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per second (or 440 Hz), you will hear an A note, independently of the

shape of the electric signal (the

waveform

There were di erent kinds of waveforms an oscillator could produce,

and all had di erent mbres, which could be used to approximate dif-

ferent instruments, or to create various kinds of sounds.

sine wave

triangle wave

sawtooth wave

square wave

For instance, a sine wave oscillator produces a pure but dull tone, while

a square wave sounds much harsher and has a very rich harmonic con-

tent.

Nowadays, oscillators can be much more sophis cated, and in addi on

to the tradi onal single-waveform oscillators, you will encounter many

other ones that all sound di erent and are based on di erent synthesis

techniques. Here are a few examples:

−

Virtual analog

techniques strive to reproduce the warm and imper-

fect sound of the oscillators in analog synthesizers.

−

(frequency modula on) is the use of a simpler oscillator to

modulate the frequency of another oscillator, resul ng in a widely

di erent mbre from the original.

−

Physical modelling

techniques aim at simula ng the physical struc-

tures of acous c instruments (winds, strings, etc.) so that the re-

sul ng sounds behave like the instruments they’re modelled a er.

Содержание anyma Phi

Страница 1: ...User manual VERSION 0 8 90 JULY 8 2021 www aodyo com...

Страница 2: ...www aodyo com...

Страница 3: ...ec ng the synth to the matrix 32 Patch structure 32 The bank 34 Edi ng patches 35 Zooming on a parameter 35 Jumping to a module 39 The module editor screen 39 Using the PC Mac editor 40 Se ngs 45 Whil...

Страница 4: ...Contents Appendix Module reference 65 General 65 Oscillators 76 E ects 110 Modulators 135 Mappings 162 4...

Страница 5: ...or reeds as well as resona ng structures like wood glass or metal Anyma Phi is compact enough to stand on your keyboard or anywhere on your desk and is compa ble with any MIDI controller such as key b...

Страница 6: ...DI keyboard or sequencer but contrary to most synths this one also strives to make it easy to create very rich sounds to be controlled using expressive controllers such as the Sylphyo This manual will...

Страница 7: ...e color of the current patch c Display Shows the currently accessible parameters that can be modi ed using the encoders as well as relevant informa on or menus d Display encoder D While in the matrix...

Страница 8: ...ch to the correspond ing line of the matrix Excite Vibrate Di use Global and Animate In a module editor screen press the illuminated matrix bu ons to access more parameters for the selected module g P...

Страница 9: ...Rear panel a Headphone output port 6 35mm stereo jack Play the Anyma Phi with headphones b Line input port 6 35mm stereo jack Use any audio input as a supplementary sound source for your patches When...

Страница 10: ...ides power to your Anyma Phi using the included cable and power supply h Power switch Toggle the power switch to turn your Anyma Phi on and o In order to avoid undesired noises always make sure you rs...

Страница 11: ...USB via its USB Host port or by using a MIDI DIN cable plugged into the MIDI IN port You will also need to connect your Anyma Phi to a mixer an amp speak ers or headphones using the relevant audio out...

Страница 12: ...explore its varia ons2 Some patches also allow you to directly control varia ons using your MIDI keyboard or controller For instance if your keyboard has a mod ula on wheel try to turn it up and down...

Страница 13: ...volving over the years The latest update is always available on our website Regularly check it or subscribe to our newsle er to stay informed of new updates Please make sure you download the update pa...

Страница 14: ...le from this package to the disk The update will begin You can see the progress on the display of your Anyma Phi3 If the update has not begun try ejec ng the ANYMAPHI disk from your computer using yo...

Страница 15: ...Timbre Color Chaos and Posi on How the sound is ini ated or sustained with external energy In the real world it could be a bow or a plectrum Vibrate Geometry Material Decay and Tuning How the excita...

Страница 16: ...Vibrate controls will probably be more about the overall mbre This way the matrix o ers a sort of common tongue spoken by all Anyma Phi users allowing you to more easily tweak any sound you can load i...

Страница 17: ...l the varia on sources internal or external in the patch Turning one of the parameter encoders allows you to select a par cular source which changes the corresponding name and value visible at the bot...

