USER MANUAL
Information in this manual is subject to change without notice and does not represent a commitment on the part of Applied Acoustics Systems DVM Inc. The software described in this manual is furnished under a license agreement. The software may be used only in accordance of the terms of this license agreement. It is against the law to copy this software on any medium except as specifically allowed in the license agreement.
Contents 1 2 3 Introduction 7 1.1 System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 1.2 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.3 Authorization and Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.4 Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 1.4.1 Using MIDI Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CONTENTS 4 Parameters 20 4.1 General Functioning of the Interface . . . . . . . . . . . . . . . . . . . . . . . . . 20 4.1.1 Tweaking Knobs and Sliders . . . . . . . . . . . . . . . . . . . . . . . . . 20 4.1.2 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 4.1.3 Drop-down menus and Displays . . . . . . . . . . . . . . . . . . . . . . . 20 4.1.4 Inverting a Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 4.1.
CONTENTS 4.7.1 Shape of the Envelope Segments . . . . . . . . . . . . . . . . . . . . . . . 34 4.7.2 Free Run Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 4.7.3 Legato Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 4.7.4 Loop Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 The Keyboard Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 4.8.1 Tuning . . . . . . . . . . . . . . . . . . . . .
CONTENTS 6 7 Audio and Midi Settings 45 6.1 Audio Device Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 6.2 MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 6.3 Audio Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 6.4 Latency Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Using the Ultra Analog as a Plug-In 49 7.1 Window Size . . . . . . . . .
Introduction 1 Introduction The Ultra Analog is a virtual analog synthesizer. With this product, we have not attempted to emulate a specific vintage analog synthesizer but rather to combine into a modern instrument, different features of legendary vintage synthesizers. The Ultra Analog generates sound by simulating the different components of the synthesizer through physical modeling. This technology uses the laws of physics to reproduce how an object or system produces sound.
Introduction 1.2 Installation Mac OS Insert the Ultra Analog program disc into your CD ROM drive. Open the CD icon once it appears on your desktop. Click on the Ultra Analog Install icon and follow the instructions of the installer. If you purchased this software online, simply double-click on the installer file that you have downloaded and follow the instructions of the installer. Windows Insert the Ultra Analog program disc into your CD ROM drive.
1.3 Authorization and Registration If the machine you have installed on is connected to the internet: Enter your email address and serial number, and click next. The registration system will now automatically launch your internet browser and connect to the AAS unlock page. The information you have provided, along with your challenge key will be filled into the online form. Verify that this information is correct and click next.
1.4 Introduction Getting started The Ultra Analog comes with a wide range of factory presets right out of the box which amounts to a huge range of sounds before you have even turned a single knob. As you would expect, the best way of coming to grips with the possibilities Ultra Analog offers is simply to go through the presets one at a time. We recommend that you first start using the Ultra Analog in standalone mode.
1.5 Getting help 11 Exploring the factory presets The browser on the left of the Ultra Analog interface is similar to the browser your operating system generates to display the contents of your hard disk, or your email program uses to organize your mail and address book. When launching the application for the first time, this “tree view” will include a destination folder for imported presets as well as different folders containing different categories of factory presets.
Introduction • North America Toll Free: 1 888 441 8277 • Worldwide: 1 514 871 8100 • Fax: 1 514 845 1875 • Email: support@applied-acoustics.com Our online support pages contain downloads of the most recent product updates, and answers to frequently asked questions on all AAS products. The support pages are located at: www.applied-acoustics.com/faq.htm 1.
Browser and Presets 2 13 Browser and Presets The Ultra Analog comes with several factory presets covering a wide range of sounds. This collection of presets lets you play and familiarize yourself with this synthesizer without having to tweak a single knob. Soon, however, you will be experimenting and creating your own sounds that you will need to archive or exchange with other users.
Browser and Presets Note that after having modified a preset, Ultra Analog will always ask you if you want to save the changes in order not to loose your work. This behavior is however not always convenient. To disable this option, select the General command under Preferences of the Edit menu and deselect the Ask to save preset before opening another option. By default, Ultra Analog will also ask you if you want to save changes to a modified preset before quitting the application.
2.6 Locating a Preset in the Browser 15 launch the Edit Preset Information window as explained in the preceding paragraph and select the Mark As Default option. To change the default preset, just repeat the operation on a new preset. If no default preset has been defined, the default values for every module will be loaded when Ultra Analog is launched. 2.6 Locating a Preset in the Browser After navigating through presets, it might be difficult to find the current preset icon in the browser.
