D16 LuSH-101 User Manual Download

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Layer

•

Synthesis

Amplifier - VCA

In this section (

VCA

) we have only one switch, which allows to select the generator of amplitude.

•

Source

– The switch responsible for selecting the generator:

•

ENV1

– Sound amplitude is controlled by the

ENV1

•

ENV2

– Sound amplitude is controlled by the

ENV2

Vcf keyboard range affect

Synthesis - amp section

Summary of Contents for LuSH-101

Page 1: ...User Manual Multitimbral Polyphonic Synthesizer ...

Page 2: ...board splits where Layers listen to the same MIDI channel by responding to disjunctive keyboard zones You can also create complex sound textures by overlapping Layers listening to the same MIDI channel and responding to the same keyboard zone LuSH 101 allows for convenient mixing of Layers within a specially designed for this purpose Mixer built into the LuSH 101 in which we can make a final touch...

Page 3: ...the top of GUI there is a bar called Control section Below the bar we can see a part of GUI which is responsible for editing a single Layer this is the default view after opening the LuSH 101 in a host application Graphical user interface Control section ...

Page 4: ...bal configuration is performed from there MIDI section contains a Midi act LED indicating any activity from the MIDI port and the Midi Learn button which enables the Midi Learn mode Preset management section for Global presets preset types are described later 1 Overview Synthesis view containing layer s parameters Options about button Midi section ...

Page 5: ...g selected Layers parameters when the Global Preset is loaded Buttons for switching the GUI s View Synthesis Editing selected Layer s sound parameters Master mixer Mixing and combining the sound from all Layers together Modulation matrix Editing selected Layer s modulation matrix Master volume knob controlling overall volume of the output sound coming from the LuSH 101 Preset management section fo...

Page 6: ...sis button in the Control section They are displayed in the main part of GUI We can select which Layer from the 8 available we want to edit using Layer select buttons in the Control section View tab selector Synthesis view containing layer s parameters Layer selector ...

Page 7: ... a single Layer we can distinguish the following groups of controls Layer settings Timbre preset browser Voices polyphony management Insert effect Layer settings Timbre browser Voices section Insert effect section ...

Page 8: ...7 2 Layer Layer master Set of sound parameters Layer master Layer s sound parameters ...

Page 9: ...Arpeggio Gater set of parameters controlling Layer Arpeggiator Layer settings Parameters from Layer settings Voices section Layer Master are stored per each layer independently Layer s sound parameters Layer control parameters ...

Page 10: ...a GUI is draggable editable this way Note this parameter is NOT stored within the preset of any kind it is stored within the host application project only MIDI channel A MIDI channel on which the Layer is listening out 1 16 or All Omni If All is set then the Layer listens out on all channels on a MIDI port redirected to a LuSH 101 Note this parameter is NOT stored within the preset of any kind it ...

Page 11: ...e end of the Zone To Additionally we can use the Learn function to define a Zone directly from the MIDI keyboard 1 Press Learn button 2 The plug in is now waiting for two MIDI Note messages by listening to all MIDI channels ignoring Channel number setting from Layer 3 When you press two keys at once or one by one on your MIDI keyboard the plug in will automatically set the beginning and the end of...

Page 12: ... Off Portamento is off On Portamento is always on for overlapping and non overlapping MIDI notes Auto Portamento works only for overlapping MIDI notes Time It is the time of smooth pitch transition between two successively incoming notes Unison Unison mode allows to play a single note with a few voices of Polyphony at the time in which each voice is slightly changed its Tune Panorama or and filter...

Page 13: ...s 2 We need to remember that Unison mode steals Polyphony e g when we set Unison to 2 we will not be able to set the polyphony greater than 16 because it would exceed 32 voices in total Unison voices Polyphony Unison spread ...

Page 14: ...the following controls Timbre name The text box containing the name of currently loaded Timbre preset Prev Next Those two buttons are used for linear navigation through the banks of Timbres Browse This button opens the Timbre preset browser Save Save as Storing a current Timbre preset Sett Open the Layers settings panel You will find a detailed description of Preset management and Timbre managemen...