Страница 18: ...ck to the Animate line just press again and you will see the ANIMATE tab highlighted at the top of the display We will see later in this chapter how to setup your Anyma Phi to map A B C D to speci c M...

Страница 19: ...is set at 0 When Morph is set at 100 the patch only uses the alternate state of the matrix To access this alternate state press The lights on the matrix will then blink un l you press again to return...

Страница 20: ......

Страница 21: ...th synthesizers you might be tempted to skip to the next chapter However we recommend that you don t because it also describes the speci c way the Anyma Phi works compared to other synths Beyond the m...

Страница 22: ...performer in order to produce a stream of data usually in the MIDI format that tells the synthesizer what kind of sound to produce e g play a C note very loudly Your Anyma Phi is such a synthesizer so...

Страница 23: ...cillators can be much more sophis cated and in addi on to the tradi onal single waveform oscillators you will encounter many other ones that all sound di erent and are based on di erent synthesis tech...

Страница 24: ...bre e g some sounds can be dampened or brightened and some are related to even other aspects When se ng up an oscillator you just select one by changing its type and tweak its parameters so that it so...

Страница 25: ...n the delay is long such as in delays and reverbs it can sound like echo or simulate the reverbera on of a room or hall When the delay is much shorter it can sound like there are mul ple similar sound...

Страница 26: ...sign sounds because the modules are placed in predic ble places and no me is spent connec ng all modules together Your Anyma Phi can be seen as a semi modular synth the signal path is predetermined as...

Страница 27: ...SC2 OSC3 Main bus Aux bus SFX1 SFX2 SFX3 SFX4 SFX5 A er all the e ects have been applied you can control how much of each bus you want in the le or right channel of the stereo output panning or pan At...

Страница 28: ...ow a control signal the note you re playing the modula on wheel on your MIDI keyboard a control in the matrix etc in uences a parameter of any module in the synth1 For instance you might want to make...

Страница 29: ...s are internal sources of control signals independently from the external signals coming from your controller and from the matrix controls They o er you various ways to make your sound livelier and so...

Страница 30: ...When the note ends the release phase begins and the value de creases to zero Note began Note ended ATTACK DECAY SUSTAIN RELEASE Another modulator typically used by tradi onal synthesizers is the LFO...

Страница 31: ...f these two extreme se ngs depending on the exact velocity of the last note This envelope signal will be used when you play a MIDI keyboard to generate a more complex expression signal that will be us...

Страница 32: ...n the the matrix Source 2 FX1 and FX2 in the Global line can be used to control the level of another oscillator or the dry wet level of strategically chosen e ects You can setup mappings so that Space...

Страница 33: ...t described is a module that contains a bunch of parameters that completely describe it In addi on there is a special Patch module that contains some general parameters such as global tuning or color...

Страница 34: ...nt of resources used by a patch The bank As with most synthesizers you can switch between di erent patches and the Anyma Phi o ers up to 200 di erent patches making up a bank You can only store a sing...

Страница 35: ...s ng patches in depth or even to create en re patches from scratch Zooming on a parameter The most important ac on you can learn for edi ng patches is zooming on a parameter When you re anywhere in th...

Страница 36: ...ming recursively Now let s imagine the e ect of Timbre isn t quite right and we need to tweak OSC1 more globally perhaps by adjus ng its other parameters so that a high value of Timbre will sound more...

Страница 37: ...ays recover your train of thought by going back to the previous screens just press as many mes as needed to return where you were previously un l you nally return to the matrix1 your star ng point Sho...

Страница 38: ...with all the parameters of OSC1 that can be a ected by the mapping Se lect Pluck position by turning the display encoder D and press to con rm You are now back to the mapping list and a new one MAP2 h...

Страница 39: ...o to a speci c category In this case pressing would be a quicker way to access OSC1 Subsequent presses or leaving pressed will allow you to cycle through all the oscillators When your choice is made y...

Страница 40: ...di ng experience you can nd the PC Mac editor on our website alongside the latest update Please always make sure you re using the editor that came with the update running on your Anyma Phi With your A...

Страница 41: ...connect it and click the CONNECT bu on again to have access to your patches Using the editor a c d f g b e a Patch list Displays the bank of your Anyma Phi Click on a patch to select and edit it A er...

