’s parameters. Mode buttons and Pad Mode menu Record button and Trigger menu Time Scale field Sustain Mode menu Modulation knob and Source menu Sync/ms buttons Depth knob Transition knob Morph Envelope parameters •• Record button: Click to arm the envelope for recording. See Record Morph Envelopes in Sculpture on page 288. •• Trigger Mode pop-up menu: Choose the event type that triggers recording.
Sculpture’s Morph Envelope mode The Mode buttons activate the Morph Envelope and provide a choice of several modes: •• Both buttons off: Morph function is disabled. •• Pad only: Envelope is deactivated, and morphing is controlled by the morph ball or X/Y MIDI controllers only. •• Env only: Envelope is running, but the morph ball and X/Y MIDI controllers are deactivated.
The Loop and Sustain point handles can be grabbed and repositioned. Note that doing so can potentially alter the loop (and the overall morph envelope) length. The loop modes behave as described below: •• Finish: The envelope runs in one-shot mode from its beginning to its end—even if the note is released before the envelope has completed. The other loop parameters are disabled.
Record Morph Envelopes in Sculpture The following section describes the steps you follow to record a Morph Envelope. Choose a record trigger mode mm Click the Trigger mode pop-up menu to the right of the R button, then choose one of the following trigger modes, which will start recording when R(ecord) Enable is turned on: •• NoteOn: Recording starts when a note is played.
Define Sculpture MIDI controllers The bottom strip of the Sculpture interface is used to define MIDI controllers—for vibrato depth control or Morph Pad movements, for example. You can use any MIDI controller shown in the menus for these control sources. These parameters are saved with each setting. They are updated only if the default setting that is loaded on instantiating the plug-in is used, or if the setting was saved with a project.
Sculpture tutorials Explore Sculpture Explore Sculpture overview The following sections contain information to assist you as you start to explore sound creation in Sculpture. See Explore Sculpture’s string, Explore Sculpture’s objects, Explore Sculpture’s pickups, and Other Sculpture processing parameters. The creation of basic instrument sounds is discussed in Basic sound programming overview on page 295.
Explore Sculpture’s string The string is the central synthesis element of Sculpture and is responsible for the basic tone. It offers parameters that enable you to adjust its material—what it’s made of, in other words—and to define the environment that it’s being played in—water or air, for example. Tip: Before starting, Control-click the string (the green horizontal line in the Pickup display), then choose “enable string animation” from the shortcut menu.
Explore Sculpture’s objects Up to three objects of different types are used to excite or disturb the vibration of the string. Tip: Before starting, Control-click the string (the green horizontal line in the Pickup display), then then choose “enable string animation” from the shortcut menu. When active, the string vibrates when you play a note, making it easier to visualize the impact of the objects and pickups.
String and object interactions in Sculpture Each parameter has an impact on the overall tone of the string and—more often than not—an impact on the string interaction of other parameters. As you introduce or make changes to parameters, the modeled string is affected. This, in turn, affects the interaction of each parameter with the modeled string. Therefore, parameter settings that you already made for Object 1, for example, may need to be adjusted when Object 2 is turned on.
Other Sculpture processing parameters From the pickups, the signal is sent to the processing section, which consists of the ADSRequipped amplitude stage (just to the right of the circular Material Pad in the center), a Waveshaper with selectable types of waveshaping curves (above the circular Material Pad), and a multimode filter (below the Material Pad). All elements covered thus far exist on a per-voice basis.
Create basic sounds in Sculpture Basic sound programming overview This section covers the creation of basic types of sounds, such as organs, basses, guitars, and so on. See Acoustic instrument programming examples, Stringed instrument programming examples, and Classic synthesizer programming examples. For a detailed look at programming particular types of sounds, see Electric bass programming overview on page 305 and Synthetic sound programming overview on page 323.
Before you begin, it should be stressed that the examples discussed in the subtopics provide one or two approaches to the task at hand. There are many ways to model each component of the sound. With this in mind, consider the following: •• Experiment with the suggested parameters to create your own versions of sounds. Use your own parameter values if the supplied values don’t match your ideal bass sound, for example. •• Subtle changes—particularly to Keyscale parameters—result in more controlled sounds.
Create a generic brass sound Brass instruments are notoriously difficult to recreate with electronic instruments. Samplers do a reasonable job in the right hands, and with the right sample library, but they lack the organic warmth of a real brass player. This is a simple and generic brass setting that can be played as a solo instrument or as a brass section. 1 Load the #default (or your vanilla) setting file. 2 Set Object 1’s type to Blow. 3 Activate Object 2, and set its type to Noise.
Create flute-like sounds Use this approach as the basis for instruments in the wind family, including flutes, clarinets, shakuhachis, pan pipes, and so on. 1 Load the #default (or your vanilla) setting file. 2 Make sure Keyboard Mode is set to mono, as flutes and other wind instruments are monophonic. After you’ve created the setting, feel free to experiment with this parameter while playing, and make your choice. 3 Set Object 1’s type to Blow. 4 Set Object 2’s type to Noise.
Create an organ sound Organ sounds are among the easiest and quickest sounds to emulate in Sculpture, because they have no release phase. This simplifies things in that you don’t need to set Keyscaling parameters for the basic tone. You may, however, do so at a later stage—for modulation routing or specific sound design purposes. 1 Load the #default (or your vanilla) setting file. (Object 1’s type should be set to Impulse. If it isn’t, change it now.
Create a percussion sound Percussive sounds, such as drums, tend to share a similar type of envelope. They contain a strike element, where most of the sonic character is exhibited, followed by a short decay phase. The release phase will vary depending on the instrument itself—a snare drum as opposed to a woodblock, for example—and depending on the ambient space it is placed in—a cavern, a bathroom, and so on. 1 Load the #default (or your vanilla) setting file. 2 Set Object 1’s type to Strike.
Create a guitar sound Guitar, lute, mandolin, and other plucked-type instruments, including harps, can be created from this basic setting. 1 Load the #default (or your vanilla) setting file. 2 Set the Voices parameter to a value of 6—there are only six strings on a guitar. Obviously, pick 7 for a banjo, or as many as possible for a harp. 3 Set Object 1’s type to Impulse, if not already chosen. 4 Activate Object 2 and set its type to Pick. 5 Now move Pickup A’s position to the extreme right.
Create a solo string sound Solo stringed instruments that are played with a bow, such as violins and cellos, can be created in much the same way. This sound can also be played polyphonically. 1 Load the #default (or your vanilla) setting file. 2 Set Transpose to −1 Oct. 3 Set Object 1’s type to Bow. 4 Play the lower half of your MIDI keyboard, and you’ll hear a viola/cello-like sound, which could obviously be improved.
Classic synthesizer programming examples One of Sculpture’s great strengths is the ability to create endlessly evolving pad and atmospheric sounds. It can also easily do fat synth basses, powerful leads, and other types of typical synthesizer sounds. Sculpture has an advantage over traditional synthesizers in that its core synthesis engine produces a wider variety of basic tones, and these tones have an organic quality and richness to them.
Create an evolving synthesizer pad sound 1 Load the #default (or your “vanilla pad”) setting file. 2 Click the LFO 1 tab at the bottom left of the interface. 3 Click the 1 button, and play the keyboard. The difference you will hear is subtle. 4 While holding down a chord, drag the amt slider left and right. Finally settle on a value of 0.15. 5 Choose Object 1 Strength from the Target pop-up menu near the 1 button. You’ll hear a fluttering sound.
Advanced Sculpture tutorial: electric bass Electric bass programming overview This section concentrates on a single instrument type—the electric bass, including all of its important variations and articulations. The physical nature of electric basses is not as complex as their acoustic counterparts. This instrument is therefore an excellent choice for the sound programming tutorials, the goal of which is to acquaint you with the art of using Sculpture to accurately reproduce detailed sounds.
The vibration of the strings is captured by an electromagnetic pickup. When the string is vibrating, its steel core affects the magnetic field. The pickups are almost always found some distance to the side, nearer to the bridge and stop tailpiece. There are different pickup concepts for electric basses, and often two or more pickups are combined to make the sound.
Recreate the sound characteristics of a typical bass instrument 1 Set the Attack value of the amplitude envelope to its minimum value (0.00 ms). The A(ttack) slider is just to the right of the Material Pad. 2 Shorten the Release time of the amplitude envelope to a value between 4 and 5 ms. Play a key on your keyboard. The note should stop abruptly when you release the key and should be free of artifacts (a digital crackle or snap). If you encounter any artifacts, carefully increase the Release time.
7 You’ll quickly realize that you can achieve a precise, crisp sound only when you drag the slider relatively far away from the middle of the string. Move Object 1 closer to the pickup (position 0.15 in the figure below). 8 The low notes are still distorted. You can remedy this by adjusting the Level knob to the right of the amplitude envelope. Set a value of −10 dB.
Splay overtones in Sculpture 1 Drag the ball in the Material Pad gradually to the right. The sound takes on a more pure, bell-like character. 2 To realistically simulate the splaying of overtones, try the following example setting: Emulate string and fret vibrations with Object 2 The vibration of a bass string does not occur in a vacuum. The antinode of the string frequently encounters the natural, physical limitations of the instrument.
Set the range for the basic bass sound To more realistically replicate the different tonal ranges of the bass, use Sculpture’s scaling function. When turned on, the key-scaling function is used to adjust the timbre of the sound, independent of pitch. Before using the blue sliders to do this, try the Resolution parameter. mm Click the Keyscale button at the bottom of the Material Pad. The key scale below C3 is displayed in green, the range above in light blue.
Refine the basic bass sound This section covers programming of a basic bass sound, which will serve as the foundation for the different bass sounds you will create. See Program a picked bass sound with Sculpture, Program a slap bass sound with Sculpture, and Program a fretless bass sound with Sculpture.
Use the Inner Loss parameter to scale the overtone content, dependent on pitch 1 Move the Material Pad ball above the words Inner Loss. Try to move the ball solely in a vertical direction to maintain a constant Stiffness value. 2 Drag the green line next to the ball toward the bottom until the small green diamond is located directly above the word Steel.