Page 15: ...ulse width and HardSync option Sawtooth with HardSync and SuperSaw options Note Supersaw oscillator operates on mixing few sawtooth waveforms each slightly detuned Suboscillator with 5 different waveforms to select from Square with 50 50 pulse width one octave below base frequency Sawtooth one octave below base frequency Square with 50 50 pulse width two octaves below base frequency Sawtooth two o...

Page 16: ...rs can be mixed together in proportions set by sliders placed in the Source mixer section Starting from the left side sliders in this section are responsible for Layer Synthesis 2 Vco diagram Synthesis source mixer ...

Page 17: ...SAW SUB and Noise sliders allow independent for each oscillator modulation of amplitude using ENV1 first envelope There are also two groups of radio buttons in the Source Mixer section Wave That chooses one of the five available waveforms for the suboscillator Noise type Responsible for selecting a noise type for the noise oscillator Oscillator s independent amplitude modulation by ENV1 ...

Page 18: ...cond hidden oscillator for PWM Square generator and Sawtooth generator HardSync can be controlled and activated in Pitch Sync section on GUI two last sliders on the right and the LED above them Sync HardSync activation and deactivation Offset Frequency offset of the slave oscillator Mix This is a cross fade between Slave oscillator and the mixed 50 50 Slave and Master oscillators When HardSync is ...

Page 19: ...rength the bigger the value is the more saw oscillators are added Detune This is the detune value between additional saw oscillators Note Please note that SuperSaw and HardSync cannot work at once If you turn on HardSync mode SuperSaw will be automatically disabled Supersaw works alternatively to Sawtooth oscillator therefore the amplitude of Supersaw is controlled by Sawtooth s volume fader in th...

Page 20: ...Width Pulse width of square wave Mod Amount of pulse width modulation by a modulation source Source Selection of modulation source LFO1 LFO2 ENV1 ENV2 Envelope generators Envelopes can be used for controlling the signal amplitude filters sound pitch or pulse width We have two generators to our disposal in the Layer Their controls on GUI are located in sections ENV1 and ENV2 PWM diagram ...

Page 21: ...ese are classic ADRS generators with four parameters A Attack time D Decay time S Sustain level R Release time There are two additional parameters Polarity Positive Negative Synthesis envelopes Positive and negative envelope ...

Page 22: ...1 note re triggers an Envelope Gate The note re triggers Envelope if any other note is not played at the moment Therefore the trigger is not generated for overlapping notes Trig and Gate behave differently only in Mono mode in Poly mode there is no difference between Trig or Gate LFO1 Envelope is re triggered when new period of LFO1 starts LFO2 Envelope is re triggered when new period of LFO2 star...

Page 23: ...used for controlling sound pitch filter parameters pulse width or sound amplitude There are two basic parameters for LFO Waveform We can choose one of six available waveforms Triangle Square Sawtooth ascending Sawtooth descending Random Noise Rate Defines the frequency of the LFO There is an exception namely Noise waveform which is a white noise and the Rate knob doesn t affect it Synthesis LFOs ...

Page 24: ...e beginning of its period We have 4 possibilities Trig Each new incoming note resets the LFO Gate Incoming note resets the LFO if any other note is not currently played pressed on the keyboard In Poly mode it does not matter if we choose Trig or Gate because in both cases the LFO is reset for every incoming note Retriggering an envelope ...

Page 25: ... 4 2 1 bars 1 2 1 4 1 8 1 16 and 1 32 Keyboard Tracking When turned on the frequency of the note affects the LFO frequency With this feature we can achieve a simple FM synthesis modulating a frequency of VCO with LFO Mono mode Turned off by default In Poly mode with Mono switched on all voices in the Layer have synchronized LFOs together in a phase giving an impression of a single LFO controlling ...

Page 26: ...ss the Cutoff frequency and Resonance domain and the filter itself is softer in comparison to SH 101 variant SH 101 More unstable and analogue like with faithful emulation of self oscillations appearing in SH 101 Freq Filter cutoff frequency ENV1 Sets a depth of modulation of the cutoff frequency by Envelope1 ENV2 Sets a depth of modulation of the cutoff frequency by Envelope2 LFO1 Sets a depth of...