Browser and Presets maps and folders from one place in the browser to another by using the Copy and Paste commands from the Edit drop down menu, or by simply dragging objects from one folder and dropping it into the folder of your choice. Ultimately, how things are organized, is left entirely up to you. The browser can also be hidden from the interface which can be convenient in order to save screen space. To hide the browser, use the Hide Browser command from the View menu.
Architecture of the Ultra Analog 3 17 Architecture of the Ultra Analog The Ultra Analog is a very adaptable and versatile two-oscillator synthesizer. The different control elements of the synthesizer have been grouped into three sections in the graphical user interface shown in Figure 1. Figure 1: Graphical user interface of the Ultra Analog Synthesizer.
Architecture of the Ultra Analog together, as well as the multiple signal paths available. 3.1 General Signal Flow Filter 1 Oscillator 1 Amp 1 L R LFO 1 Oscillator 2 LFO 2 Pre Filter Mix LFO 1 Filter Env 1 Amp Env 1 Filter 2 Amp 2 Filter Env 2 Amp Env 2 L R Output Effect Stage The general signal flow of Ultra Analog is shown in Figure 2 and in a more detailed schematic in Figure 15 of the Appendix to this manual.
3.2 Modulation Sources 3.2 Modulation Sources 19 The two rows of the main section of Ultra Analog are equipped with multiple modulation sources illustrated by dotted lines in Figure 2. On each line, one finds a low-frequency oscillator (LFO), used as a modulation source for its respective oscillator, filter and amplifier module, and two loopable and velocity-sensitive envelope generators connected to the filter and amplifier module respectively.
4 Parameters Parameters The Ultra Analog is based on two similar module rows each containing an oscillator, a multi-mode filter, an amplifier, a low-frequency oscillator and two envelope generators. Except for very slight differences, the modules on each line are identical and so the description of the modules, unless otherwise stated, is assumed to apply to the modules on each line. 4.1 General Functioning of the Interface 4.1.
4.1 General Functioning of the Interface 21 for the control. Adjustment of the control is obtained by clicking on a selection or using the up and down arrows and the Enter key of the computer keyboard. The other controls represented by a display, such as the Tempo control of the Clock module, are adjusted by click-holding on them and dragging the mouse upward or downward. Selection of these controls is possible when the mouse is positioned on the display and a double pointing arrow appears. 4.1.
4.2 Parameters The Oscillator Module The Oscillator module offers the features of the most reputed analog oscillators. It provides a fine control on the pitch, standard waveforms, a sub-oscillator, and a hard sync. The Oscillator module is implemented using precise modeling algorithms rather than wave tables providing alias free sources with clean pulse width modulation and synchronization. 4.2.1 Waveform The Shape drop down menu is used to choose the wave form generated by the oscillator.
4.2 The Oscillator Module 23 slightly detune the oscillator. When the Detune knob is in its center position, there is no detune while turning it clockwise or anti-clockwise increases or decreases the pitch respectively. The pitch of the Oscillators module and can be modulated by the signal from the Keyboard module and/or the LFO module. The amount of modulation from these sources is adjusted by using the Kbd and the LFO gain knobs.
Parameters original signal can also be modulated with the the signal coming from the LFO module which is controlled with the LFO knob located just below the Kbd knob. Note that the sync mode is only effective when the waveform is set to rectangular or saw tooth and that in this mode the sub-oscillator is disabled. Also, when the oscillator is in Sync mode, the Time and Amount knobs, instead of acting on the pitch of the master clock, act on the pitch of oscillator.
4.3 The Filter Module 4.3 The Filter Module 25 Ultra Analog is equipped with two multi-mode filters. The filters are patched in a flexible way in order to allow their use in parallel, in series or any combination of both. For even more flexibility, the cutoff frequency of the Filter 2 can also be locked to that of Filter 1. Each of the multi-mode filters include a resonant low-pass, band-pass, high-pass, notch and a formant filter which can be selected using the Type drop-down menu.
Parameters Q=10 Amplitude (dB) Q=4 Q=2 0dB −3dB Q=1 Slope (dB/Oct) Frequency (Hz) Cutoff Frequency Figure 5: Frequency response of the low-pass filter. 4.3.2 Resonant High-Pass Filter Q=10 Amplitude (dB) Q=4 0dB −3dB Q=2 Q=1 Slope (dB/Oct) Cutoff Frequency Frequency (Hz) Figure 6: Frequency response of the high-pass filter.