The scope for sound design, by altering the frequency spectrum of electromagnetic instruments, is far more flexible than that offered by acoustic instruments. In addition to the number of pickups, a major role is also played by the choice of amplifier, the equalization setting within the amplifier, and—last but not least—the physical properties of the speakers and their enclosing cabinet.
Program a picked bass sound with Sculpture The basic bass is played with the fingers. In the following example, you will simulate playing the strings with a pick, using the Pick object type. The Timbre parameter will be used to adjust the relationship between the speed and intensity at which the string is struck. The Variation parameter will be used to define the virtual material density, or hardness, of the pick.
Emulate bass guitar damping Playing with a pick is often combined with a damping technique that employs the ball of the thumb. The right hand, which also holds the pick, should physically lie on top of the strings at the bridge. This technique results in the sound having less overtone content but becoming more percussive and punchy at the same time. You can variably control the timbre of the sound through the angle and pressure of your hand while playing.
Emulate a vintage flat wound pick bass 1 Load the Pick Bass Half Muted setting. 2 Drag the Material Pad ball upward and the sound becomes more muffled. 3 Increase the Object 3 Strength parameter to 0.70. The result is a muted pick bass with flat wound strings. Tip: If you turn off Object 3, you’ll hear a sound that is reminiscent of a 1970s Fender Precision Bass. 4 Save this setting as Flatwound Pick Damped. Emulate a Bert Kaempfert-style percussive bass 1 Turn Object 3 back on.
Program a slap bass sound with Sculpture You’re actually dealing with two different articulations here. The low notes originate when the thumb literally slaps the strings on the upper part of the fingerboard. The high notes are produced when the strings are strongly plucked or popped with the fingers. This is achieved by hooking a finger under the string, pulling it away from the instrument, then allowing it to slap back onto the fingerboard.
Set the parameters for object 1 1 Set Timbre to a value of 0.38, which corresponds to a rapid attack. Timbre determines the angle of the obstacle to the string. 2 Set the Strength parameter to 0.53. 3 Set the Variation parameter to −0.69. This defines the softer material that constitutes the fleshy part on the side of your slapping thumb. Put more technically, Variation defines the type and degree of reflection.
Program a fretless bass sound with Sculpture With the exception of shared playing techniques, the fretless bass differs from a normal bass through its buzzing, singing sound. Because the frets on the fingerboard of a standard bass function as a collection of mini-bridges and allow the string to vibrate in an unobstructed fashion, the direct collision of the string’s antinode with the fingerboard on a fretless bass is responsible for its typical sound.
11 Drag the amt slider to the right while you are playing. You will hear that the singing buzzing fades out in the lower range, while gradually being retained as you move toward C3. Drag the slider to a value of 0.15. The buzzing is now far more moderate in the low range. 12 Switch Object 3 back on. Set Timbre to its minimum value (−1.00) and Variation to its maximum value (1.00). Object 3 should be positioned all the way to the right, at a value of 1.00. 13 Vary the Object 3 Strength parameter.
Animate the pickup positions 1 Select LFO1. 2 Click the 1 button (next to the RateMod slider, at the upper right) to activate the first modulation target. 3 Choose Pickup Pos A-B as the modulation target. 4 Set the Rate knob to 1.00 Hz. 5 To hear the effect, you need to set the modulation intensity (amount). Familiarize yourself with this effect by moving the amt slider gradually to the right. Set it to a final value of 0.15, a moderate rate that doesn’t wobble too much.
Create a “drowned in delay” effect 1 Reload the Fretless Chorus Dry setting. 2 Switch the Delay section on. 3 Drag the Input Balance slider all the way to the right, to 1.00. 4 Set the Delay Time value to 1/4t (quarter-note triplet). 5 Set the Feedback knob to a value of 0.20. 6 Adjust the Xfeed knob to a value of 0.30. 7 Drag the LoCut slider to 200 Hz and the HiCut slider to 1600 Hz. 8 Now adjust the overall level of the effect—try setting the Wet Level knob to a value of 45%.
Advanced Sculpture tutorial: synthesizer sounds Synthetic sound programming overview The Electric bass programming overview on page 305 section covers programming of natural bass sounds by authentically reproducing the real physical interaction that occurs between a string and the exciting agent that acts upon it. While producing such lifelike models is undoubtedly a forte of Sculpture’s architecture, its sonic capabilities extend to the creation of very different sounds as well.
Record an envelope 1 Make sure you have loaded the default setting, then drag the Object 1 slider all the way to the left. Starting from this position, where it generates only an overtone-rich scratch, start animating it by using the envelope. 2 Locate the Envelope section in the lower-right corner of the Sculpture window. Select the first of the two envelopes by clicking the envelope 1 button to select it.
Increase stereo breadth and chorus To give the very dry-sounding “0001 raw pad” setting a little more stereo breadth and chorus effect, modulate the Pickup positions, and assign them to the left and right channels. 1 Load the “0001 raw pad” setting. 2 Drag the Spread Pickup semicircle upward until the light blue dots come to rest near the line that separates both semicircles. This separates the stereo pan positions of the Pickups.
The pad now has a pleasant and unobtrusive ambience; you can leave the other Delay parameters at their original values. Make the sound more lively using the jitter modulators You can make the sound more animated with some subtle modulation, which makes the jitter modulators the perfect tool for the job. The jitter modulators are basically LFOs that use a random waveform. 1 Click the Jitter button below the LFO section to activate the display for both of the jitter modulators.
Create morphed sounds in Sculpture The Morph Pad is in the middle of the lower part of Sculpture’s window. Each corner of the Morph Pad can contain a different setting for a diverse number of parameters. You can crossfade between these settings and morph the sound by dragging the red ball in the center of the Morph Pad.
14 Ultrabeat Ultrabeat overview Ultrabeat is a synthesizer that is designed to create percussive sounds and polyphonic rhythms. It also incorporates a powerful, integrated step sequencer, which you can use to create polyphonic rhythmic sequences and patterns. See Ultrabeat step sequencer overview. Most software synthesizers offer one synthesizer per plug-in instance. Ultrabeat, however, places 25 independent synthesizers at your disposal.
Ultrabeat’s 24-drum pad assignment is compatible with the widely adopted GM (General MIDI) MIDI Drum note mapping standard. If your MIDI keyboard is limited to two octaves or does not support transposition, use the Transpose parameter of your host application to shift incoming MIDI notes up or down one or more octaves. Note: For clarity, and to maintain the drum machine analogy, this guide refers to the independent synthesizers as drum sounds. A combination of drum sounds forms a drum kit.
Ultrabeat Assignment section Ultrabeat Assignment section overview The Assignment section displays all sounds in a drum kit.
Play and select Ultrabeat drum sounds The 25 sounds of an Ultrabeat drum kit are mapped to the onscreen keyboard at the left side of the Ultrabeat interface. Sounds start from the bottom of the onscreen keyboard and correspond to note values on a connected MIDI keyboard, starting at C1. 25th drum voice can be played chromatically. Drum voices 1 to 24 Play a drum sound Do one of the following: mm Play a note on a connected MIDI keyboard.
Select a drum sound mm Click the name of the sound in the Assignment section. The selected sound is indicated by the gray frame around the assignment row. The parameters of the selected sound are shown in the Synthesizer section to the right. See Ultrabeat Synthesizer section overview on page 338. The image below shows drum sound 2 being played (indicated by the blue key) while drum sound 4 is selected (the gray frame). The selected sound is indicated by a gray frame.
Name, swap, and copy Ultrabeat drum sounds This section outlines the steps required to rename and rearrange the positions of drum sounds within a drum kit. Rename a sound 1 Double-click the name of a sound to open a text entry field. 2 Enter the name and press Return, or click anywhere outside the text entry field, to complete the naming operation. You can swap and copy drum sounds within an Ultrabeat kit by using a drag-and-drop or shortcut menu operation.
Swap or copy drum sounds using a shortcut menu command 1 Control-click or right-click the sound name. 2 Choose one of the following commands from the shortcut menu: •• Copy (Voice & Seq): Copies the selected sound, including mixer settings and all sequences, to the Clipboard. •• Paste Voice: Replaces the selected sound with the sound from the Clipboard but does not replace existing sequences. •• Paste Sequence > (submenu): Enables you to replace all, or individual sequences, of the target drum sound.
Import sounds and EXS instruments into Ultrabeat Ultrabeat can directly import EXS instruments, in addition to loading audio samples and its own settings. This provides enhanced sound design and rhythm processing options for EXS instruments, along with the ability to play and control EXS drum kits with Ultrabeat’s intuitive drum mixer layout.
Note: If you import EXS instruments that include more than 25 sample zones, you can navigate through pages (of 25 zones) by using the up and down arrows to the left and right of the EXS instrument name at the top of the import list. Click the arrows to navigate to additional pages of sounds. Drag sounds into your drum kit mm Drag the sound name from the import list into the target row in the Mixer section. Note: Hold down the Command key to include all sequences.
Ultrabeat settings Ultrabeat settings are saved and loaded in the same way as other instruments. An Ultrabeat setting contains: •• The drum kit, which consists of 25 drum sounds, including assignment and mixer settings.
Ultrabeat Synthesizer section overview Ultrabeat’s sound engine is optimized for creating electronic and acoustic drum and percussion sounds. It combines several synthesis approaches—phase distortion, sample playback, FM (frequency modulation), and physical modeling—to create tones. You can also use an audio sidechain input as a sound source. The sound engine provides comprehensive modulation functions, enabling nearly every Ultrabeat element to be modulated.
The Filter receives its signal from the following sound sources: oscillator 1, oscillator 2, the noise generator, and the ring modulator. The outputs of these sources are represented by the three round objects, and the rectangular ring modulator section to the right, that surround the Filter. One level down—from front to back—each sound source output object provides modulation controls. These determine how modulation sources, such as the LFO and envelopes, affect each sound source.
Ultrabeat sound sources Ultrabeat oscillator overview Ultrabeat oscillators are used to generate waveforms. oscillator 2 can use a sample in place of a waveform. The signal of one or both oscillators is then sent to other portions of the synthesizer engine for shaping, processing, or manipulation. •• Oscillator 1 can be frequency-modulated by oscillator 2, for FM synthesis sounds. •• Oscillator 2 can be ring-modulated with oscillator 1.
