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Chapter 1: Introduction

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Action

File > Save

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N

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Summary of Contents for Hybrid

Page 1: ...Hybrid Version 1 5 x ...

Page 2: ... Mbox MediaComposer MIDI I O MIX MultiShell Nitris OMF OMF Interchange PRE ProControl Pro Tools M Powered Pro Tools Pro Tools HD Pro Tools LE QuickPunch Recti Fi Reel Tape Reso Reverb One ReVibe RTAS Sibelius Smack SoundReplacer Sound Designer II Strike Structure SYNC HD SYNC I O Synchronic TL Aggro TL AutoPan TL Drum Rehab TL Everyphase TL Fauxlder TL In Tune TL MasterMeter TL Metro TL Space TL U...

Page 3: ...Your Plug in 2 Working with Plug ins 2 Conventions Used in This Guide 3 About www digidesign com 3 Chapter 2 Installation and Authorization 5 Installing Hybrid 5 Authorizing Hybrid 6 Uninstalling Hybrid 7 Chapter 3 Functional Overview 9 Synthesis Overview 9 Hybrid Overview 10 Synthesis Architecture 11 Contents ...

Page 4: ...18 The Part Pages 19 The Sequencer Pages 37 The Common Page 42 The Effects Page 47 The Presets Page 52 Morph Groups 55 MIDI Controller Mapping 58 Appendix A Hybrid Factory Patch Categories 59 Appendix B Hybrid Wavetables 61 Appendix C Part A and B Insert Effects 65 Appendix D Default MIDI Controller Mappings 75 ...

Page 5: ...s Audio range modulation for oscillators and filters Modulation matrix Step sequencer and arpeggiator Morph groups for controlling multiple parameters at a time Over 40 built in effects Supported Formats Hybrid is only available in the RTAS format Supported Systems Hybrid is supported on the following systems Pro Tools HD Pro Tools LE Pro Tools M Powered Sample Rate and Channel Format Support Hybr...

Page 6: ...ters operating sys tems hard drives and third party devices refer to the latest information on the Digidesign web site www digidesign com compatibility Registering Your Plug in If you purchased a download version of a plug in from the DigiStore www digidesign com you were automatically registered If you purchased a boxed version of a plug in you will be automatically registered when you authorize ...

Page 7: ...ur own using courses available online or find out how you can learn in a classroom setting at a certified Pro Tools training center Products and Developers Learn about Digidesign products download demo software or learn about our Development Partners and their plug ins applications and hardware News and Events Get the latest news from Digidesign or sign up for a Pro Tools demo Pro Tools Accelerate...

Page 8: ...Hybrid Plug In Guide 4 ...

Page 9: ...stall disc included in the purchased boxed version of the Hybrid plug in into your computer 2 Double click the Hybrid Installer application Mac Hybrid_Setup pkg Windows Hybrid_Setup exe 3 Follow the on screen instructions to complete the installation of the plug in and patch files 4 When installation is complete click Quit Mac or Finish Windows The Hybrid Installer copies the Hybrid plug in Hybrid...

Page 10: ...w iLok com and sign up for an iLok com account 2 Transfer your Hybrid license to your iLok com account by doing the following Visit http secure digidesign com activation Input your Activation Code listed on the Activation Card and your iLok com User ID Your iLok com User ID is the name you create for your iLok com account 3 Transfer the licenses from your iLok com ac count to your iLok USB Smart K...

Page 11: ...lug in to the Trash 3 Empty the Trash Windows Vista To remove the Hybrid plug in 1 Choose Control Panel 2 Under Programs click Uninstall a Program 3 Select the Hybrid plug in from the list of in stalled applications 4 Click Uninstall 5 Follow the on screen instructions to remove the plug in Windows XP To remove the Hybrid plug in 1 Choose Start Control Panel 2 Double click Add or Remove Programs 3...

Page 12: ...Hybrid Plug In Guide 8 ...

Page 13: ...nal modules including Envelope Generators and low frequency oscilla tors LFOs This is called modulation This process of generating and shaping sound is called subtractive synthesis because it deals mainly with removing frequencies from highly harmonic enhanced waveforms Wavetable Synthesis Wavetable synthesis became popular with the first digitally controlled synthesizers A wavet able is a file th...