4.3 The Filter Module 27 Amplitude (dB) Q=10 0dB −3dB Q=4 Q=2 Q=1 Frequency (Hz) Center Frequency Band Width (Q=1) Figure 7: Frequency response of the band-pass filter. both sides of the center frequency. For a second order filter the slope is -6dB/Oct while for a fourth order filter it is -12dB/Oct. 4.3.4 Notch Filter Q=10 Q=4 Amplitude (dB) Q=2 Q=1 0dB −3dB Center Frequency Frequency (Hz) Band Width (Q=1) Figure 8: Frequency response of the notch filter.
Parameters as shown in Figure 8. The Cutoff knob is used adjust the center frequency and the Q knob sets the bandwidth of the notch. Note that the center frequency is totally removed from the spectrum of the output signal of the filter. 4.3.5 Formant Filter Amplitude (dB) Male Voice Female Voice F1 F2 F3 Frequency (Hz) Formant Frequencies Figure 9: Frequency response of the formant filter. The formant filter reproduces the filtering effect of the vocal tract in the human voice.
4.3 The Filter Module 29 saturation patterns implemented, the three first being symmetrical, meaning that the saturation is the same for positive and negative values of the signal while for the three remaining the distortion pattern applied is not the same for positive and negative values of the signal.
Parameters in series, this knob must be fully turned to the right and the level of the Amp 1 set to zero as the output of the first filter is hard wired into the input of the Amp 1 module. In this way, the output signal will only come out from the second amplifier after going through the two filters. 4.4 The Amplifier Module After filtering, the signal is routed to an amplifier in order to add an amplitude envelope and panning effect to the sound.
4.5 The Noise Generator Module 31 position notes depending on their pitch, low notes to the left and high notes to the right where the middle C is the reference note positioned at the location determined by the Pan knob. 4.5 The Noise Generator Module The Noise module generates white noise and is followed by a -6dB/Oct low-pass filter used to adjust the frequency content of the noise. The Color knob is used to vary the cutoff frequency of the built-in low-pass filter.
Parameters frequency of the oscillator is fixed relatively to the frequency (tempo) of the master clock (see 4.12.1) and the value displayed in the Sync control. Sync values range from 1/16 of a quarter note (a thirty-second note) to 16 quarter notes (4 whole notes) where the duration of the whole note is determined by the value (in BPM) appearing in the Tempo display of the Clock module. The LFO module can also be synced to a triplet (t) or a dotted note (d).
4.7 The Envelope Module 33 seconds and is adjusted with the Delay knob. Note that this knob is effective even if the Fade value is adjusted to zero. In this case, the signal from the LFO module will simply be delayed. Amplitude Time Delay Fade in Figure 11: Fade in feature of the LFO. 4.7 The Envelope Module Each row of the Ultra Analog is equipped with two envelope generators, the Filter Env and Amp Env modules which are used to modulate the Filter and Amp modules.
Parameters The envelope modules generate a four segment envelope: attack, decay, sustain, release. The attack time is adjusted using the A knob. The attack time can also be modulated with the velocity signal received from the Keyboard in such a way that that the higher the velocity signal the shorter the attack time will be, the intensity of this effect being controlled using the V slider on the left of the A knob.
4.7 The Envelope Module 35 a legato effect. The default strategy is the first one while the second one will be applied when the legato button is depressed (green light on). Note that when the Keyboard is in polyphonic mode and the envelope generator in legato mode, the envelope generator behaves in a monophonic manner, reacting to a logical OR between all the gates signal from the different notes played on the keyboard.
4.8 Parameters The Keyboard Module The Keyboard module controls how the synthesizer voices respond to the events coming from an external MIDI keyboard or from a MIDI sequencer. The first row of controls (Tuning, Octave, Semi) is used to fix the pitch of the keyboard, and transpose the overall keyboard by octaves or semi-tones. The two knobs Stretch and Error on the bottom row, allow to stretch the octaves and/or add a random error on each note played.
4.9 4.8.3 The Portamento Module 37 Unison The unison mode allows one to stack voices or in other words, play two or four voices for each note played on the keyboard. This mode creates the impression that several instruments are playing the same note together adding depth to the sound. Each voice can be slightly detuned up or down relative to the others by moving the Detune knob counter-clockwise and clockwise respectively from its center position.
Parameters the vibrato will increase when the modulation wheel is used. The increase is always relative to the position of the Amount knob and will be greater as the Mod knob is turned clockwise. The vibrato can be adjusted to not start at the beginning of a note but with a little lag. This lag is set by the Delay knob. The Fade knob allows you to set the amount of time taken by the amplitude of the vibrato effect to grow from zero to the amount set by the Amount knob.