Switch between Ultrabeat oscillator synthesis modes Oscillator 1 can be switched between three different synthesis engines: phase oscillator, fm, and side chain (external audio input), which extends your sonic palette significantly. Each mode (engine) provides different parameters and features. Oscillator 2 can be switched between three different types of synthesis engines: phase oscillator, sample, and model. Each mode offers different parameters and features.
Use Ultrabeat oscillator 1 FM mode FM (frequency modulation) synthesis is well suited for creating bell-like digital tones and metallic sounds. The principle of frequency modulation (FM) synthesis was developed in the late 1960s and early 1970s by John Chowning. It was popularized by Yamaha’s range of DX synthesizers in the 1980s. Although Ultrabeat can’t be compared with the DX series in the discipline of pure FM synthesis, it can achieve some of the signature sounds of these instruments.
Use Ultrabeat oscillator 1 side chain mode In side chain mode, Ultrabeat uses an external side-chain input as the source for oscillator 1. The signal of any audio channel strip, bus, or live input can be routed through Ultrabeat’s filters, envelopes, LFO, and step sequencer. Using busses as side-chain sources makes it possible to route signals to the side-chain input from any channel strip type that offers busses as outputs or sends.
Use Ultrabeat oscillator 2 phase oscillator mode The waveform of the phase oscillator can be reshaped into almost any basic synthesizer waveform. Oscillator 2 operates in a nearly identical fashion to oscillator 1 when in phase oscillator mode. The key difference is that Saturation can be modulated in oscillator 2, rather than Asymmetry in oscillator 1. This results in the production of different sounds when both oscillators are in phase oscillator mode.
Basic waveform characteristics The table provides an overview of the tonal qualities of each basic waveform. Waveform Basic tone Comments Rectangular Nasal sounding Great for reed instruments, synth blips, basses Square Hollow and woody sounding Useful for basses, clarinets, and oboes. The pulse width of (oscillator 2 and 3) square waveforms can be smoothly scaled between 50% and the thinnest of pulses.
•• Layer sliders: Both factory Ultrabeat samples and sounds imported from EXS instruments often consist of different layers that are dynamically switched by incoming MIDI note velocities. The precise sample layer that incoming velocity values switch to is determined by the green Layer slider (min), or the blue Layer slider (max). •• The green Min slider determines which layer is triggered at a MIDI note velocity = 1.
Do one of the following: mm To preview audio files (AIFF, WAV, SD2, CAF, UBS) before loading, click the Play button. Click the button again to stop playback. Clicking the Play button loops playback of the currently selected sample file. The sample is played with no manipulation: all filters, EQ, envelopes, and other synthesizer parameters are ignored. mm To audition multiple files, click Play once, then step through the files by pressing the Up Arrow and Down Arrow keys or by clicking each filename.
Model mode parameters •• Exciter buttons: Click to select one of the two contrasting exciters. Each offers different sound characteristics (Type 1 and Type 2). Note: In this context, an exciter is the agent or triggering device used to initiate the vibration of the string. Don’t confuse it with the effect plug-in of the same name. •• •• Material Pad: Determines the basic tone of the string with the string Stiffness and damping (Inner Loss) parameters.
Ultrabeat ring modulator Ring modulation is a powerful tool for the creation of inharmonic, metallic, bell-like sounds. Ultrabeat’s ring modulator functions as an independent sound source—its signal can bypass or be sent into the filter, independent of the oscillator 1 and 2 signals. Its volume can also be regulated. Important: Although the ring modulator signal is independent of the signals generated by oscillators 1 and 2, both oscillators need to be enabled if you want to use the ring modulator signal.
Ultrabeat’s flexible noise generator enables you to create a wide range of percussive sounds and sound elements. The noise generator has its own filter, which functions independently of the main Ultrabeat filter, although the noise generator filter can also be used on the overall sound. Technically, a noise signal contains all tonal frequencies, at a roughly equal volume level.
•• Dirt knob: This parameter was specifically developed for the noise generator. Higher values alter the white noise signal, making it more grainy. The Dirt parameter is particularly effective at high resonance values. Dirt can be modulated by sources in the mod and via pop-up menus. •• Volume knob: Rotate to set the output level of the noise generator. Volume can be modulated by sources in the mod and via pop-up menus.
Set Ultrabeat’s filter type Ultrabeat’s filter can operate in several modes, allowing specific frequency bands to be filtered (cut away) or emphasized. mm To select a filter type, click one of the following buttons: •• LP (lowpass): This filter type allows frequencies that fall below the cutoff frequency to pass. When set to LP, the filter operates as a lowpass filter. The slope of the filter can be set to 12 or 24 dB/octave in LP mode.
Use Ultrabeat’s filter Cutoff parameter mm Rotate the Cutoff Frequency (Cut) parameter to control the brilliance or determine the center frequency of the signal. •• In a lowpass filter, the higher the cutoff frequency is set, the higher the frequencies of signals that are allowed to pass. •• In a highpass filter, the cutoff frequency determines the point where lower frequencies are suppressed, with only upper frequencies allowed to pass.
Ultrabeat distortion circuit The Distortion circuit provides either a bit crusher or distortion effect. The bit crusher reduces the digital resolution of the sound, measured in bits, achieving an intentionally digital coloration of the sound. The distortion effect is modeled on an analog distortion unit, which distorts the sound by overdriving the level. Both methods lead to distortions that are as tonally divergent as the two approaches.
Ultrabeat Output section Ultrabeat Output section overview Depending on the status of each Signal Flow button, the output signals of both oscillators, the ring modulator, and the noise generator are routed to the Output section of Ultrabeat. This routing is either direct or through the Filter and Distortion section.
Adjust Ultrabeat’s two-band EQ Both equalizer bands have almost identical features. You can adjust each band separately. EQ type buttons Gain knob Frequency field Q field Band 2 button EQ curve display Band 1 button Two-band EQ parameters •• Band 1 and Band 2 buttons: Click to turn each band on or off. When active, the label is red. If neither EQ is activated, the signal passes through unaffected. Band 1 is a low shelving EQ. Band 2 is a high shelving EQ.
Edit the graphical EQ curve Do any of the following: mm To change the EQ frequency, drag horizontally. mm To change the Gain, drag vertically. mm To change the Q factor, drag the handle shown at the peak (maximum point) of the EQ curve.
Ultrabeat stereo spread mode The EQ’s output signal is passed along to the Pan Modulation/Stereo Spread section where the placement of the sound in the stereo field can be modulated (pan modulation mode), or the stereo basis of the sound can be broadened (stereo spread mode). Stereo Spread broadens the stereo image, making it wider and more spacious. Stereo spread parameters •• Spread button: Click to turn on stereo spread mode. If neither mode is activated, the signal passes through unaffected.
Change Ultrabeat’s trigger mode The way Ultrabeat reacts to a succession of incoming notes is set independently for each sound. Parameters that provide control over this aspect of Ultrabeat’s behavior are found in the trigger mode section. Trigger pop-up menu Group pop-up menu Gate button Trigger mode parameters •• Trigger pop-up menu: Choose either Single or Multi trigger mode. •• •• Single: A new trigger note cuts off the note that is currently playing.
Ultrabeat modulation Ultrabeat modulation overview Most sound parameters can be controlled dynamically (modulated) in Ultrabeat. Ultrabeat provides two LFOs, four envelope generators, velocity, and four user-definable MIDI controllers as modulation sources. Ultrabeat’s modulation routings feature three key elements: •• The modulation target: The synthesizer parameter that you want to modulate. •• The modulation source: The parameter that modulates the target.
Note: Exact values are shown in the help tags when adjusting parameters. As soon as a modulation source is chosen from the via pop-up menu (Ctrl A in the image below), a movable slider appears on the mod ring. Drag this slider to set the maximum modulation value that can be reached through use of the via source (0.90 in this example). The mod and via controls indicate the minimum and maximum values that the modulated parameter can attain, in comparison to the default value.
The example below illustrates the simplicity and speed of Ultrabeat’s modulation options: In this example, the modulation intensity of Env 1, which affects Cutoff, is controlled with the dynamics of the performance (Vel). The secondary via modulation also controls its direction. Try this setting in Ultrabeat to create some interesting sounds. Create a modulation routing in Ultrabeat The following applies to all parameters that offer mod (and via) modulation options.
•• CtrlA to CtrlD: Choose one of these continuous controllers that can be assigned to four external MIDI controllers. These assignments apply to all sounds in the current Ultrabeat plug-in instance. See Assign Ultrabeat MIDI controllers A–D. 4 Adjust the mod and via controls. Assign Ultrabeat MIDI controllers A–D The MIDI Controller Assignments area enables you to assign any MIDI controller shown in the menus to each of the four controller slots—Ctrl A, B, C, or D.
Use Ultrabeat LFOs Two identical LFOs are available as modulation sources in the mod pop-up menus. The LFO (low frequency oscillator) signal is used as a modulation source. In an analog synthesizer, the LFO frequency generally ranges between 0.1 and 20 Hz, which is outside the audible frequency spectrum. Therefore, this type of oscillator is used only for modulation. The speed of the LFO in Ultrabeat can reach up to 100 Hz, which affords a number of possibilities that analog synthesizers don’t offer.
Set Ultrabeat LFO waveforms mm Drag the Waveform Shape slider from left to right to morph the waveform from a triangle, to a sawtooth, sine, square, and finally a rectangular wave shape—including all variations in between. At the far right position, the LFO produces random waveforms. The graphical display shows the current LFO waveform shape. The table outlines how different waveform shapes can affect your sounds. Intermediate waveform shapes result in hybrid waveforms and hybrid behaviors.
Set Ultrabeat LFO waveform cycles An LFO normally oscillates continuously. On percussive signals it can, however, be interesting to limit the LFO cycles (repetitions of the entire waveform) to a defined number. Ultrabeat enables you to set the number of LFO cycles with the Cycles parameter. After completing the defined number of cycles, the LFO stops oscillating. mm Rotate the Cycles knob to set the number of LFO waveform cycles. The range of Cycles parameter values extends from 1 to 100.