Страница 42: ...y clicking or dragging it You can undo the last opera on by using Ctrl Cmd Z and redo it by using Ctrl Cmd Shi Z Right click a parameter to reset its value to the default one go to its related mapping...

Страница 43: ...scope displays the expression velocity envelope sig nal Right click a scope to select which control signal to display f External control meters Display the current received MIDI pitch bend expression...

Страница 44: ......

Страница 45: ...e matrix Copy Copy the current matrix normal or alternate version depend ing on which is ac ve in the matrix screen to the clipboard Paste Paste the matrix in the clipboard replacing the currently ac...

Страница 46: ...Copy the current matrix normal or alternate version depending on which is ac ve in the matrix screen to the clipboard Paste Paste the matrix in the clipboard replacing the currently ac ve version of t...

Страница 47: ...his to lter out messages from other controllers that go through your MIDI setup to another synth but should not be taken into account by your Anyma Phi Default All Bend range Set the amount of semiton...

Страница 48: ...rol C CC and CC Set up to two MIDI messages CC or A ertouch used as External control C in the synth Default CC 76 and AT Channel a ertouch Control D CC and CC Set up to two MIDI messages CC or A ertou...

Страница 49: ...the Range value on the calibra on screen so that Current shows 98 or 99 and decrease Range a bit more un l Current shows 100 You can then check that the volume knob is well calibrated by turning it o...

Страница 50: ...ol A CC and CC Set up to two MIDI messages CC or A ertouch used as External control A in the synth Default CC 1 Modula on wheel and O Control B CC and CC Set up to two MIDI messages CC or A ertouch us...

Страница 51: ...a on procedure would be as follows First turn down the volume knob to its physical minimum and set the Minimum value on the calibra on screen so that Current shows 1 or 2 and increase Minimum a bit mo...

Страница 52: ...Se ngs SETTING Diagnos cs Enter the Diagnos cs screen which you can use for troubleshoo ng with customer service Reset se ngs Reset all the se ngs to their default values 52...

Страница 53: ...peci c parameter shown in the bo om part of the display MODULE NAVIGATION The following ac ons allow you to select a speci c module in the patch and edit it They all require that is held pressed durin...

Страница 54: ...ge ng the current changes up un l the last me it has been saved Press Switch between the normal and the alternate version of the matrix Press Select a speci c line of the matrix In a Related mappings...

Страница 55: ...uts only apply on startup keep holding the indi cated bu ons while powering on your Anyma Phi and release them once the display shows your ac on has been taken into account Power on while holding Ente...

Страница 56: ......

Страница 57: ...of patches and banks through the menu now works under recent Windows versions Scrolling through patches now displays the patch list un l scrolling stops and the patch is loaded Saving an empty patch w...

Страница 58: ...lay while in the matrix Added new diagnos cs for improved error repor ng Increased USB host compa bility with USB MIDI devices in some very speci c cases By default empty patches will now have Ctrl A...

Страница 59: ...nd outputs via USB and DIN ports Powerful digital semi modular synthesizer engine Memory 200 patches 3 oscillator slots 5 e ect slots along 2 serial buses Main Aux 1 mono re verb 16 modulator slots in...

Страница 60: ...ence Fulconis Por ons of the synth use code adapted from Mutable Instruments Euro rack modules made by Emilie Gillet Copyright c 2012 2015 Emilie Gillet Permission is hereby granted free of charge to...

Страница 61: ...OR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARIS ING FROM OUT OF OR IN CONNECTION WITH THE SOFT WARE OR THE USE OR OTHER DEALINGS IN THE SOFT WARE Por on...

Страница 62: ...SS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DIS CLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTO...

Страница 63: ...wesome Trademarks All the trademarks cited in this documenta on are only used here for descrip ve purposes They remain subject to legal regula ons and are owned by their respec ve property holders Dis...

Страница 64: ......

Страница 65: ...Module name Label Patch Global patch parameters PATCH Velocity envelope The envelope used to create the Expression signal from MIDI velocity when expression or breath control are absent VELENV Mix Mai...

Страница 66: ...ont panel lights and editor when the patch is selected Grey Red Orange Yellow Green Teal Blue Violet Pink Pitch semitones SEMI The global pitch correc on on the controller 64 to 63 semitones Pitch ne...