4.12 4.11.2 The Output Effect Section 39 Rhythmic Patterns The rhythmic pattern is shown on the Pattern display. Different rhythmic presets are available through the utility menu. Notes will be played as the 16-step display is scanned and the corresponding step is selected (green button on). The little arrow on the top of the display is used to fix looping points from which the rhythmic pattern will start being played again from the beginning.
Parameters the sync signal comes from an external source or from the internal clock of the module while the Tempo display indicates the value of the tempo in BPM (beats per minute). When the Ultra Analog is used as a plug-in in a host sequencer and the ext source is chosen, the clock signal will be that sent by the host sequencer while in standalone mode the clock will be the one received on the MIDI channel selected in the toolbar.
4.12 The Output Effect Section 41 The different delay algorithms can be controlled with the three knobs appearing at the bottom of the module. The Mix knob is used to adjust the ratio of “dry” and “wet” in the output signal of the module. When the knob is adjusted in the left position, only the original or “dry” signal is sent to the output while in the right position only the processed or “wet” signal is sent to the output.
Parameters Delay modules are applied to the first and second row respectively while in the fourth configuration the order is reversed. Note that each of the effects can be muted by selecting the Bypass preset in their respective algorithm selection drop down menu. 4.12.6 The Output Module This module is used to monitor the level of the left and right channel. The overall level is adjusted with the Level knob. The best dynamic range is obtained when the level meters are around 0 dB for loud sounds. 4.
Toolbar 5 43 Toolbar The toolbar at the top of the Ultra Analog interface allows you to monitor important information related to your current set-up. 5.1 Preset Display Displays the name of the currently opened preset. The + and − buttons on the right of the preset name are used to navigate upwards and downwards in the preset hierarchy as found in the browser.
5.7 Toolbar MIDI Led The red MIDI LED toggles when a MIDI signal is received by the Ultra Analog. This is very useful to see if Ultra Analog is receiving MIDI signal from your keyboard or other controllers. If the LED does not blink when you play your keyboard, check your connections and the transmit/receive channels you are using or the MIDI settings of Ultra Analog as explained in Section 6.2. 5.
Audio and Midi Settings 6 45 Audio and Midi Settings This chapter explains how to select the audio and MIDI devices used by Ultra Analog as well as how to create and edit MIDI links and MIDI maps. When referring to commands that are different on Windows and Mac OS systems, we will list the commands in the following order: Windows command/Mac OS command. 6.1 Audio Device Settings To select the audio device used by Ultra Analog: • Go to the Edit menu, choose Preferences and then Audio Settings.
Audio and Midi Settings • Move a knob or slider on your MIDI controller (this can be a keyboard, a knob box or any Device that sends MIDI). This will link the control of the Ultra Analog to the MIDI controller you just moved. MIDI links can also be created in the MIDI Links window which is launched by choosing the Edit MIDILinks command from the Edit menu or by right-clicking/Control-click on any control and choosing the Edit MIDILinks command. • Click on New to create a new MIDI link.
6.2 MIDI Settings 47 • Click on the OK button and the link appears in the list of controllers linked to the control. • Click on the OK button again to confirm the change and to leave the MIDI Links window. • Note that the Minimum Value and Maximum Value of a MIDI link can also be set by right/control clicking on the corresponding control and selecting the Set MidiLink Minimum Value or Set MidiLink Maximum Value command.
6.3 Audio and Midi Settings Audio Control Panel To launch the audio configuration panel, choose Audio Control Panel under Preferences of the Edit menu on Windows or the Ultra Analog menu on Mac OS systems. This panel allows you to select the bit depth sample rate (22.05, 44.1, 48, or 96 kHz) and buffer size, which affects how quickly the Ultra Analog responds to the control information it receives. The smaller the buffer size, the shorter the latency, and vice versa.
Using the Ultra Analog as a Plug-In 7 49 Using the Ultra Analog as a Plug-In The Ultra Analog is available in VST, DXI, AudioUnit and RTAS (for Mac OS only) formats and integrates seamlessly into the industry most popular multi-track recording and sequencing environments as a virtual instrument plug-in. The plug-in versions will work exactly the same way as the standalone version, except for the audio, MIDI and latency configurations that will be taken care of by the host sequencer.
7.6 Using the Ultra Analog as a Plug-In Saving Projects When saving a project in a host sequencer, information on the position of all the controls on the interface, the MIDI links, and the preset name are saved. Note that if the preset was modified after it was loaded, the original version of the preset is not overwritten. 7.7 MIDI channel Make sure that the MIDI controller, sequencer and Ultra Analog all use the same MIDI channel. 7.