Ultrabeat envelope overview Ultrabeat features four identically specified envelope generators per voice. They are abbreviated as Env 1 to Env 4. In addition to potential use as a modulation source (in the mod pop-up menus of various sound parameters), Env 4 is permanently connected to the Voice Volume parameter. In other words, each Ultrabeat drum sound has a hard-wired volume envelope generator—Env 4.
Ultrabeat envelope parameters To edit envelope parameters, you first need to select one of the four envelopes with the 1-4 buttons. The parameters of the corresponding envelope can then be changed in the envelope display window. 1–4 buttons Attack time handle Decay time handle Zoom scroll Zoom buttons Sustain button Env mod menu Mod (via vel) slider Envelope parameters •• Buttons 1–4: Click to select one of the four envelopes. Only the selected envelope can be edited.
Use Ultrabeat’s modulation target display Ultrabeat has a feature that makes it easy to find the modulation targets of LFOs and envelopes. Find modulation targets of LFOs and envelopes mm Click the numerical field of the modulation source to highlight all of its modulation targets. Highlighted modulation target of Envelope 1 Click here to highlight all modulation targets of Envelope 1.
Ultrabeat step sequencer Ultrabeat step sequencer overview Ultrabeat incorporates a powerful, integrated step sequencer, which you can use to create polyphonic rhythmic sequences and patterns. The sequencer displays running light-style controls like those of classic drum machines and shares many of the sequence and pattern creation methods employed in these devices. Ultrabeat’s step sequencer expands on the features of hardware drum machines by providing extensive automation and editing features.
Ultrabeat step sequencer interface Ultrabeat’s step sequencer contains a sequence for each sound in a drum kit. Each sequence can consist of up to 32 steps. A pattern is a container for all sequences in a drum kit. Up to 24 patterns can be saved and recalled with each Ultrabeat setting. Global parameters Pattern parameters Pattern parameters Step grid The step sequencer is divided into three sections.
Note: If the Transport button is blue, the step sequencer interprets incoming MIDI notes between C-1 and B0 as performance information. See MIDI control of Ultrabeat’s step sequencer on page 381. •• Swing knob: Rotate to set the swing intensity for all sounds that have the Swing function turned on. See Use Ultrabeat’s swing function on page 373. Ultrabeat pattern controls A pattern contains all events, stored in sequences, for all 25 sounds.
Copy a pattern using the key command You can also use a key command to copy patterns. 1 Choose the pattern that you want to copy in the Pattern pop-up menu. 2 Press Option, open the Pattern pop-up menu, and choose another Ultrabeat pattern. The pattern in the target position is replaced with this one. Note: All existing sequencer data in the target pattern is replaced. If you change your mind during the process, choose the source pattern number.
Ultrabeat Step grid Ultrabeat Step grid overview The Step grid displays sequence steps on two rows. The steps shown in these rows correspond to the sound that is currently selected in the Assignment area. Choosing a different sound switches the sequencer display to show the rows that correspond to the newly selected sound. The Step grid area contains two rows, each with 32 fields (steps).
Ultrabeat trigger shortcut menu Control-click (or right-click) any of the trigger buttons to open the Trigger shortcut menu, which contains the following commands: Copy, Paste, and Clear commands •• Copy: Copies all activated triggers (steps) to the Clipboard. •• Paste: Pastes all triggers from the Clipboard. •• Clear: Turns off all activated triggers. Create Beat commands •• Add Every Downbeat: Adds triggers on every downbeat in the sequence.
•• Create & Replace Many: Similar to Create & Replace Some, but a large number of new steps are created, effectively filling the pattern. For example, start with an empty sequence of 32 steps at 1/16 resolution. Using Create & Replace Few creates 4 new steps; using Create & Replace Some creates 8 new steps; and using Create & Replace Many creates 16 new steps.
Set Ultrabeat step sequencer accents The Accent setting can be switched on or off individually for each drum sound. This enables you to turn accents on for cymbals but turn accents off for the kick drum, for example. Turn on accents and set the accent level 1 Click the blue LED to the right of the Accent slider to turn on the accent function. 2 Drag the Accent slider to globally set the volume of programmed accents.
Automate parameters in Ultrabeat’s step sequencer Ultrabeat step automation overview Click the Edit Mode switch to turn on Ultrabeat’s step automation feature. Step automation enables you to program parameter changes on a per-step basis for each drum sound.
Use Ultrabeat’s offset row This row enables you to view and enter offset values on a per-step basis for all Synthesizer section parameters that can be automated. Adjustments made in the offset row are relative to the current parameter value. Values shown in the offset row will be either added to or subtracted from the parameter value set in the Synthesizer section. In other words, parameter offsets increase or decrease, but do not specify, an absolute value for the parameter.
Use the Ultrabeat parameter offset shortcut menu mm Control-click (or right-click) any step in the (parameter) offset row to open a shortcut menu, then choose one of the following commands. •• Alter: Changes the (selected) parameter values, for all steps, by a random amount. •• Randomize: Creates a new, random value for the selected parameter. Note: Consider saving your sequence/pattern before using either of the above commands. •• Delete: Deletes all steps for the currently selected parameter.
MIDI control of Ultrabeat’s step sequencer Pattern performance can be influenced by incoming MIDI notes. This enables spontaneous interaction with the step sequencer, making Ultrabeat an excellent live performance instrument. The way Ultrabeat reacts to MIDI control is determined by the chosen pattern, playback, and voice mute mode options.
Ultrabeat tutorials Ultrabeat sound programming overview The Ultrabeat tutorials presented in these sections cover a number of specific sound creation tips. These tutorials will help you explore the possibilities available to you in Ultrabeat. You’ll discover that there is hardly a category of electronic drum sound that Ultrabeat can’t create easily.
Create Ultrabeat kick drums Electronically produced kick drum sounds are based primarily on the sound of a deeply tuned sine wave. Follow the tutorials sequentially to get the most from these examples. Program a basic kick drum in Ultrabeat 1 Choose Settings > 03 Tutorial Settings > Tutorial Kit, and select Standard Tut from the Assignment section. Note that oscillator 1 is in Phase Oscillator mode.
Reduce kick drum tonality using the 2 Band EQ One advantage of bass drums based on sine waves is that their sound can be precisely tuned to match the song. The disadvantage is that a recognizable pitch is not always desirable. Ultrabeat offers several methods to reduce the tonality of the sound. A very effective tool is the 2 Band EQ. 1 For band 1, select the Shelving mode at a frequency of about 80 Hz, a high Q value, and a negative Gain value.
9 You may also choose to control the filter resonance with an envelope. Make sure you dedicate a single envelope to this function (in this case, use Env 2 as a Mod source for Res). Choose a Mod amount for Res of about 0.80. Select a longer decay time in Env 2 than in Env 3 and listen carefully to the fatter and more atonal bass drum sound achieved through this Res modulation (due to the higher filter resonance).
Create an LFO-modulated “Ultrabeat” kick drum You can create bass drum sounds that are uniquely “Ultrabeat.” Try modulating pitch with an LFO instead of an envelope, for example. 1 Start with the Standard Tutorial sound at a pitch of A#0 (Osc 1 Pitch), and choose LFO 1 as the Mod source in the Osc 1 Pitch section. 2 Set the degree of modulation by dragging the blue Mod slider to a value of A3.
Create Ultrabeat snare drums The sound of an acoustic snare drum consists primarily of two sound components: the sound of the drum itself and the buzzing of the snare springs. Try to approximate this combination in Ultrabeat with a single oscillator and the noise generator. Follow the tutorials sequentially to get the most from these examples. Create a basic snare drum 1 Load the Standard Tutorial setting.Turn off oscillator 1, and turn on oscillator 2 (in phase oscillator mode).
Refine the snare drum sound using FM synthesis 1 Turn on oscillator 1 in FM mode. Use Env 1 to control the volume of Osc 1 as well. 2 Choose a pitch for oscillator 1 that’s about an octave lower than oscillator 2. Consciously avoid even intervals between the oscillators and detune them slightly from each other. For example, try a pitch setting of F#2 in Osc 2 and E1 in Osc 1, then fine-tune Osc 1 a few cents higher by holding down Shift while adjusting the Osc 1 Pitch slider.
Complete the 808 emulation by adding some noise 1 Switch the noise generator on, and activate the highpass mode in its filter (HP). 2 Set the Cutoff value to about 0.65, Resonance to 0.35, and add a little Dirt (around 0.06). The noise generator provides the sustained snare sound. It should be shaped by its own envelope—independent of the decay phases of both oscillators—to get 808-like results. Changing the volume of the noise generator simulates the snap parameter of the 808.
Increase the performance dynamics of your 808 snare 1 Reduce the values of the individual volumes by turning down the Volume knobs in both oscillators and the noise generator. Note how the mod ring and its via sliders also move back. Change the via slider positions until all three Volume knobs look like this: If you use differing intensities for each Volume knob when completing this step, you’ll have the potential of individual velocity reactions for each sound component.
5 Repeat this with the other parameters of oscillator 2, as well as pitch: 6 Modulate the noise generator as follows: •• Cut parameter: Choose Max as modulation source, then set the modulation control as shown below. •• Dirt parameter: Choose LFO 2 as modulation source, then set the modulation control as shown below. The sound is now nothing like an 808 snare, which was your goal.
Create Ultrabeat tonal percussion Tonal percussion sounds such as toms or congas are relatively easy to emulate electronically with sine or triangular wave oscillators. Ultrabeat’s phase oscillator offers you a broad spectrum of suitable basic sounds with which to start. Control the pitch of the oscillators with envelopes, and use the programming techniques discussed in the kick and snare drum sections to alter tonality. You should find it easy to create a broad range of toms and similar sounds.
Create cymbals in Ultrabeat It’s not far from the hi-hat to the crash cymbal. The main difference between a hi-hat and crash cymbal sound is the length of the decay time. Correct assignment of the envelopes is the key to producing different cymbal sounds. mm Select the Cym 1 and Cym 2 sounds in the Tutorial Kit and try different envelope assignments and settings for Cutoff and Volume in the noise generator, Cutoff and Volume in the main filter, and so on.