Page 14: ...single patch Part A and Part B Each Hybrid part generates sound and gives detailed access to sound parameters like pitch waveform tone color and volume Each part has a step sequencer and two insert effects Common Page The Common page provides controls for the overall pitch and voice management of a patch Effects Page The Effects page contains two insert effects per part and the Master Effects sect...

Page 15: ... before they are sent to the filter stage Filter Section Gives control over the tone color by removing or accenting desired frequencies or harmonics Filters have a stop band and a pass band delin eated by the cutoff frequency The frequencies in the stop band are attenuated or removed while the frequencies in the pass band are left untouched The pass band is specified by the fil ter type For exampl...

Page 16: ...ombination with envelope generators and LFOs Envelope Sections Give shape to the sound The shape of an envelope is specified by a number of segments forming a graph of level against time By playing a note the envelope runs through its segments Most segments have at least an as signable time or level and modulation enve lopes typically have both Hybrid has four envelopes two main envelopes one for ...

Page 17: ...atrix provides 16 freely assignable modulation sources Over 20 modulation destinations Multiple assignments of sources and destina tions with adjustable intensities Step Sequencers Deliver musical phrases and stepped modulation signals The steps advance at the rate of the selected note length and auto matically synchronize to the Pro Tools session tempo Hybrid provides One note sequence with veloc...

Page 18: ...Hybrid Plug In Guide 14 ...

Page 19: ...t B Page Provides controls for all sound gen erating parameters of Part B including settings for its oscillators filters amplifiers envelopes and LFOs Seq B Page Provides controls for the sequencer of Part B The settings include the sequencer lines for Note Velocity Control 1 and Control 2 and additional Playback modes such as ar peggios and MIDI phrases Common Page Provides controls for adjusting...

Page 20: ...y moving over it and scrolling up or down with the scroll wheel Adjust rotary controls by clicking and dragging horizontally or vertically Parameter values in crease as you drag upward or to the right and decrease as you drag downward or to the left Keyboard Shortcuts For finer adjustments hold down Command Mac or Control Windows while moving the control To return a control to its default value Op...

Page 21: ...trol Click the control without dragging it Using Pop up Menus Oscillator and Filter types as well as Modulation sources and destinations have selectors for ac cessing their pop up menus To choose a value from a pop up menu 1 Click the parameter s selector 2 Select a value from the parameter s pop up menu Enabling Buttons Some controls have activate deactivate buttons To activate a button Click on ...

Page 22: ...on page 38 Accessing Parts A Hybrid patch consists of up to two synthesizer elements Part A and Part B Use the Page tabs at the top of the window for accessing the synthe sis and sequencer parameters of a specific part Use the Part On buttons at the bottom of the window to activate or deactivate a part When ever sound editing requires muting of a part or the final sound only needs one of the parts...

Page 23: ...ws Hybrid s signal flow The oscillators stretch across the upper area followed by the Filter section in the center of the panel The Amplifier section is located below the filter at the end of the signal flow The Filter and Amplifier envelopes are located on the right and the freely assignable Modulation envelopes and LFOs are on the left of the page For information on choosing a page see Accessing...

Page 24: ...aveform s tone color The third oscillator mainly supports Oscillator 1 and 2 it transposes in octave steps and provides classic waveforms like sawtooth square and tri angle as well as Sub oscillator and Noise genera tor The Sub oscillator has a square waveform and follows the pitch of Oscillator 3 minus one octave The Noise generator provides white noise Adjusting Oscillators To adjust the value o...

Page 25: ...zes to the pitch of the master oscil lator which means that the wave cycle of the slave oscillator abruptly resets whenever the master oscillator completes a full wave cycle Only the slave oscillator is sent to the output producing sharp sounds when shifted up in pitch The Shape control shifts the pitch of the slave oscillator by a maximum of six octaves Use an envelope or LFO to modulate it Saw C...

Page 26: ...r and select a type from the pop up menu To select a wavetable 1 Click the Oscillator Type selector and select Wavetable from the pop up menu 2 Click the Wavetable selector and select a wavetable from the pop up menu Osc 1 and Osc 2 Mod Page Oscillator 1 and 2 provide up to three modula tion destinations for Pitch Shape and Level modulation of an oscillator Each of these desti nations can be addre...