Quick references to commands and shortcuts 8 51 Quick references to commands and shortcuts File Menu Command Windows New Folder Open Preset Ctrl+O Close Save Preset Ctrl+S Mac OS Description Apple+Shift+N New Folder in the Browser Apple+Option+O Open the selected preset Apple+W Close the window and exit the application Apple+S Save the current preset Save Preset As Save Midi Links Save the current preset under a new name Ctrl+Shift+S Apple+Shift+S Save the current MIDI links Save Mi
Quick references to commands and shortcuts Edit Menu Command Windows Mac OS Description Undo Ctrl+Z Apple+Z Undo last command Redo Ctrl+Y Apple+Shift+Z Redo last command Cut Ctrl+X Apple+X Cut selected item Copy Ctrl+C Apple+C Copy selected item Paste Ctrl+V Apple+V Paste Delete Del Select All Ctrl+A Apple+A Select all items Info Ctrl-I Apple+I Edit information about a selected item (browser) Delete selected item Compare Compare modified preset with original settings
Quick references to commands and shortcuts 53 Edit/Preferences Menu on Windows, Ultra Analog/Preferences on Mac OS Command Windows Mac OS Description General Display the Edit General Preferences window Audio Settings Display the Audio Settings window Midi Settings Display the MIDI Settings window Latency Settings Display the Latency Settings window View Menu Command Windows Mac OS Description Apple-B Show/Hide the browser panel Ctrl-L Apple+ Locate the current preset in the browser and
9 Appendix Appendix Figure 15: Schematic of the Ultra Analog Synthesizer.
License Agreement 10 55 License Agreement IMPORTANT! CAREFULLY READ ALL THE TERMS AND CONDITIONS OF THIS AGREEMENT BEFORE OPENING THIS PACKAGE. OPENING THIS PACKAGE INDICATES YOUR ACCEPTANCE OF THESE TERMS AND CONDITIONS. IF YOU DO NOT AGREE WITH THE TERMS AND CONDITIONS OF THIS AGREEMENT, PROMPTLY RETURN THE UNOPENED PACKAGE AND ALL COMPONENTS THERETO TO THE PARTY FROM WHOM IT WAS ACQUIRED, FOR A FULL REFUND OF ANY CONSIDERATION PAID.
License Agreement 5. LIMITATION OF LIABILITY.
License Agreement 57 rendered inoperative but the remaining provisions shall continue in full force and effect. 9. ENTIRE AGREEMENT.
Index adsr, 19, 33 amplifier, 18, 30 architecture, 17 arpeggiator, 38 latch, 39 pattern, 38 rate, 39 rhythmic pattern, 39 synchronization, 39 ASIO drivers, 48 audio, 45 audio configuration, 10, 48 audio device, 45 audio format, 48 band-pass filter, 25, 26 browser, 11, 13 customizing, 15 hiding, 16 buffer size, 48 buttons tweaking, 20, 21 challenge key, 8 chorus, 39, 40 clock, 39 commands, 51 community, 12 compare, 14 contact, 11 default preset, 14 delay, 39, 40 display, 20 documenting preset, 14 driver, 48
INDEX sustain pedal, 36 tuning, 36 unison, 37 knobs, 20 tweaking, 20 latency, 48 legato, 37 level, 30, 42 lfo, 19, 31 fade-in, 32 phase, 32 rate, 31 reset mode, 32 wave shape, 31 low-pass filter, 25 master clock, 39 MIDI, 45 device, 45 settings, 45 MIDI configuration, 10 MIDI controller, 45 MIDI links, 11 creating, 45 editing, 46, 47 MIDI links range, 46 MIDI map, 15, 43, 47 MIDI program change, 11, 47 modulation, 19, 21, 31 module, 20 bypassing, 21 copying settings, 21 resetting, 21 multi-mode filter, 18,
deleting, 14 documenting, 14 edit, 14 editing, 13 exporting, 15 importing, 15 locating, 15 name, 43 playing, 13 saving, 13 presets, 11, 13 pulse-width modulation, 22 recorder, 39, 42 rectangular, 22 redo, 14 registration, 8 reset mode, 32 response key, 9 reverb, 39, 41 sampling rate, 7, 48 saturation curve, 28 saw-tooth, 22 schematic, 54 shortcuts, 51 signal flow, 17 sine, 22 slider, 20 square, 22 standalone mode, 10 sub-oscillator, 23 sustain pedal, 36 synchronization, 23, 39 system requirements, 7 too