Vintage B3 15 Vintage B3 overview Vintage B3 emulates the sound and features of the Hammond B3 organ with two manuals (keyboards) and a pedalboard, each of which can have its own registration (sound setting). You can play all registers with a single-manual master keyboard, or you can use two manuals and a MIDI pedalboard. Vintage B3’s Component modeling synthesis engine faithfully replicates the tonewheel generators of an electromechanical Hammond organ, down to the smallest detail.
Vintage B3 Main window Vintage B3 Main window overview The Vintage B3 Main window is divided into three areas. The draw bars change the basic organ sound in real time. See Vintage B3 draw bar controls. Click the Control, Preset, and Split buttons at the lower right to show different parameters below the draw bars. The lower edge gives you direct access to Leslie speed controls. Click to show different parameters below the draw bars.
Vintage B3 draw bar controls Vintage B3 provides 20 draw bars, nine each for the upper and lower manuals, and two for the pedalboard. The upper manual draw bars are on the left, the pedal draw bars are in the center, and the lower manual draw bars are to the right. The draw bars behave like reversed mixer faders—the farther down you drag the draw bars, the louder the selected sine choirs will be. MIDI control of the draw bars is also reversed when using a standard MIDI fader unit.
Vintage B3 Scanner Vibrato and Chorus Vintage B3 emulates the Scanner Vibrato of the original B3. Few organ players use the Scanner Vibrato, preferring to work with a Leslie in isolation. Others, like B3 virtuoso Brian Auger, prefer the integrated organ vibrato over the Leslie. Compare the chorus and vibrato effects with the sound of the rotor cabinet simulation to see which you prefer. The Scanner Vibrato is based on an analog delay line, consisting of several lowpass filters.
Vintage B3 Percussion effect Vintage B3 emulates the (Key) Percussion features of the original B3. The Percussion function is available only for the upper manual. The effect adds the second or third harmonics to the attack envelope of a note. These harmonics quickly fade out, leaving the chosen draw bar tones. The Percussion effect is polyphonic, but is only (re)triggered after all keys have been released. If you release all keys, new notes or chords sound with percussion.
Use Vintage B3 preset keys The Hammond B3 is equipped with 12 buttons, located below the draw bars. These preset keys are laid out like a keyboard octave, but with black keys and white sharps. They are used to recall draw bar registrations (draw bar positions). Click to view preset keys. Upper manual preset keys are to the left of the Upper Morph slider, and lower manual preset keys are to the right. Draw bar positions are indicated by small vertical lines on each key.
Switch Vintage B3 registrations while playing (organ gate effect) 1 Click Main in the control bar, then click the Preset button at the lower right. 2 Hold the Clear key (C) on your master keyboard with the small finger of your left hand, while sustaining a chord with your right hand. 3 Press the preset keys with the other fingers of your left hand. The chord being played with your right hand is retriggered (with the new registration) each time you play one of the preset keys.
Set up Vintage B3 for your MIDI equipment Vintage B3 MIDI setup overview Vintage B3 is unique among the instruments in that it can be played with three simultaneous controllers—namely, a MIDI bass pedal unit and two 73-key MIDI keyboards. This mirrors the two 73-key manuals (organ terminology for keyboards) and the 2-octave pedalboard configuration of the original B3. See Use multiple or multichannel controllers for more information.
Change the default MIDI channels Changing MIDI channels can be useful when you perform live and require quick access to another sound module. 1 Click Main in the control bar, then click the Split button at the lower right. 2 Set the switch to the left of the keyboard in the central display to Multi. 3 Change the channel numbers for the upper, lower, and pedal manuals. Set keyboard zones 1 Click Main in the control bar, then click the Split button at the lower right.
Change the default MIDI channels Changing MIDI channels can be useful when you perform live and require quick access to another sound module. 1 Click Main in the control bar, then click the Split button at the lower right. 2 Set the switch to the left of the keyboard in the central display to Multi. 3 Change the channel numbers for the upper, lower, and pedal manuals. Set keyboard zones 1 Click Main in the control bar, then click the Split button at the lower right.
Vintage B3 Rotor Cabinet window Vintage B3 Rotor Cabinet window overview The Hammond story can’t be fully told without discussing the rotor cabinets manufactured by Leslie. In fact, playing the B3 organ without a rotor cabinet is viewed as something of a special effect these days. Vintage B3 not only simulates the speaker cabinet itself, but also allows you to change the listening position by placing virtual microphones in different locations.
Advanced Cabinet parameters The advanced cabinet parameters are divided into three groups: Cabinet, Motor, and Brake. Also see Advanced Motor parameters and Advanced Brake parameters. The microphone parameters are described in Vintage B3 Microphone parameters on page 409. Cabinet switch Type pop-up menu Deflector switch Cabinet parameters •• Cabinet switch: Turns the Leslie cabinet emulation on or off.
Advanced Motor parameters The advanced cabinet parameters are divided into three groups: Cabinet, Motor, and Brake. See also Advanced Cabinet parameters and Advanced Brake parameters. The microphone parameters are described in Vintage B3 Microphone parameters on page 409. Motor parameters •• Acceleration knob: Rotate to set the time it takes to get the rotors up to the speed set with the Max Rate knob, and the length of time it takes for them to slow down.
•• Modwhl Temp: Switches as soon as the modulation wheel passes the center position, regardless of whether you have moved the modulation wheel from high to low or from low to high positions. This caters to Roland keyboards with combined pitch bend and modulation controls. •• Touch: Switches with aftertouch on messages. No switching occurs on aftertouch release. •• Touch Temp: Switches with aftertouch on messages. A second switch occurs with aftertouch release messages.
Vintage B3 Microphone types Vintage B3 provides modeled microphones that pick up the sound of the Leslie cabinet. You can specify the microphone type with these parameters. Mic Position switch Click to choose a microphone type. Click to choose a microphone type. Click the microphone icons to choose a microphone type for the horn and drum speakers when Real Cabinet is chosen in the Type pop-up menu. See Advanced Cabinet parameters. •• Dynamic: Emulates the sound of a dynamic cardioid microphone.
Vintage B3 Microphone parameters Vintage B3 provides modeled microphones that pick up the sound of the Leslie cabinet. You can set the listening position with these parameters. Microphone parameters •• Mic Position switch: Choose either the front or rear position for the virtual microphone. •• •• •• When Real Cabinet is chosen in the Type pop-up menu: •• Horn knob: Rotate to define the stereo width of the Horn deflector microphone.
Vintage B3 Options window Vintage B3 Options window overview You can adjust the Vintage B3 output level, tuning, key click volume, and other basic sound aspects with the Options controls. See Vintage B3 Master and Click controls. Advanced controls for Percussion, Scanner Vibrato, and Morph are also found in the Options window. See Vintage B3 Percussion effect, Vintage B3 Scanner Vibrato and Chorus, and Vintage B3 Morph parameters.
Vintage B3 Morph parameters You can switch—or smoothly crossfade (morph)—between the presets of the upper manual. See Use Vintage B3 Morph controls. Important: Morph controls are spread across two windows. Click Main in the control bar, then click the Preset button at the lower right to view the Morph slider. The Options window contains advanced Morph controls. Morph parameters •• Upper Morph slider (Main window): Drag left or right to control the switching or morphing.
Use Vintage B3 Morph controls You can switch—or smoothly crossfade (morph)—between the presets of the upper manual. See Vintage B3 Morph parameters. Important: Morph controls are spread across two windows. Click Main in the control bar, then click the Preset button at the lower right to view the Morph slider. The Options window contains advanced Morph controls. Learn a MIDI controller for morphing 1 Click Options in the control bar. 2 Choose Learn from the (Morph) MIDI Controller pop-up menu.
Vintage B3 Effects window Use Vintage B3 effects Vintage B3 features a three-band equalizer, a reverberation effect, a pedal-controllable wah wah effect, and a distortion effect that simulates the sound of an overdriven tube amplifier. In addition, the signal can be routed through the Leslie rotor speaker emulation. The default effect signal flow is as follows: the organ’s signal runs through the Equalizer, Wah, and Distortion effects.
Bypass effects for the pedal register mm Set the Pedal switch to Byp. If you choose FX, the entire output of the organ is processed. Bypassing the Distortion, Wah, and EQ effects separately for the pedal register avoids suppression of the bass portion of your organ sound by the Wah effect. It also avoids intermodulation artifacts when the Distortion effect is used. Vintage B3 EQ Vintage B3 features a simple but effective EQ section.
•• Range knob: Rotate to determine the sensitivity of the Wah effect to incoming MIDI controller data. •• Bite knob: Rotate to boost the levels of signals surrounding the cutoff frequency. Bite is effectively a filter resonance parameter, where high values makes the Wah effect sound more aggressive. Use an expression pedal to control the Wah effect 1 Click Options in the control bar, then set the Expression knob to a value of 0.
Vintage B3 Distortion effect The Distortion effect simulates an overdriven two-stage tube amplifier. Its primary role is to simulate the Leslie amplifier or another amplifier used to feed the Leslie speaker cabinet. Vintage B3 Distortion parameters •• Distortion On/Off switch: Turn on or bypass the Distortion effect. •• Type pop-up menu: Choose a tube amplifier model. •• Growl: Simulates a two-stage tube amplifier. It closely resembles the Leslie 122 model, the classic partner for the Hammond B3 organ.
Vintage B3 Expert window Vintage B3 Expert window overview The Expert window shows model parameters that provide precise control over your organ sound. These include not only basic level and tonal balance controls, but a number of parameters that emulate the sonic characteristics—and technical “flaws” or limitations—of the original Hammond B3. You can even emulate the quirks of the B3 by aging the virtual components.
Vintage B3 Pitch controls Vintage B3 provides several parameters that change its pitch behavior, adding flexibility that isn’t possible with the original instrument. Vintage B3 is tuned to an equal-tempered scale. As a deviation from this standard tuning, you can stretch the tuning in the bass and treble ranges, much like acoustic pianos (especially upright pianos). The tones of clavinets, harpsichords, and pianos have inharmonicities in their harmonic structure.