Page 27: ...ter turned on When the Kybd is set to max the cutoff frequency is perfectly tuned with VCO the filter is set to exactly track the pitch the brightness of the sound will stay the same throughout the keyboard range Reso Filter resonance ENV2 Sets a depth of modulation of the resonance by Envelope2 LFO2 Sets a depth of modulation of the resonance by LFO2 The diagram below presents the manner in which...

Page 28: ... The first two parameters starting from left control the amount of modulation of envelopes or LFOs on the oscillator frequency Mod The depth of modulation of the applied modulation source on a frequency Source Selection of the source of the pitch modulation LFO1 LFO2 ENV1 or ENV2 With HardSync mode turned on modulation is applied on Slave oscillators only for Square and Sawtooth waveforms Pitch sy...

Page 29: ... If we turn off the Tracking the pitch of incoming midi notes is ignored by LuSH 101 and the frequency is constant controlled by Frequency parameter described below In consequence no matter what key we press on the keyboard the sound will have exactly the same frequency Frequency It is the absolute frequency of VCO from 20 Hz to 8 kHz this parameter works only when Tracking is turned off described...

Page 30: ...only one switch which allows to select the generator of amplitude Source The switch responsible for selecting the generator ENV1 Sound amplitude is controlled by the ENV1 ENV2 Sound amplitude is controlled by the ENV2 Vcf keyboard range affect Synthesis amp section ...

Page 31: ...te Off message generates negative slope sound amplitude is zero LFO2 x ENV2 The sound amplitude is controlled by the product of LFO2 s and ENV2 s outputs Wheel and Bender modulation These two sections allow instant changing of the effect of modulation wheel or and bender on the filter s or and oscillator s frequencies Vca amplitude modulation Synthesis wheel and bender sections ...

Page 32: ...put Note Please note that the waveform of the LFO1 output for the wheel section is always triangular The waveform parameter in LFO1 section is ignored here Bender Allows using the pitch bender to control oscillator s frequency or and filter cutoff frequency There are two parameters VCO The range the bender affects the oscillator s frequency VCF The range the bender affects the filter cutoff freque...

Page 33: ...utoff frequency Master section There are three available parameters Fine tune It is a precise fine tuning of oscillators in the Layer Pan Layer panorama Volume Layer output volume The A440hz button generates a test signal sine wave with 440 Hz frequency middle A key Bender and wheel in vcf section ...

Page 34: ...rtion Decimator Tremolo Or just turn off the insert effect for Layer no effect In this situation the Layer output will be directly sent to the synthesizer Mixer without processing To choose the effect you need pull down the combo box in the Insert effect section and select one algorithm you are willing to use Each of the insert effects has its own set of parameters to control Insert effect section...

Page 35: ... Slow Fast Mid Mode Chorus mode Thin Single delay line Fat Double delay line Stereo Stereo phase shift between LFO controlling delay lines for left and right channels Dry Wet Proportions between processed and unprocessed sound Flanger Insert effect chorus Insert effect flanger ...

Page 36: ...und String ensemble This is a combination of chorus and phaser effects String mode Chorus work mode Light Subtle flow of LFOs controlling delay lines Heavy Higher frequency and depth of LFOs Stereo Stereo phase shift between the channels Phaser Turning on off the Phaser in String ensemble Rate Frequency of the Phaser LFO Color Color variant of the Phaser effect Insert effect string ensemble ...

Page 37: ... frequency and lesser amplitude Stereo Stereo phase shift between the channels Feedback Phaser feedback Vowel filter Reso Resonance Rate Frequency of the LFO controlling Vowel filter Depth Depth of the LFO controlling Vowel filter Vowel set select Controls the position of the Vowel filter in a Vowels list the LFO oscillates around this position Layer Insert effects 2 Insert effect phaser Insert ef...

Page 38: ...f five available to choose from A E I O U Vocal Button that pulls down the list from which we may select one of available vocal timbres Distortion Dynamics Amount of compression before distortion The higher the value of this parameter the higher the compression is lesser dynamics of signal Preamp Signal amplification before going through the clipper Threshold Threshold value for the clipper Shape ...