Page 27: ... or wind effects The Noise Level control adjusts its level Oscillator Type Selects the wave shape of Oscilla tor 3 From the pop up menu select Sawtooth Square or Triangle Octave Transposes the pitch of the oscillator up or down in octaves The control range is from 2 to 2 octaves Level Sets the volume of Oscillator 3 The con trol range is from 0 to 100 Sub Oscillator Level Sets the volume of the Su...

Page 28: ...toff resonance saturation amount of Filter envelope and key tracking The Mod page provides controls for Filter FM and three sets of modulation source and destina tion Filter Main Page To access the Main page of the filter Click the Show Main Page tab in the Filter sec tion Main Page Controls Mode Displays and selects the Filter mode ei ther DCF or VCF DCF mode Digitally Con trolled Filter emulates...

Page 29: ...ilter to open wider Key Track Allows for cutoff modulation by MIDI note number The control range is from 100 to 100 With a low pass filter and no key tracking applied higher notes sound darker as the pitch moves beyond the cutoff When key tracking is set to 100 the pitch of the played MIDI note modifies the Filter cutoff in the same direction Higher notes increase cutoff fre quency and thus avoid ...

Page 30: ...e attenuated at 6 dB oct BR4 Four pole band reject 12 dB oct low pass and 12 dB oct high pass in parallel Frequencies around the cutoff are attenuated at 12 dB oct BR2 LP1 Combination that forms a three pole asymmetric band reject Frequencies around and above the cutoff are attenuated With a two pole band reject and a 6 dB oct low pass in series high frequencies obtain more attenuation than mid fr...

Page 31: ... page is turned fully clockwise 2 The higher the frequency of the modulating oscillator the richer the sidebands Use the Octave control of Oscillator 3 to raise the pitch Turn the levels of Oscillator 3 and the Sub oscil lator all the way down to make them inaudible 3 Without moving the Cutoff you will produce a static sound Modulate the cutoff with the Fil ter envelope to sweep through the sideba...

Page 32: ...r panorama modula tions from LFO can be selected on the Mod page Amplifier Main Page On its Main page the amplifier provides the controls for level and position the two activa tion buttons for the effects Inserts and the three sends for the master effects The controls for Pan key tracking and random modulation and the three modulation sources and destinations are set on the Amplifier s Mod page To...

Page 33: ... field modulations and three sets of mod ulation destinations and sources Each modula tion destination can be set for Volume or Pan To access the Mod page of the amplifier Click the Show Mod Page tab in the Amplifier section Key Track Pan Changes the part s position in the stereo field with MIDI note number The control range is from 100 to 100 The center point is in the keyboard center middle C an...

Page 34: ... of the Amplifier section The envelope is unipolar meaning it modulates in one direc tion only It provides five segments Attack Decay1 Decay2 Sustain and Release The shape of the envelope is modeled after classic analog synthesizers with logarithmic attack and expo nential decay and release The Amplifier enve lope is hard wired to the amplifier to give shape to the loudness of a sound However the ...

Page 35: ...Attack Time Specifies the time needed for the at tack segment to rise from zero to full amplitude Use shorter times for an immediate start of the sound or modulation Longer times cause the sound or modulation to fade in The control range is from 0 ms to 32 s Decay1 Time Specifies the time for the first de cay segment to fall from full amplitude to the level set by Decay1 Level When the level is se...

Page 36: ...he level of the sustain seg ment The envelope remains on this level as long as the note is played The control range is from 100 to 100 Release Time Specifies the time for the release segment to reach the release level when the note key is let off The control range is from 0 ms to 32 s Release Level Adjusts the level of the release seg ment The envelope fades to and stays on this level after the no...

Page 37: ...t to adjust The number high lighted in color indicates the LFO that is edited LFOs 1 and 2 Are strictly monophonic meaning each LFO produces one modulation signal that is distributed to all voices of a part which is ideal for vibrato or tremolo LFO 3 Is polyphonic meaning it produces one modulation signal per voice of a part to diversify the modulation for a richer sound The rate or speed of LFO 3...

Page 38: ... enve lope sweep the beat of the song or a sequencer phrase When the Sync mode is set to Off the LFO is freely running Choose a mode from the pop up list to activate LFO synchronization and bring Sync mode and the Phase control into effect Depending on the mode the rate display switches from values in Hertz Hz when freely running to values in note length or multiples of step sequencer steps when r...