Vintage B3 Sustain controls The time it takes for a note to fade out to silence, after the key has been released, is called the release time in synthesizers. Vintage B3 provides control of this parameter, known as sustain in organ terminology. Sustain parameters •• Upper Manual slider: Drag to control the sustain (release) phase of the upper register. •• Lower Manual slider: Drag to control the sustain (release) phase of the lower register.
•• Leakage slider: Drag to add a sound resulting from the crosstalk between all tonewheels— including the tonewheels of notes that you don’t play. Adjust this slider to add a “breathy” quality to your organ sound. •• Drawbar Leak slider: Drag to set the minimum output level of the draw bars when they are at their minimum positions. The B3 tonewheel generators aren’t completely quiet, even if all draw bars are at their minimum positions.
Vintage B3 Organ Model controls The Organ Model controls change the basic tonal quality. Organ Model parameters •• Maximum Wheels slider: Drag to set the number of tonewheels that are emulated. Reduce the value to minimize the computer processing load. Reducing the value diminishes some overtones, so keep the number high if you’re after an ultrarealistic simulation. •• Tonal Balance slider: Drag to change the mix relationship of the higher and lower tonewheels.
Use a MIDI controller with Vintage B3 Choose a Vintage B3 MIDI control mode MIDI controller assignments allow you to control Vintage B3 with an external MIDI controller or a host application such as Logic Pro. The Hardware Controller parameter determines the way Vintage B3 draw bars respond to remote MIDI control change messages. Most users won’t need to change anything here. If you own a MIDI draw bar organ, you’ll want to use its hardware draw bars to control Vintage B3.
Controller number MIDI mode VK or CX: assigned parameter Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 87 Chorus Vibrato Type Percussion 94 on/off 95 2nd/3rd 102 Percussion Volume 103 Percussion Time Equalizer 104 EQ Low 105 EQ Mid 106 EQ Hi 107 EQ Level Wah 108 Wah Mode 109 Wah Bite Distortion 110 Distortion Type 111 Distortion Drive 112 Distortion Tone Click Levels 113 Click On Level 114 Click Off Level Balance 115 Main Volume 116 Lower Volume 117 Pedal
Vintage B3 MIDI mode: Hammond Suzuki This tables shows the MIDI controller assignments when MIDI mode is set to Hammond Suzuki. This setting matches the controller mapping of Hammond XB-series organs.
Vintage B3 MIDI mode: Native Instruments B4D This table shows the MIDI controller assignments when MIDI mode is set to Native Instruments B4D. This setting matches the controller mapping of the Native Instruments B4D controller.
Controller number MIDI mode Native Instruments B4D: assigned parameter 78 Distortion Tone 75 Click On Level Leslie Pan MSB Microphone Angle 3 Microphone Distance GP 8 Leslie Accelerate/Decelerate GP 7 Leslie Fast ModWheel MSB Leslie Speed 68 Controls Brake function: if Value = 0.0, switches Leslie to Brake. All other values switch Leslie to previous speed.
Vintage B3 MIDI mode: Nord Electro This table shows the MIDI Control Change Message number assignment when MIDI mode is set to Nord Electro. This setting matches the controller mapping of the Clavia Nord Electro 2.
B3 and Leslie information Additive synthesis with draw bars The Hammond B3 is the classic draw bar organ. As with an air-driven pipe organ, the registers (draw bars, or “stops” on a pipe organ) can be pulled out to engage them. In contrast to a pipe organ, however, the B3 allows seamless mixing of any draw bar registers. The closer toward you that the draw bars are dragged, the louder the corresponding tones.
The residual effect The residual effect is a psychoacoustic phenomenon. Human beings can perceive the pitch of a note, even when the fundamental tone is completely missing. If you pull out all registers of a draw bar organ, except for the fundamental—16'—you’ll still perceive the same pitch. The sound becomes thinner, with less bass and less warmth, but the pitch remains the same. If human beings didn’t hear this way, it would make listening to music on a small transistor radio impossible.
A brief Hammond history Three inventions inspired Laurens Hammond (1895–1973), a manufacturer of electric clocks, to construct and market a compact electromechanical organ with tonewheel sound generation. The Telharmonium by Thaddeus Cahill was the musical inspiration; Henry Ford’s mass production methods and the domestic synchron clock motor were the other factors. The Telharmonium (built around 1900) was the first musical instrument that made use of electromechanical sound generation techniques.
The Leslie cabinet Don Leslie developed his rotor cabinets in 1937 and began marketing them in 1940. Laurens Hammond wasn’t keen on the concept of rotating speakers at all. Leslie’s approach was to simulate a variety of locations in the pipes (as in pipe organs), resulting in a new spatial perception for every note. The rotor speaker cabinets could simulate this effect, and the sense of space that they impart is incomparable, when placed side-by-side with any fixed speaker.
Vintage Clav 16 Vintage Clav overview Vintage Clav emulates the classic Hohner D6 Clavinet. The sound of the D6 is synonymous with funk, but it was also popularized in the rock, pop, and electric jazz of the 1970s by artists like Stevie Wonder, Herbie Hancock, Keith Emerson, Foreigner, and the Commodores. If you’ve heard “Superstition” or “Higher Ground” by Stevie Wonder, then you know the D6 sound. See D6 Clavinet history.
Vintage Clav interface Vintage Clav is divided into four areas. The control bar at the top lets you choose a clavinet model and provides access to further controls shown in the central display. The lower area gives you direct access to tone, level, and damper controls. Extended parameters are available at the bottom of the interface. Use the control bar buttons to update the central display. Click here to choose a model. Click to update the central display.
Vintage Clav Main window Vintage Clav Main window overview The Main window provides access to the most commonly used parameters. Main window parameters •• Pickup Position display: The two pickups shown in the Pickup Position display indicate the positions and angles of the upper (above the strings) and lower (below the strings) pickups. See Use Vintage Clav Pickup parameters. •• Stereo Spread parameter: This two-part parameter alters the stereo imaging of Vintage Clav output—controlled by key position.
Vintage Clav models The Model pop-up menu in the control bar lets you choose a basic type of tone, or model. Each model offers a unique tonal characteristic and different harmonic structure, designed to create very different sounds. See Vintage Clav model characteristics. The individual models are fully realized instruments and are immediately playable, without further modification. You can shape the tonal character of any loaded model with Vintage Clav model editing parameters.
Vintage Clav model characteristics The table outlines the characteristics of each clavinet model. Model name Comments Belltone A bell-like model with strong inharmonic overtones (inharmonicities). Classic I and II Classic I is a near exact emulation of the original D6. It includes string noises on long decays and accurate behavior following the release of keys. Each D6 was unique in its way, so you can adjust the sound to match the tone of D6 clavinets you have heard.
Use Vintage Clav Pickup parameters The original D6 is equipped with two electromagnetic pickups, much like those found in electric guitars—one below the strings (lower) and one above the strings (upper). In contrast to the fixed pickups of the original instrument, Vintage Clav pickups can be set to arbitrary positions and angles. Upper pickup Lower pickup Try moving pickup positions while repeatedly striking a note to hear the effect that the pickup position has on the overall tone.
Use Vintage Clav Stereo Spread parameters Unlike the original D6, Vintage Clav has a stereo output that you configure with the Stereo Spread parameter. It is divided into two halves: Key and Pickup. The Key parameter sets a key scale modulation of the panning position. In other words, the played keyboard note position determines the panning position.
Vintage Clav Effects window Vintage Clav Effects window overview No clavinet simulation would be complete without a selection of effect processors. Vintage Clav incorporates three “classic” foot-pedal effect emulations: Distortion, Modulation, and Wah. Each effect is modeled on pedals that were available in the heyday of the Clavinet—the 1970s— adding an authentic sound to your performances. A simple compression circuit is also included and can be placed anywhere in the effects chain.
Vintage Clav Compressor effect The Compressor effect is normally used just before the Distortion effect. This allows you to increase or decrease the perceived gain, thus providing a suitable input level to the Distortion circuit. You can, however, place the Compressor at any position in the effects chain or can disable it completely. Compressor effect parameters •• On/off button: Turns the Compressor effect on or off. •• Ratio knob: Rotate to adjust the compression slope.
Vintage Clav Modulation effect Vintage Clav features a choice of three modulation effect types: Phaser, Flanger, or Chorus. Modulation effect parameters •• On/off button: Turns the Modulation effect on or off. •• Mode pop-up menu: Choose Phaser, Flanger, or Chorus as the modulation effect. •• Intensity knob: Rotate to set the depth of the phasing, flanging, or chorus effect. Use of high Intensity values leads to ensemble-type effects when the Chorus effect is active.
Vintage Clav Wah effect Vintage Clav provides simulations of several classic wah effects, as well as some basic filter types. The name wah comes from the sound it produces. It has been a popular effect (usually a pedal effect) with electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff frequency of a bandpass, lowpass, or—less commonly—highpass filter. Wah wah pedals are also used extensively with the D6.
Vintage Clav Details window Vintage Clav Details window overview The Details window lets you precisely control the modeling parameters of Vintage Clav and also provides global parameters that affect the overall instrument.
Vintage Clav String parameters The selected model determines the basic qualities of the strings and has a significant bearing on the behavior, and impact, of each String parameter. This is primarily due to the different harmonic content present in each model. String parameters •• Release slider: Drag to set the release time of the strings, following the decay phase of a played note. Positive Release values provide a longer release time—after you have released a key.
Vintage Clav Pitch parameters The Pitch parameters affect the tuning of the selected model. Pitch parameters •• Tune slider: Drag to adjust tuning in one-cent intervals. A value of 0 equals concert pitch A 440 Hz. •• Stretch Tuning slider: Vintage Clav is tuned to an equal-tempered scale. You can deviate from this standard tuning by using Stretch to alter the tuning in the bass and treble ends of the sound.
Stretch tuning in acoustic instruments The tones of upright pianos, and to a lesser extent grand pianos (due to their longer strings), have inharmonicities in their harmonic structure. This also applies to other stringed instruments, but it particularly affects pianos due to the length, density, and tension of the strings.