Page 39: ...uency Decimation frequency 0 44 kHz Quantize Quantization with a given number of bits 1 15 if the knob is set to off position the input signal is not quantized and only the decimation is performed Tremolo Rate The rate oftremolo effect Depth The rate of tremolo effect Waveform Tremolo s LFO waveform Sinus or Triangle Stereo spread It is a tremolo LFO stereo phase shift between Left and Right chann...

Page 40: ...ery Layer the Arpeggiator can be activated or not The Arpeggiator section is located on the right side of Synth view Here we can distinguish the following parameters Mode The Arpeggiator s work mode run mode Off Arpeggiator turned off Up Upward sequencing Down Downward sequencing U D Upwards and downwards beginning from upright U D Downwards and upwards beginning from downright Arpeggiator gater s...

Page 41: ...in an Arpeggiator sequence will be overlapping each other Legato Chord When turned off the Arpeggiator behaves regularly it generates monophonical sequence accordingly with other settings but if it is turned on the Arpeggiator acts as a gater Pressing the Chord on the MIDI keyboard will cause the Arpeggiator to play all sounds at once in a single step Please note that to use the Chord mode you nee...

Page 42: ...ere earlier added with Hold mode Using Clear keys button while holding CTRL performs the action for all Layers in LuSH 101 In the bottom part of Arpeggio Gate section there are two rows of LEDs Each column accords with a single step of the Arpeggiator sequence although that single complete cycle of the Arpeggiator can be much longer because of Range and Repeat values or and the number of keys pres...

Page 43: ...ll parameters within the Layer s Arpeggiator thus preventing overwriting their values when the Timbre preset or Global Preset is loaded To read the details go to Preset Management chapter Examples Let s assume the following values of the Arpeggiator s parameters Range 1 oct Mode up Repeat 1x Rate 1 16 full Apreggiator s padlock ...

Page 44: ...l the LEDs in the Gate row and disable all the LEDs in Tie row For C min chord pressed on the MIDI keyboard the sequence will look as follows We can slightly modify the Gate row and as a result get the following sequence Layer Arpeggiator 2 Arpeggiator example 1 ...

Page 45: ...44 Layer Arpeggiator 2 If we instead slightly modify the Tie row we will receive this sequence Arpeggiator example 2 ...

Page 46: ...th is 16 steps but you may decrease it 1 Press the Length button in the Arpeggio Gater section 2 Click on any LED in the Gate row making it the last step in a sequence This is how the length is set 3 Press the Length button again Arpeggiator example 3 ...

Page 47: ...ing a current Arpe preset Prev Next buttons used while holding CTRL button Apple CMD on MacOS allow to Copy Paste Arpeggiator parameters Prev CTRL Copies Arpe parameters from the currently selected Layer into a buffer Next CTRL Pastes parameters from a buffer onto the current Layer Arpeggiator Modulation Matrix Modulation Matrix is a tool which increases the expressivity of the sound by allowing t...

Page 48: ...ble to switch between the Layers and editing the Modulation Matrix for each of them without the necessity of leaving the Modulation Matrix view Modulation Matrix in LuSH 101 is displayed in a tabular form in which the following columns can be distinguished Source Input controller responsible for modifying the destination parameter Layer Modulation Matrix 2 Select view section Modulation matrix ...

Page 49: ... formula New Destination parameter s value Destination parameter Source controller Amount Where Destination and Source have values in most cases in the range of 0 1 Amount has values within the 1 1 range By using the combo box in the Source column you can select one of the following input controllers Modulation Midi CC 01 range 0 1 Modulation Matrix Source Modulation Matrix Destination Modulation ...

Page 50: ...ne from almost all available sound parameters of the Layer In the Modulation Matrix a single controller Source can modify a few sound parameters Destinations at the same time when few rows with same Source are added Also a few controllers Sources can modify a single parameter when a few rows with identical Destination are added Note It should be remembered that in the case of selecting Velocity or...