Page 39: ...Alternate Randomly stepped modula tion like sample and hold that always alter nates between high and low steps Random Smooth random modulation Drift Quasi analog modulation shape that compares well to variations from electronic components Rate Specifies the speed of the modulation The control range is from 0 03 Hz to 30 00 Hz De pending on the Sync mode rate determines the speed in fractions of a ...

Page 40: ...n on LFO3 1 Click the Mod Destination selector and select Rate or Depth from the pop up menu 2 Click the Depth Mod Source selector and se lect a source from the pop up menu 3 Change the value To increase the modulation move the fader to the right or To decrease the modulation move the fader to the left The monophonic design of LFO 1 and LFO 2 does not allow for rate modulation Therefore depth is t...

Page 41: ...f arpeggios and MIDI phrases Depending on the mode the step sequencers can deliver both stepped modulation signals and musical phrases The two Sequencer pages offer the same set of controls For this rea son the following discussed controls apply to both Part A and B To access the Sequencer page Click the Show Sequencer Page tab for the part you want to edit To play the sequencer or arpeggiator 1 S...

Page 42: ...ch control sequence has a Source selector and a Depth fader for mod ulating the sequences depth with MIDI control lers The modulation signals from the control se quences are bipolar To select a modulation source for the Control Sequence s depth Click the Mod Source selector and select a source from the pop up menu To adjust the modulation level Use the Modulation Level fader to specify the modulat...

Page 43: ... Each Note The pattern starts by playing a note Hitting new notes causes a rescan of the keyboard and restart of the pattern Beat When you hit a note the pattern waits for the next beat to start the pattern or rescan the keyboard This mode is often referred to as input quantization Latch In Latch mode the pattern continues playing even when you release the notes on the keyboard Hitting new notes c...

Page 44: ...it anything Control sequences play along with the arpeggio Control sequences reset to step one whenever the arpeggio restarts Down This mode plays arpeggio notes in an downward direction Notes from keyboard trig ger repeatedly in descending order over one or more octaves Each note plays with its original velocity Note and velocity sequences do not transmit anything Control sequences play along wit...

Page 45: ... Choose a Standard MIDI file from the file browser Transferring Sequencer Settings You can link the editing of the sequencers or copy their settings from one part to the other This includes all settings and sequencer lines The direction for copying is always from the source sequencer to the destination sequencer With link activated the sequencer controls are linked Any new settings on one sequence...

Page 46: ... which include Morph controls unison pitch bend and key split Pitch Voice A and Pitch Voice B Section These sections provide additional sound settings for Part A and B They affect the general tuning and pitch modulation of the parts You can limit Hy brid s CPU demand with the Voice Limit param eter in this section The other settings affect the voice envelope trigger and portamento settings for eac...

Page 47: ...orama The con trol range is from 0 to 100 Specify a me dium control value to spread the voices equally across the stereo panorama A control value of 100 plays half of the voices hard left and half of the voices hard right Pitch Bend Range Adjusts the pitch bend range from the MIDI pitch bend controller The con trol range is from 0 to 24 semitones Each part can have its pitch bend response activate...

Page 48: ...tart Poly Plays the part polyphonic Voice steal ing does not occur unless the played notes ex ceed the maximum number of voices set by Voice Limit Envelope Trigger Mode The envelopes of a sto len note can restart from zero or they can be picked up just from where they are located as follows Legato Envelopes resume from where they are located stolen notes sound slightly different Restart Envelopes ...

Page 49: ...ontrols The plug in settings are not saved with a patch Instead they are saved with the session Master Tune Changes the global tuning of the synthesizer Use the Semi and Cents controls to correct for variations from the standard tuning of A 440 Hz Semi Allows for steps in semitones The con trol range is from 12 to 12 Cents Allows for steps in hundreds of a semi tone The control range is from 100 t...

Page 50: ... values Circular Relative Same as the Circular Abso lute mode but the control adjusts relative to the position where you click it Use this mode to avoid jumping to values when you click the control Save Settings as Default Saves the plug in set tings and the current MIDI controller mapping as the plug in s default setting for your Pro Tools system This has an effect on the initialization of each n...

Page 51: ...effects The Effects page includes two effects Inserts for each part and a single Master Effects section for applying effects to Hybrid parts The effects In serts operate after all synthesis modules but be fore the Master Effects Hybrid Effects page See Appendix B Hybrid Insert Effects for a complete list of the provided effects Effects Inserts settings can be saved and re stored with the part pres...