•• Velocity Curve pop-up menu: Choose one of nine preset velocity curves to suit your playing style or the selected model. The nine curves available are: fx25%, fx50%, fx75%, fx100%, convx1, convx2, linear (the default), concv1, and concv2. •• Fixed (fx) curves: These are linear curves with a fixed dynamic range of 25%, 50%, 75%, and 100%. •• Convex (convx) curves: These curves are more dynamically responsive in the center octaves of the keyboard range.
D6 Clavinet information D6 Clavinet history The German company Hohner, manufacturer of the D6 Clavinet, was known mainly for its reed instruments (harmonicas, accordions, melodicas, and so on) but had made several classic keyboards prior to the first incarnation of the Clavinet, known as the Cembalet. Musician and inventor Ernst Zacharias designed the Cembalet in the 1950s. It was intended to be a portable version of the cembalo, or harpsichord—which could be amplified.
D6 Clavinet mechanical details Each D6 keyboard key forms a single arm lever. When a key is depressed, a plunger below the key strikes the string and presses it onto an anvil. The string hits the anvil with a strength determined by key velocity, thus affecting both the dynamics and harmonics of the sounding string. The mechanical vibrations of the action are captured by magnetic pickups and converted into electrical signals, which are amplified and reproduced through speakers.
Vintage Electric Piano 17 Vintage Electric Piano overview Vintage Electric Piano simulates the sound of various Rhodes and Wurlitzer pianos as well as the sound of the Hohner Electra Piano. See Rhodes models on page 459 and Hohner and Wurlitzer models. The unmistakable tones of Fender Rhodes pianos are some of the best-known keyboard instrument sounds used in the second half of the 20th century.
Vintage Electric Piano interface Vintage Electric Piano is divided into four areas. The control bar at the top lets you choose an electric piano model and provides access to further controls shown in the main display. The central area gives you direct access to Bass Boost and Volume controls. Extended parameters are available at the bottom of the interface. Click the control bar Effects and Details buttons to update the main display. Model pop-up menu Click to open extended parameters.
Vintage Electric Piano Effects window Vintage Electric Piano EQ The EQ allows you to boost or cut the high and low frequency ranges of your Vintage Electric Piano sound. The EQ is positioned after the Drive circuit in the Vintage Electric Piano effects chain. EQ parameters •• On/off button: Turns the equalizer on or off. •• Bass knob: Rotate to control the low frequency range. Either shelving or peak-type filters are used—depending on the piano model selected.
Vintage Electric Piano Drive effect Electric pianos sound best when played through tube amplifiers. Tube amplifiers offer a wide range of tones—from the subtle warmth or crunch of guitar amplifiers to psychedelic, screaming rock distortions. The Vintage Electric Piano Drive effect simulates the saturation characteristics of a tube amplifier stage. The Drive effect is the first signal processing circuit in the Vintage Electric Piano effects chain.
Vintage Electric Piano Phaser effect The Vintage Electric Piano Phaser effect is based on analog phaser pedals used by electric guitarists in the 1960s and 1970s, including the subtle analog-style distortion typical of these units. These phaser pedals were also popular among electric pianists—especially in the electric jazz, jazz-rock, and pop styles of the 1970s.
Vintage Electric Piano Tremolo effect A periodic modulation of the amplitude (level) of the sound is known as a tremolo. This modulation is controlled with an LFO in Vintage Electric Piano. The Fender Rhodes suitcase piano features a stereo tremolo. Other electric pianos have a simple, often obtrusive, mono tremolo that can introduce an unusual polyrhythmic feel to performances. Tremolo effect parameters •• On/off button: Turns the Tremolo effect on or off.
Vintage Electric Piano Details window Vintage Electric Piano model parameters Click the Details button on the control bar to use the model parameters. The model parameters affect the currently selected model. Model parameters •• Voices knob: Rotate to set the maximum number of voices that can sound simultaneously. Lower the value to limit polyphony. When Voices is set to 1, Vintage Electric Piano is monophonic.
Vintage Electric Piano pitch parameters Click the Details button on the control bar to use the pitch parameters. Vintage Electric Piano is tuned to an equal-tempered scale. You can deviate from this scale and can stretch the tuning in the bass and treble ranges, much as you can do with acoustic pianos (especially upright pianos). You can also modulate the tuning of each note randomly. Pitch parameters •• Tune knob: Rotate to tune Vintage Electric Piano in one-cent increments.
Stretch tuning in acoustic instruments The tones of upright pianos, and to a lesser extent grand pianos (due to their longer strings), have inharmonicities in their harmonic structure. This also applies to other stringed instruments, but it particularly affects pianos due to the length, density, and tension of the strings.
Vintage Electric Piano emulations Rhodes models Harold Rhodes (born 1910) constructed what is arguably the best known and most widely used electric piano. Designed in 1946—as a piano surrogate for practice, education, and army entertainment—the Rhodes piano was marketed by guitar manufacturer Fender from 1956. The Fender Rhodes is one of the most popular musical instruments in jazz, especially electric jazz. CBS took over production of the Rhodes in 1965, enhancing its popularity in pop and rock music.
Hohner and Wurlitzer models Not to be confused with the all-electronic RMI Electrapiano, the extremely rare Hohner Electra Piano offers striking hammers like those of the Rhodes, but a stiffer keyboard action. It was designed to resemble the look of a conventional acoustic upright piano. Led Zeppelin’s John Paul Jones played it on “Stairway to Heaven,” “Misty Mountain Hop,” and “No Quarter.
Vintage Electric Piano MIDI controllers Vintage Electric Piano responds to the following MIDI continuous controller numbers (CC).
A Legacy instruments overview The legacy instruments are less CPU- and memory-intensive versions of equivalent instruments. All legacy instruments feature a few carefully chosen parameters that provide maximum impact and flexibility, making it easy to create great sounds. Legacy instruments are automatically loaded when a GarageBand project is imported, or a Logic project or MainStage concert that uses these instruments is opened.
Drum Kits Drum Kits includes: rock, pop, jazz, electronic, orchestral, and Latin kits, among others. •• Volume slider: Sets the overall volume level of the instrument. •• Filter Cutoff slider: Allows less sound through at low values and more at high values—damping the sound or making it brighter. •• Release slider: Determines the time it takes for notes to fade out after you let go of the keys on your keyboard.
Guitar Guitar emulates a number of acoustic and electric guitar sounds. •• Volume slider: Sets the overall volume level of the instrument. •• Filter Cutoff slider: Allows less sound through at low values and more at high values—damping the sound or making it brighter. •• Release slider: Determines the time it takes for notes to fade out after you let go of the keys on your keyboard. Horns Horns emulates several brass sections and a number of individual brass instruments.
Tuned Percussion Tuned Percussion emulates a vibraphone, xylophone, timpani, steel drums, and other tuned percussion instruments. •• •• •• Volume slider: Sets the overall volume level of the instrument. Filter Cutoff slider: Allows less sound through at low values and more at high values—damping the sound or making it brighter. Release slider: Determines the time it takes for notes to fade out after you let go of the keys on your keyboard. Voice Voice emulates a mixed choir.
Synthesizers Analog Basic Analog Basic, which is based on the ES2, is a simple analog synthesizer that is useful for a range of musical styles. •• Volume slider: Sets the overall volume level of the instrument. •• Mix slider: Determines the balance between the oscillator signals. •• Tuning slider: Sets the overall pitch of the instrument. •• Cutoff slider: Allows less sound through at low values and more at high values—damping the sound or making it brighter.
Analog Pad Analog Pad, which is based on the ES2, can generate warm analog synthesizer pad sounds that are useful for a range of musical styles. •• Volume slider: Sets the overall volume level of the instrument. •• Modulation slider: Makes the sweeping movement of the pad faster or slower. •• Character slider: Determines whether the sound is soft or sharp. •• Cutoff slider: Allows less sound through at low values and more at high values—damping the sound or making it brighter.
Analog Sync Analog Sync, which is based on the ES2, emulates tones from analog synthesizers that synchronize two oscillators to produce their sound. The Analog Sync instrument is most useful for hard-edged analog synthesizer lead sounds. •• Volume slider: Sets the overall volume level of the instrument. •• Sync slider: Determines the synchronization (or lack of it) between the two oscillators, and therefore the harshness of the sound.
Digital Mono Digital Mono, which is based on the ES2, is ideal for monophonic digital synthesizer lead sounds. •• Volume slider: Sets the overall volume level of the instrument. •• Tuning slider: Sets the overall pitch of the instrument. •• Harmonics slider: Increases or decreases the number of harmonics, or overtones, in the sound, with more values making the sound a little thicker and less values making it thinner. •• Timbre slider: Changes the color of the sound from dark to bright.
Hybrid Basic Hybrid Basic is a sample-based synthesizer that can create spectacular sounds. •• Volume slider: Sets the overall volume level of the instrument. •• Waveform pop-up menu: Choose the sample set used to generate the basic synthesizer sound. •• Glide slider: Determines the time it takes a note pitch to change, or slide, to another note pitch. •• Wheel to Vibrato slider: Determines the amount of pitch modulation by your keyboard’s modulation wheel.
Hybrid Morph Hybrid Morph is a sample-based synthesizer that can create spectacular sounds. It differs from Hybrid Basic in that each waveform is based on two sample layers, which leads to a different sonic character. •• Volume slider: Sets the overall volume level of the instrument. •• Waveform pop-up menu: Choose the sample set used to generate the basic synthesizer sound. •• Morph slider: Controls crossfades between the two sample layers. •• Morph Envelope slider: Controls the morph over time.
B Synthesizer basics overview If you are new to synthesizers, this appendix will help you understand the basics of sound itself and how this applies to synthesizers. Important facts about synthesizers are discussed and explained, including the differences between analog, digital, and virtual analog synthesizers. You will also be introduced to the major synthesizer terms as you learn about the basic workings of these hardware- or software-based devices.
Sound basics Sound basics overview Prior to considering any of the sound-generating components you will find in a synthesizer, it’s important that you understand sound itself. Technically, sound is the conversion of physical energy—such as a hand clap—to an air pressure disturbance. This change in air pressure is transmitted as a series of vibrations—a sound wave— through the air. Sound vibrations can also be transmitted through other matter, such as a wall or floor.