Page 51: ...e dynamics In case of setting the Amount to 1 the MIDI note Veloticy affects the Voice Volume to full extend maximum Volume dynamics in accordance witha principle The greater the Velocity of a MIDI note the louder the sound is generated But if we set the Amount to 1 then the note Velocity is inversely proportional to the sound volume Voice Volume the greater the velocity value of a MIDI note the q...

Page 52: ... Matrix Note Arpe Gate and Arpe Tie Sources work even if the Layer Arpeggiator is turned off Apre Mode parameter set to off Regardless of whether the Arpeggiator is turned on or off the tempo of the generated sequence is controlled by the Rate knob Arpeggiator section Layer Modulation Matrix 2 Modulation matrix arpe output example Arpeggiator Rate knob ...

Page 53: ...mbre that do not necessarily have to be at hand when you edit a sound To open theTimbre Preset Settings panel use Sett button in the Timbre section in Synthesis view After pressing the button the panel will appear In the panel there are two tabs available Pitch tracking Miscellaneous Timbre browser Timbre Preset Settings Timbre preset settings Tabs ...

Page 54: ...ceived by LuSH 101 a corresponding value is returned as a Pitch rescaled to the range 0 1 in the Modulation Matrix Editing the Pitch tracking values can be performed in two ways Freehand drawing using the mouse while holding the left button Linearly interpolated drawing using and clicking the right button The first click starts a line successive click starts another line at the end of the first on...

Page 55: ... available Velocity dynamics curve Allows to select between seven different dynamic curves the one selected is taken into account in Modulation Matrix Velocity Convex 3 Convex 2 Convex 1 Linear Concave 1 Concave 2 Concave 3 Linear is the default one Timbre preset settings Miscellaneous tab ...

Page 56: ...imited polyphony This concerns mainly sounds with longer release times In LuSH 101 we can choose how notes should be distributed among available voices of polyphony the order in which voices should be assigned to incoming notes and later released There are two modes built in First played first released default value This way is analogous to a queue in which a first assigned voice to a note conside...

Page 57: ...n set of parameters completely separated from the others You can combine and mix the sound from all the Layers together on the Master mixer view After clicking the Master mixer button the Mixer view appears on the front panel of LuSH 101 First 8 channel strips representthe synthesizer Layers Select view section Mixer view ...

Page 58: ...57 Mixer 3 Three succeeding channel strips are the FX channels with three FX algorithms permanently assigned to them one per each Mixer layers channel strips Mixer send effects and FX channels strips ...

Page 59: ...FX3 channel Each of those send effects has its own set of parameters and in respect to the complexity number of parameters of the Reverb and Delay effects they have their own preset management system Each channel Layer or FX can be routed to one of the eleven available plug in outputs Signal flow through a mixer ...

Page 60: ...the signal outgoing from a Layer is mixed with signals from other Layers it passes through a channel strip Starting from the top of the channel strip we can distinguish the following controls Mixer layer s channel strip Mixer layer s channel strip top section ...

Page 61: ...dio output in Layer settings section in the Layer tab Volume This slider controls the output volume ofthe channel strip Next to the Volume fader there is the Compressor section which is basically an insert effect in the channel strip On LED that turns on off the compression Attack The radio group of three LEDs that select one of the three available fixed envelopes Fast Fast attack slow release Mid...

Page 62: ...he Pre Comp switch controls the sequence of processing by the Compressor and EQ sections If Pre Comp is On the signal is first processed by the compressor and then its output is processed by the EQ Off the signal is first processed by the EQ and then its output is processed by the Compressor In Send section we have three parameters which control the amount of signal After processing by a channel s...

Page 63: ...send value for FX3 Channel The Pre fad Pre fader switch which controls whether the signal is sent to FX Channels takes the Volume fader into account The diagram below depicts the signal flow through a channel strip Mixer Layer channel strip 3 Signal flow through a layer s channel strip ...

Page 64: ...er is sent to the FX Channel The input of the FX Channel is a sum of all the parts from all Layers Each of the FX Channels is assigned to one effect algorithm Reverb Delay or Chorus and then it is further processed The FX Channel apart from having an assigned effect algorithm contains few other elements affecting the sound Mixer FX Channel strip ...