Страница 67: ...of smooth transi on between notes to use Constant rate Synth like glide where the me to get to another note is propor onal to how far away it is Constant me Realis c glide where the me to get to anot...

Страница 68: ...se two extremes and determined by interpola ng the parameters by the velocity of the last note A ack me MaxVel ATTACK The me needed to go from 0 to 1 in the a ack phase 0 to 8 seconds Decay me MaxVel...

Страница 69: ...sustain level to 0 in the release phase 0 to 8 seconds A ack level MaxVel ATKLVL The output level at the end of the a ack phase 0 to 100 A ack level MinVel ATKLVL_ The output level at the end of the a...

Страница 70: ...Appendix Module reference Max velocity Use a xed velocity of 127 70...

Страница 71: ...sent to the reverb and it is also sent to the Le and Right channels of the audio output depending on the Pan parameter OSC1 Level OSC1 The level of OSC1 sent to the Main bus 0 to 100 OSC2 Level OSC2 T...

Страница 72: ...he Main bus output to the le and right channels 100 Le to 100 Right Audio input Source AIN SRC An external source for the audio input White noise A random audio source Le channel The le channel of the...

Страница 73: ...sent to the reverb and it is also sent to the Le and Right channels of the audio output depending on the Pan parameter OSC1 Level OSC1 The level of OSC1 sent to the Aux bus 0 to 100 OSC2 Level OSC2 T...

Страница 74: ...he Aux bus output to the le and right channels 100 Le to 100 Right Audio input Source AIN SRC An external source for the audio input White noise A random audio source Le channel The le channel of the...

Страница 75: ...nnels of the audio output Bypass BYPASS Whether to bypass the reverb freeing compu ng resources Send SEND The level of input 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e e...

Страница 76: ...B 808 style cymbal CYMB Ar n SNAR 808 style snare drum SNAR Sine wave Pure tone without any harmonics Sine Triangle wave So tone with some odd harmonics Tri Square wave Harsh rich tone with many odd h...

Страница 77: ...Module name Label Ar n PRTC Par cle system simulator PRTC Ar n QPSK Telecommunica on data generator QPSK 77...

Страница 78: ...the resul ng sound its mbre The oscillator version of this resonator uses a short burst of noise as its excita on signal simula ng an impact on the resona ng structure Keyfollow K FOLLOW Whether the...

Страница 79: ...ial making the sound decay slower or faster 0 to 100 Posi on POSITION The posi on of the excita on point on the structure 0 to 100 Voice count VOICES The number of voices 1 to 3 Quality QUALITY Change...

Страница 80: ...llow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 10...

Страница 81: ...Posi on POSITION The posi on of the excita on point on the string 0 to 100 Voice count VOICES The number of voices 1 to 3 81...

Страница 82: ...lex response similar to exis ng acous c instruments Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semiton...

Страница 83: ...Reed One Flute Duduk Sylphinet 83...

Страница 84: ...algorithm Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on th...

Страница 85: ...yfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator...

Страница 86: ...K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to...

Страница 87: ...Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cent...

Страница 88: ...of decaying sine waves Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch c...

Страница 89: ...ine waves with noise Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch corr...

Страница 90: ...ound on analog drum machines Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pi...

Страница 91: ...low K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100...

Страница 92: ...found on analog drum ma chines Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The...

Страница 93: ...y harmonics Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on...

Страница 94: ...ne with some odd harmonics Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitc...

Страница 95: ...ther the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Pu...

Страница 96: ...ch tone with many harmonics Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pit...

Страница 97: ...Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Pulse width PWM The propor on of me the square is on...

Страница 98: ...follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Waveform WAVEFORM Sin...

Страница 99: ...ch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Second formant FORMANT2 The frequency of the second form...

Страница 100: ...follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Vowel VOWEL A E I O U...

Страница 101: ...ure provided by the human vocal tract Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FI...

Страница 102: ...mbre Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the os...

Страница 103: ...White noise Noise A simple white noise generator 103...

Страница 104: ...ether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents F...

Страница 105: ...dis tance Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on t...

Страница 106: ...low K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100...

Страница 107: ...or follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Grain density overl...