Tones, overtones, harmonics, and partials The base, or core, frequency of a sound is known as its fundamental tone. The waveforms of all sounds, apart from a basic sine wave, consist of the fundamental tone and many other tones of different frequencies. Nonfundamental tones that are whole-number multiples of the fundamental tone are known as overtones or harmonics. (A tone with a frequency that is a fraction of the fundamental tone is referred to as a subharmonic.
Other waveform properties In addition to frequency, other properties of sound waves include amplitude, wavelength, period, and phase. Amplitude Wavelength •• Amplitude: The amplitude of a waveform indicates the amount of air pressure change. It can be measured as the maximum vertical distance from zero air pressure, or “silence” (shown as a horizontal line at 0 dB in the illustration).
Fourier theorem and harmonics According to the Fourier theorem, every periodic wave can be seen as the sum of sine waves with certain wave lengths and amplitudes, the wave lengths of which have harmonic relationships—that is, ratios of small numbers. Translated into more musical terms, this means that any tone with a certain pitch can be regarded as a mix of sine tones consisting of the fundamental tone and its harmonics, or overtones.
•• Hybrid analog and digital synthesizers: Some synthesizer designs feature digital oscillators that generate signals—using binary descriptions of waveforms. The digital oscillator signal is then sent to analog filters and amplifiers. The main advantage of this approach is that digital oscillators don’t drift in pitch, which is a common problem in analog oscillators.
Subtractive synthesizers How subtractive synthesizers work There are many approaches to sound creation with a synthesizer. (See Other synthesis methods overview on page 492.) There are also numerous differences between synthesizer models, but most follow a fundamentally similar architecture and signal flow that is based on subtractive synthesis principles.
Subtractive synthesizer components The front panel of most subtractive synthesizers provides similar signal-generating and processing modules—coupled with a number of modulation and control modules. The signalgenerating and processing modules typically run from left to right, mirroring the synthesizer’s signal flow. Basic Synthesizer Input Oscillator Filter Global ctrl Modulator Amplifier Output Signal-generating and processing components •• Oscillators: Generate the basic signal.
Oscillators The audio signal of a synthesizer is generated by the oscillator. You can choose from a selection of waveforms that contain various types and amounts of harmonics. The level relationships between the fundamental tone and the harmonics of the chosen waveform are responsible for the basic sound color or timbre. Waveform types •• Sine wave: Clean and clear-sounding, a sine wave contains only the first harmonic; in other words, it is the fundamental tone.
The square wave can be reshaped to make the waveform cycles, or pulses, more rectangular, by using a pulse width modulation (PWM) control. The more rectangular the wave becomes, the more nasal it sounds. When modulated in this way, the square wave is known as a pulse wave, and contains fewer harmonics. It can be used for reeds, basses, and brass sounds. •• Triangle wave: A triangle wave contains only odd harmonics, as well as the fundamental tone.
•• Blue noise: Blue noise is inverse pink noise, and increases the level of all frequencies in higher octaves by 3 dB. You can deform the basic waveforms to create new waveforms, which results in a different timbre, or tonal color, thus expanding the palette of sounds you can create. There are many ways to reshape a waveform, the most common of which is changing the pulse width of a square wave.
Filters Filters overview The purpose of the filter in a subtractive synthesizer is to remove portions of the signal—the frequency spectrum—sent from the oscillators. After being filtered, a brilliant-sounding sawtooth wave can become a smooth, warm sound without sharp treble. The filter sections of most subtractive synthesizers contain two primary controls known as cutoff frequency—often abbreviated to cutoff—and resonance. Other common filter parameters are drive and slope.
Cutoff frequency The cutoff frequency, or cutoff, determines where the signal is cut off. Simpler synthesizers have only lowpass filters. If a signal contains frequencies that range from 20 to 4000 Hz and the cutoff frequency is set at 2500 Hz, frequencies above 2500 Hz are filtered. The lowpass filter allows frequencies below the cutoff point of 2500 Hz to pass through unaffected. The figure below shows a sawtooth wave. The filter is open, with cutoff set to its maximum value.
Resonance The resonance control emphasizes or suppresses signals around the cutoff frequency. The figure below shows an ES1 sawtooth wave with a high resonance setting and the cutoff frequency set to 660 Hz. This resonant filter setting results in much brighter and harsher signals close to the cutoff frequency. Frequencies below the cutoff point are not affected. The result of using filter resonance is a change in the basic waveform shape and, therefore, the timbre of the sound.
Filter slope A filter will cut off the signal at the cutoff frequency you set. This cutoff doesn’t happen abruptly but rather at a given slope, which is measured in decibels (dB) of gain reduction per octave. You can define how steep the “cliff” is at the cutoff point by choosing a severe or gentle slope.
Attack, decay, sustain, and release The oscillogram of a percussive tone shown below illustrates the level rising immediately to the top of its range and then decaying. If you drew a box around the upper half of the oscillogram, you could consider it the “envelope” of the sound—an image of the level as a function of time. The role of the envelope generator is to set the shape of this envelope.
Modulation Modulation overview Without modulation, sounds tend to be uninteresting and fatiguing to the ear. They also sound synthetic, rather than natural, in the absence of some type of sonic modulation. Vibrato is a type of modulation commonly used by orchestral string players to add animation to their instrument’s pitch. To make sounds less static, you can use a range of synthesizer controls to modulate basic sound parameters.
Modulation routing in ES1 and ES2 ES1 and ES2 provide an easy way to route a control—a modulation source—to part of the sound engine—a modulation target. ES1 modulation routing You create an ES1 modulation routing by selecting a modulation target in the left or right column of buttons in the Router section. •• You use the left column to set a modulation target that can be controlled, in amount, with the modulation wheel of your keyboard.
Common modulation sources The main envelope generator of the synthesizer not only controls levels over time, but it also is often used to modulate other sound parameters when you press or release keyboard keys. Many synthesizers, such as ES2, feature multiple envelope generators. The most common use of envelope modulation is to control the filter cutoff and resonance parameters with the keyboard velocity or keyboard scaling modulation sources (see Modulation overview on page 488).
Global controls Global controls affect the overall output signal of your synthesizer. Common global controls •• Level: Sets the overall loudness of your sound. This control is the master output volume control of your synthesizer. •• Glide (portamento): Sets the amount of time that it takes for one note pitch to slide up or down to another note pitch. This control is useful for emulating wind instruments that slide from note to note, rather than move directly to another clear and distinct pitch.
Other synthesis methods Other synthesis methods overview There are many ways to create sounds, using different technologies and approaches to synthesis. This section covers all the main methods, with reference to the included instruments where applicable. Many of the methods described incorporate at least some elements of the subtractive synthesis design. See How subtractive synthesizers work. The most common modern approach is based on samples of real instruments and sounds.
Frequency modulation (FM) synthesis FM synthesis uses a modulator oscillator and a sine wave carrier oscillator. The modulator oscillator modulates the frequency of the carrier oscillator within the audio range, thus producing new harmonics. These harmonics are known as sidebands. Modulator oscillator Carrier oscillator FM Resulting waveform Typically, FM synthesizers don’t incorporate a filter.
Component modeling synthesis Also known as physical modeling, this synthesis method uses mathematical models to simulate instruments. Parameters are used to describe an instrument’s physical characteristics, such as the materials the instrument is made of, the dimensions of the instrument, and the environment it is played in—under water, or in the air, for example.
Wavetable, Vector, and Linear Arithmetic synthesis Wavetable synthesis uses a number of different single-cycle waveforms, laid out in what is known as a wavetable. Playing a note on the keyboard triggers a predetermined sequence of waves. In general, this is not a stepped transition but rather a smooth blend from one waveform into another, resulting in a constantly evolving waveform.
Additive synthesis Additive synthesis overview Additive synthesis could be considered the reverse approach to subtractive synthesis. See Sound basics overview, Tones, overtones, harmonics, and partials, and How subtractive synthesizers work. To obtain an insight into the additive synthesis approach, consider the fact that all sounds are a sum of various sine tones and harmonics.
Phase distortion synthesis Phase distortion synthesis creates different waveforms by modifying the phase angle of a sine wave. In essence, you can bend a sine wave until it becomes a sawtooth wave, a triangle wave, a square wave, and so on. The synthesizer engine beyond the waveform generators typically follows a subtractive synthesizer design. Phase distortion synthesis was commercially introduced in the 1984 Casio CZ series synthesizers.
A brief synthesizer history Precursors to the synthesizer The earliest seeds of modern electronic synthesizers began in the twilight years of the 19th century. In 1897, an American inventor named Thaddeus Cahill was issued a patent to protect the principle behind an instrument known as the Telharmonium, or Dynamophone. Weighing in at 200 tons, this mammoth electronic instrument was driven by 12 steam-powered electromagnetic generators.
The term was formally introduced in 1956 with the debut of the RCA Electronic Music Synthesizer Mark I, developed by American engineers Harry F. Olson and Herbert Belar. Its dual-voice sound generation system consisted of 12 tuning forks, which were stimulated electromagnetically. For its time, the instrument offered relatively sophisticated signal-processing options. The output signal of the sound generator could be monitored by loudspeakers and, amazingly, recorded directly onto two records.
The Minimoog Moog and Buchla’s voltage-controlled synthesizers were modular. One chassis, or several, housed the power supply and the actual modules. The inputs and outputs of the modules had to be interconnected via a confusing tangle of patch cords before the synthesizer would make a sound. Establishing these connections properly was an art unto itself, and obtaining useful settings on the modules required significant expertise.
Storage and polyphony Customers weren’t entirely satisfied with the Minimoog and contemporary synthesizers, however. Although musicians no longer had to contend with countless cords in order to play a synthesizer, they still had to deal with numerous knobs and switches before they could do something as simple as switch from one sound to another. Moreover, keyboardists were bored with playing monophonic melody lines on synthesizers—they wanted to play chords.
Digital synthesizers Modern digital synthesizers featuring variable polyphony, memory, and completely digital sound generation systems follow a semi-polyphonic approach. The number of voices that these instruments are able to generate, however, no longer depends on the number of built-in monophonic synthesizers. Rather, polyphony depends entirely on the performance capability of the computers that power them. The rapid developments in the digital world are best illustrated by the following example.