Page 65: ...ted to 1 11 Pan Panorama Volume Fader that controls the amplitude of the FX Channel output signal The EQ section controls a simple parametric equalizer of the FX Channel and it contains the following parameters Mixer FX Channel strip 3 Mixer FX Channel strip top section Mixer FX Channel strip eq section ...

Page 66: ...24db to 24db Low Low shelf gain from 24db to 24db for frequencies 100hz FX algorithms In LuSH 101 mixer we have three different fx algorithms assigned permanently to particular FX Channels Reverb Reverb is assigned to the FX1 Channel its parameters are located in FX 1 Reverb section on GUI Mixer FX Channel strip FX algorithms 3 Signal flow through a FX Channel strip Mixer FX 1 Reverb section ...

Page 67: ...s Late reflections Size Size of the room for late reﬂections only Diffusion Attenuation Feedback Controls how much of wave energy is consumed every reﬂection The smaller the value the more energy is consumed in every reﬂection meaning the feedback is weaker Three other parameters Predelay Delay between dry signal and reverberation Modulation It isa parameter which controls the delay lines disturba...

Page 68: ...of its delay lines with host tempo and resonance filter in a feedback loop The following parameters control the Delay Sync Turning on off the synchronization with the host application When it is off the delay time is set by a Delay time knob otherwise we set a time based on delay using the four LED displays arranged in two columns Delay Time It is the delay time in milliseconds This control works ...

Page 69: ...6th note the numerator is a multiplier and so 3 16 for example is a duration time of the three 16th notes each Full Dot Tri Those three radio LEDs select between three rhythmical modifiers for left and right channel independently Full Full note Dot Dotted note Tri Triplet note Example On the left channel we set a delay value for 5 16 on the right channel for 3 16 Additionally for the right channel...

Page 70: ...cation the maximal delay between the left and right channel is 50 of the Delay time knob value Sync Is On When the Delay effect is synchronized with a host application the maximal delay value between left and right channel is a half of the rhythmical value set in a L column Feedback Feedback value of the Delay effect The filter in a feedback loop is controlled by following parameters Cuttoff Cutof...

Page 71: ...rus section on GUI Rate Controls LFO frequency 0 01 Hz 20 Hz The LFO waveform is triangular Depth Amplitude of LFO oscillations expressed in milliseconds Offset It is an offset between dry signal and the minimum of the LFO oscillations expressed in milliseconds Mode It isthe volume of the output from the second delay line It makes the sound more fat Stereo This is a stereo phase offset of the LFO ...

Page 72: ... specific for the Global Preset that are not necessarily at hand when you edit a sound To open the Global Preset Settings panel you need to use Sett button in the Global preset management section on GUI This window will appear Arpeggiator Preset Management Global Preset Settings window ...

Page 73: ...terion by which Arpeggiators in Layers are grouped together Within a single group the Arpeggiator triggered as the first one become the Master We can select one of the criteria Each independent All Arpeggiators work completely independently and noneof them affectsthe others All together All 8 Arpeggiators from all 8 Layers are grouped together when one of them is triggered as the first the other A...

Page 74: ... Layer preset In LuSH 101 it is called a Timbre Within this type of preset the following parameters are stored Parameters from the Voices section Insert effect type and insert effect parameters All parameters from Layer master section All parameters from Synthesis section including oscillators envelopes and LFOs settings Modulation Matrix Arpeggio Gater section settings Timbre settings Layer s sou...

Page 75: ...Preset which stores the state of the whole synthesizer including All layers see the Layer preset Mixer settings and send effects Transpositions and keyboard zones from Layer settings section for all Layers Master volume Preset settings In general global Preset aggregates presets for all Layers Timbres Delay preset Reverb preset additional parameters Preset Management Preset structure 4 Global pres...

Page 76: ...ed as a group of presets which is presented in the Preset Browser as a group node It is allowed to nest the structure of groups and single presets into another group etc In the Preset section regardless of global timbre or others we can always distinguish a few common controls The text box containing the name of the currently loaded preset Prev Next These two buttons are used for linear navigation...