Page 52: ...the current insert temporarily Click the Insert On Off button so that the but ton is unlit To clear the insert of any effects Click the Insert selector and select None from the pop up menu The On button of the effect updates automatically Editing Effects Each effect algorithm is of varying complexity and unique in its sound and function For this reason the different effects have a varying num ber ...

Page 53: ...langer mode for applying flanging effects Flangers use smaller delays and add a feedback path to the delay lines to create electronic jet like sounds Mode Selects the basic sound character of the ef fect Select one of the following modes Chorus Applies a short modulated delay to give depth and space to the audio signal or Flanger Applies a shorter modulated delay to the audio signal with an edgier...

Page 54: ...utton is active lit the delay times are adjusted in fractions of a beat When Sync is disabled unlit the delay times are adjusted in seconds Time Left Sets the time to elapse before the left channel repeats the input sound FB Left Feedback Left Adjusts the feedback level of the left channel The control range is from 0 to 100 The higher the value the more echoes will repeat on that channel Time Righ...

Page 55: ...ime Adjusts the reverb time hence the decay of the reverb tail The control range is from 0 s to 30 s Size Adjusts the dimensions of the room The perceived width and depth is changing The control range is from 0 to 100 Use smaller values for smaller spaces Ambience Puts the sound source deeper into the room The effect is comparable to bringing up the level of ambient or overhead microphones during ...

Page 56: ...d synthesizer parame ters of Part A To the right you find an identical set of controls for Part B The part presets are organized with the Preset browser As with Settings from the Librarian there is an option for viewing the part presets from the root or session folder Hybrid Presets page Use this feature to keep the factory part pre sets in the root folder and to manage your own set of part preset...

Page 57: ...presets with each session sepa rately By default the session folder is empty with each new session Browsing and Loading Presets Hybrid part presets are organized in categorized folders and can be loaded from the Presets page s browser To open a folder Double click the name of the folder To close a folder 1 Scroll to the top of the preset list to see the first entry 2 Double click the arrow icon to...

Page 58: ...folder To delete a folder 1 Use the browser to locate the folder you want to delete 2 Click the name of the folder to select it 3 Click the Delete button to open the delete di alog 4 Click OK to delete the folder and exit the dia log Click Cancel to exit the dialog without delet ing the folder To rename a folder 1 Use the browser to locate the folder you want to rename 2 Click the name of the fold...

Page 59: ...Filter envelope Amp Level Adjusts the volume of the part Pan Sets the position of the part in the stereo panorama Ins 1 Insert1 Activates and deactivates the first insert effect of the part Ins 2 Insert2 Activates and deactivates the sec ond insert effect of the part Attack Sets the time for the attack segment of the Amplifier envelope Release Sets the time for the release segment of the Amplifier...

Page 60: ...control 1 Choose a Morph group by clicking the accord ing Edit Morph button 2 Shift click the graphic control you want to as sign 3 Set the morph range by Shift dragging the control With envelopes the yellow envelope repre sents the values the envelope morphs to The blue colored envelope in the back ground represents the original envelope Use Shift drag to change the yellow enve lope to achieve th...

Page 61: ... assign ments as long as you are in Edit mode 4 Deactivate the Edit Morph button of the ac cording Morph group to finish editing To unassign a control from a Morph group Option click Mac or Alt click Windows the rotary control fader or graphic control you want to unassign or 1 Control click Mac or Right click Windows the rotary control fader or graphic control you want to unassign 2 From the pop u...

Page 62: ...ol click Mac or Right click Windows a rotary control or fader 2 From the pop up menu select the MIDI con troller you want the control to be assigned to To unassign a MIDI controller 1 Control click Mac or Right click Windows a rotary control or fader 2 From the pop up menu select Forget To restore the factory MIDI controller assignments 1 Select the Common page of the plug in 2 Under Plug In Setti...

Page 63: ...ries Patch Category Number Patch Category Name 01 Soft Pads 02 Bright Pads 03 Moving Pads 04 Actions Pads 05 Arpeggios 06 Sequenced 07 Poly Synths 08 Keyboards 09 Bells 10 Percussive 11 Basic Basses 12 Soft Basses 13 Hard Basses 14 Drones 15 Soft Leads 16 Hard Leads 17 Ambiences 18 FX ...

Page 64: ...Hybrid Plug In Guide 60 ...