Page 77: ...parameters when the preset is loaded possible values of the locked parameters will not be altered There are two kinds of Padlocks in LuSH 101 considering the range of effect Layer Padlock Single Layer Padlock covers all Layer parameters including the Arpeggiator in a particular Layer locks them only during loading Global Presets This kind of Padlock will not work if we try to load a Timbre Presets...

Page 78: ...ts To activate the Arpe Padlock use the padlock icon in the Arpeggiator s top bar Preset Browser As it was mentioned in the previous chapter presets in LuSH 101 are stored as files on the hard drive Therefore the Preset Browser reflects the file structure of a location on the disk where presets are actually kept Preset Management Padlocks Preset Browser 4 Apreggiator s padlock Preset Browser ...

Page 79: ... the right Preset file Clicking the Folder selects it and its content subfolders and files is displayed in the adjacent column to the right If the folder we selected contains any subfolders analogically you can perform the same action on and on until reaching the deepest level of the directory tree All columns starting from the left side will correspond to successive levels of the directory tree C...

Page 80: ...d saved presets based on information given by user in a Preset tab in Configuration panel Double clicking the item Folder or Preset file toggles edit mode which allows to rename the file We can select for removing or copying A Single item by clicking it Group of items By selecting the first one and adding new elements by selecting them while holding CTRL key Apple CMD na MacOS Preset Management Pr...

Page 81: ...d to perform additional actions Creating a new Folder in the current location Creating a duplicate of a selected Preset file this option does not work on Folders and groups of items Deleting a selected item or group of items Refreshing the columns content in the Preset browser It is necessary in the situation when LuSH 101 is loaded and the content of the hard drive in the location where Preset fi...

Page 82: ...llows to select a Layer for which the Arpeggiator preset will be loaded without the necessity of leaving the Arpeggiator Preset Brower window to change an active Layer Timbre Preset Browser The Timbre Preset Browser has exactly the same functionality as the Arpeggiator Preset Browser but with one extra functionality added On the right side of the upper bar there is an Arpe Padlock which allows to ...

Page 83: ...bre Padlocks and Arpe Padlocks for all Layers In the bottom part of the Global Preset Browser a visual music keyboard is located which shows the distribution of zones across the MIDI keyboard Below the keyboard Timbre names for all the Layers are shown and if an enabled MIDI port is redirected to LuSH 101 this control indicates their activity in response to MIDI notes Apreggiator s padlock Global ...

Page 84: ...el the following tabs are available Synthesis Global processing settings In Out Configuring default MIDI channels and Audio outputs Presets Global actions on preset files Parameters Configuring automatable parameters within the host application Midi Control Configuring MIDI communication with plug in GUI Plug in graphical user interface options Options about button Configuration Panel Tabs ...

Page 85: ...Allows to select the current quality for real time or offline We can choose from two available grades Normal High High quality chosen requires more CPU resources Changing the Current Quality instantly affects the generated sound Keep in mind that the tone of a sound can be slightly different when we change this setting Current Quality is stored within the host project file Options Synthesis Tab ...

Page 86: ...he keyboard When we release the key responsible for playing the note one of the earlier pressed notes will be played However when we choose Normal mode default for the Default Envelope Retrigger mode releasing a button does not result in resetting the envelope SH 101 This envelope retrigger mode was inspired by the manner in which the envelope was working in SH 101 synthesizer and it differs from ...

Page 87: ...thread processing in the plug in and causes an even spread of the load on the available processor cores and decreases the general processor s use A multi core processor is a necessary prerequisite for using this option otherwise the processor s load may even increase Status informs about the number of available cores in the system including virtual cores when the Multi core support option is activ...

Page 88: ...to modify the default MIDI input channels and or Audio outputs routing From this location it is possible to change the default MIDI channel for any Layer default Audio output for any Layer Options In Out tab Layer s midi channel Layer s audio output ...

Page 89: ...ult MIDI channels This section allows to define the set of default MIDI channels for all Layers By selecting a value using combo boxes for each Layer we can select a channel from 1 to 16 or All which turns the Layer into a mode in which it responds to MIDI messages from all 16 MIDI channels at once Pressing the Use Current button takes all current MIDI channels set on Layers and makes them the def...

Page 90: ... values of sound parameters stores also certain additional information i e author s name or rating The Author box in the Presets tab describes the author s name which is going to be saved within every new instance of the preset Double click and edit the box confirm with enter button to change the value of the box Any new instance of the preset Global Timbre or one of the send effects is going to e...

Page 91: ...gn the chosen internal parameters of the synthesizer on 128 automatable from the host level general usage parameters in the Parameters tab The parameter map is represented in the form of table in which the column No is the number of the general usage automatable parameter and the column Parameter is the internal parameter of the synthesizer Each line assigns an internal parameter to an automatable...

Page 92: ...ters tab 5 For example when we assign the general usage parameter No 1 to the internal synthesis parameter Layer 1 Filters Filter Type filter type for the first layer Host parameter assignment Parameters tab Parameter mapping ...

Page 93: ...t files are compatible with XML format and can be viewed and edited in any text editor Default Parameters map Selecting a default Parameters map 1 Check the Default Map checkbox which activates the Browse button on the right 2 Click the Browse and select a file with saved Parameters map After selecting a Parameters map the text box on the left from the Browse button shows the path to the active ma...

Page 94: ...ntroller Controls included in the tab Midi learn mode Checkbox which activates Midi learn mode List of active MIDI CC assignments containing pairs consisting of MIDI CC number and the name of the plug in parameter Default Map Checkbox which activates a default MIDI CC map When the map is activated it will be loaded with creating a new instance of the plug in MIDI CC Assignements table and function...

Page 95: ...ge should appear waiting for a controller or parameter movement In this mode the plug in waits for any change in the parameter s value movement of any control on GUI and for a movement of any MIDI CC control on the external MIDI controller which operates on an active MIDI input channel directed to LuSH 101 The order of these actions is irrelevant Configuration Midi Control tab 5 Midi Control tab M...

Page 96: ...er it is possible to repeat the operation for next MIDI CC and parameter pairs Subsequent links will be created and added to the list 3 When all the needed links are created uncheck the Midi Learn Mode checkbox or press again the Midi Learn button on GUI in the Control section In order to create new links it is possible to reactivate the Midi Learn mode at any time The links are always sorted in a...

Page 97: ...1 MIDI CC Map Saves all links in the list to a MIDI map file Note MIDI map files are saved in XML format which enables their edition in any text editor Default MIDI map Selecting a default MIDI map 1 Check the Default Map checkbox which activates the Browse button on the right 2 Click the Browse button and select a file with a saved MIDI map After selecting a MIDI map the text box on the left from...

Page 98: ...kbox allows to hide the music keyboard which saves more space on the screen The view at the bottom of the Current Skin section displays the graphic representation of the performed changes enabling their comparison with the current system screen resolution Default skin Every time a LuSH 101 is loaded in the host application new instance is created the Default Skin is used for a Current Skin setting...

Page 99: ...requency control 27 Amplifier VCA 29 Wheel and Bender modulation 30 Master section 32 Insert effects 33 Chorus 34 Flanger 34 String ensemble 35 Phaser 36 Vowel filter 36 Distortion 37 Decimator 38 Tremolo 38 Arpeggiator 39 Examples 42 Modulation Matrix 46 Voice Volume A special destination parameter 50 Arpe Gate Arpe Tie special modulation sources 50 Timbre Preset Settings 52 3 Mixer 56 Layer chan...

Page 100: ...r 82 5 Configuration 83 Synthesis tab 84 Current Quality 84 Default Quality 85 Default envelope retrigger mode 85 Current processing settings 86 Default processing settings 86 In Out tab 87 Default MIDI channels 88 Default audio outputs 89 Presets tab 89 Parameters tab 90 Assignment List Management 92 Default Parameters map 92 Midi Control tab 93 Midi learn 94 Unlinking and MIDI link management 96...

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