Page 65: ...e forms three of them repeat symmetrically 9 Syncrotronic 1 Digital sync saw wave 10 Syncrotronic 2 Digital sync square wave 11 Shining Star Shiny wave sequence with three wave forms 12 North Star Rich metallic wave sequence with three wave forms 13 FM Harmonics Different FM spectra sweep ing through different FM ratios 14 Odd FM Sweep Nine different FM spectra in sequence 15 Fifth Element Two wav...

Page 66: ... additive synthesis 39 No Ground Two wave forms one with no root 40 Glacier Two cold sounding wave forms 41 Sharp Sweep Two wave forms fading from dark to bright 42 Mixed Feelings Wave sequence with three waveforms 43 Shimmering Shiny wave forms fading from dark to bright 44 Two Harsh Two sharp sounding wave forms one with no root 45 Detuned Saw Mimics the sound of two detuned saw waves 46 Detuned...

Page 67: ...wrapped versions of it 72 Wrapped Around A thin sounding wave form and 64 digitally wrapped versions of it 73 Dense Matter Thin metallic sounding wave sequence 74 Digi Formant A digital wave form and 64 down sampled versions of it 75 Add All Additive wave form fading from sine to saw wave 76 Add Even Additive wave form fading from sine to all even harmonics 77 Add Odd Additive wave form fading fro...

Page 68: ...rough an envelope 94 Steel String Spectra from a steel string guitar works best when modulated through an envelope 95 Nylon String Spectra from a nylon string guitar works best when modulated through an envelope 96 Nylon Pluck Spectra from a plucked nylon string guitar works best when modulated through an envelope 97 Fretless Spectra from a fretless bass works best when mod ulated through an envel...

Page 69: ...Del Pre delay time delays the wet signal to simulate larger acoustic spaces or as a slapback effect HF Damp Progressive damping of high fre quencies to simulate a room with less reflective surfaces Lo EQ Low cut EQ Hi EQ High cut EQ Mix Wet dry mix Time Reverb time PreDel Pre delay time Damping High frequency damping 0 bright 100 dark Low Cut High pass filter frequency High Cut Low pass filter fre...

Page 70: ...hape and density of reverb build up Wet Mix Level of reverb signal Dry Mix Level of dry signal at the end of the reverb signal Mix Wet dry mix Time Length of reverb tail changes the sound from dense early reflections to a trashy grainy 80 s reverb Lo EQ Low cut EQ Hi EQ High cut EQ Mix Wet dry mix Time Length of reverb tail changes the sound from dense early reflections to a trashy grainy 80 s rev...

Page 71: ... Head1 Delay time 1 output is panned left Head2 Delay Time 2 output is panned right Head3 Delay Time 3 Head4 Delay Time 4 Pan 3 4 Varies the panning of delays 3 4 from center to hard left right Vol 3 4 Varies the volume of delay outputs 3 4 Depth Positive depths produce a ducking effect where the delayed signal is attenuated while the input signal is loud and comes up in level to fill gaps in the ...

Page 72: ...pending on the PMod2 setting Del Mod Random or alternating up down mod ulation of the delay time for each grain Pan Mod Random or alternating up down mod ulation of the output pan position for each grain Mix Wet dry mix Delay Delay time optional tempo sync Feedback Feedback amount Balance Ratio of left delay time to right delay time High Damp High cut filter to soften delay repeats Diffusion Amoun...

Page 73: ...ease for more obvious pitch modulation Depth Modulation depth amount of pitch modulation Shimmer Introduces faster modulation Width Stereo width adjustment Mix Wet dry mix Rate Sweep rate Depth Sweep depth reduce for more swooshiness Feedback Feedback amount Pre Del Initial delay adjusts the minimum delay time or maximum flange frequency Mix Wet dry mix Step Rate Rate of an S H LFO used as a sourc...

Page 74: ... of left and right chan nel amplitude modulation to vary from tremolo to autopan Shape Shape of modulation from thin pulse through sine to fat pulse Output Output level trim Delay Delay time not used in Adjust and Swap modes Width Overall width adjustment Low Low frequency width Mid Mid frequency width High High frequency width Mode Adjust Adjust existing width of ste reo signal Swap As adjust but...

Page 75: ...level is increased Lo Hi Mix Balance between the low frequency rotor and high frequency horn Width Stereo width adjustment Freq Mod Amount of frequency modulation to exaggerate the chorus effect Fast Spd Fine adjustment of the fast rotor and horn speeds Slow Spd Fine adjustment of the slow rotor and horn speeds Crossover Crossover frequency between the horn and rotor Horn Reso Adjust the resonance...

Page 76: ...t signal level modu lates LFO rate LFO Env combination of Follow and LFO Rate modes Attack Envelope attack time Release Envelope release time Mode Switch between mono and stereo operation Mix Wet dry mix Rate Modulation rate optional tempo sync Depth Modulation depth Pedal Pedal position adjusts filter frequency Mode Auto Envelope modulation Pedal No modulation use pedal Mod LFO modulation Reso Fi...

Page 77: ...mount Bias Distortion character adjusts the balance between even and odd harmonics Out Output level trim Tone Distortion tone Mix Wet dry mix Drive Overdrive amount Bias Overdrive character adjusts the balance between even and odd harmonics Out Output level trim Mix Wet dry mix Rate Simulated sample rate Depth Sample bit depth Slew Rate Maximum rate of change of output waveform for a soft woolly f...

Page 78: ...itive peaks emphasizing 2nd harmonic distortion High Cut Low pass filter to reduce harshness Low Cut High pass filter to allow low frequen cies through without overdrive Mode Switch between mono and stereo operation Output Output level trim Drive Input signal drive increase for more limiting Attack Attack time Release Release time Output Output level trim Thresh Compression threshold Ratio Compres...

Page 79: ... Tune 9 undefined Glide Mode 65 Glide Mode Glide Time 5 Glide Time Oscillator1 Type 15 undefined Shape 20 undefined Semi 21 undefined Cent 22 undefined Level 23 undefined Oscillator2 Type 24 undefined Shape 25 undefined Semi 26 undefined Cent 27 undefined Level 28 undefined Oscillator3 Type 29 undefined Octave 30 undefined Level 31 undefined Sub Osc 33 undefined Noise 34 undefined ...

Page 80: ...efined Sustain 45 undefined Release 46 undefined Amp Volume 47 undefined Pan 8 Balance Ins1 48 undefined Ins2 49 undefined Chorus 12 Effect Ctrl1 Delay 13 Effect Ctrl2 Reverb 14 undefined Attack 50 undefined Decay1 51 undefined Level1 52 undefined Decay2 53 undefined Sustain 54 undefined Release 55 undefined LFO1 Rate 56 undefined LFO2 Rate 57 undefined LFO3 Rate 58 undefined Part Section Paramete...

Page 81: ...hape 69 Hold2 Semi 70 Sound Controller 1 Cent 71 Sound Controller 2 Level 72 Sound Controller 3 Oscillator2 Type 73 Sound Controller 4 Shape 74 Sound Controller 5 Semi 75 Sound Controller 6 Cent 76 Sound Controller 7 Level 77 Sound Controller 8 Oscillator3 Type 78 Sound Controller 9 Octave 79 Sound Controller 10 Level 80 General Purpose5 Sub Osc 81 General Purpose6 Noise 82 General Purpose7 Part S...

Page 82: ...tain 105 undefined Release 106 undefined Amp Volume 107 undefined Pan 108 undefined Ins1 91 Effect1 Depth Ins2 92 Effect2 Depth Chorus 93 Effect3 Depth Delay 94 Effect4 Depth Reverb 95 Effect5 Depth Attack 109 undefined Decay1 110 undefined Level1 111 undefined Decay2 112 undefined Sustain 113 undefined Release 114 undefined LFO1 Rate 115 undefined LFO2 Rate 116 undefined LFO3 Rate 117 undefined P...

Page 83: ...er Mappings 79 Sequencer SSeq Mode 118 undefined SSeq Latch 119 undefined Morph1 16 General Purpose1 Morph2 17 General Purpose2 Morph3 18 General Purpose3 Morph3 19 General Purpose4 Part Section Parameter Controller MIDI Specification ...

Page 84: ...City CA 94014 3886 USA Tel 650 731 6300 Fax 650 731 6399 TECHNICAL SUPPORT USA Tel 650 731 6100 Fax 650 731 6375 PRODUCT INFORMATION USA Tel 800 333 2137 INTERNATIONAL OFFICES Visit the Digidesign website for contact information www digidesign com ...

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