Страница 108: ...e oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE The pitch correc on on the oscillator 100 to 100 cents Par cle d...

Страница 109: ...and modems with predetermined data Keyfollow K FOLLOW Whether the oscillator follows the controller s pitch Pitch semitones SEMI The pitch correc on on the oscillator 64 to 63 semitones Pitch ne FINE...

Страница 110: ...ates without increasing volume Drive Cross fader Balances between two inputs XFader Cross fader with drive Cross fader with drive controls XFadeD Cross folder Wavefolds two inputs together XFold Ring...

Страница 111: ...und and give the resul ng sound its mbre Bus BUS Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre...

Страница 112: ...t VOICES The number of voices 1 to 3 Keyfollow K FOLLOW Whether the e ect follows the controller s pitch Pitch semitones SEMI The pitch correc on on the e ect 64 to 63 semitones Pitch ne FINE The pitc...

Страница 113: ...to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Structure STRUCT Accentuates the non linear response of the string 0 to 100 Brightness BRIGHT The brigh...

Страница 114: ...CES The number of voices 1 to 3 Keyfollow K FOLLOW Whether the e ect follows the controller s pitch Pitch semitones SEMI The pitch correc on on the e ect 64 to 63 semitones Pitch ne FINE The pitch cor...

Страница 115: ...us Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Filter mode MODE The type of lter reponse Low pass A low pass lter 12 dB oct High pass A high pass lter 12...

Страница 116: ...Appendix Module reference Keyfollow K FOLLOW The amount by which the lter cuto follows the controller s pitch 100 to 100 116...

Страница 117: ...e balance between the pre e ect dry and post e ect wet signals 0 to 100 Filter mode MODE The type of lter reponse Low pass LP1 A low pass lter 6 dB oct Low pass LP2 A low pass lter 12 dB oct Low pass...

Страница 118: ...er 6 dB oct Band pass BP2 A band pass lter 12 dB oct Notch A notch lter Cuto frequency CUTOFF The cuto frequency of the lter 12 26 Hz to 18 82 kHz Resonance RESO The resonance of the lter 0 to 100 Key...

Страница 119: ...ND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Low pass LOWPASS The low pass lter frequency 0 to 100 High...

Страница 120: ...Appendix Module reference Peak gain PEAKGAIN The peaking lter gain 0 to 100 120...

Страница 121: ...VCA Voltage controlled ampli er decreases the level of its input signal Bus BUS Whether to apply the e ect on the Main or Aux bus Level LEVEL The level of the input signal 0 to 100 121...

Страница 122: ...nal louder simula ng the non lineari es found in analog ampli ers Bus BUS Whether to apply the e ect on the Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e ect wet sig...

Страница 123: ...ri es found in analog ampli ers in a way similar to overdrive guitar pedals Bus BUS Whether to apply the e ect on the Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e e...

Страница 124: ...dule reference Cross fader XFader Balances between two inputs Bus BUS Whether to apply the e ect on the Main or Aux bus Mix MIX The cross fading amount this bus on the le the other bus on the right 0...

Страница 125: ...gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain applied to the input signal on the other bus 0 to 400 Dry wet DRY WET The balance between the pre e ect dry and post e ect w...

Страница 126: ...or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Gain GAIN The gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain applied...

Страница 127: ...between the pre e ect dry and post e ect wet signals 0 to 100 Gain GAIN The gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain applied to the input signal on the other bus 0 t...

Страница 128: ...e Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Gain GAIN The gain applied to the input signal on this bus 0 to 400 Gain 2 GAIN2 The gain ap...

Страница 129: ...2 1 Then 2 Else 1 If 2 1 Then 2 Else 1 If 2 1 Then 2 Else 1 If 1 Then 1 Else 2 Bus BUS Whether to apply the e ect on the Main or Aux bus Dry wet DRY WET The balance between the pre e ect dry and post...

Страница 130: ...00 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Delay me TIME The me between the original and the delayed signal 0 to 26 5 ms Feedback FEEDBACK The amount...

Страница 131: ...ether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100 Rate...

Страница 132: ...US Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet signals 0 to 100...

Страница 133: ...ious e ects Bus BUS Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet...

Страница 134: ...ersistent Bus BUS Whether to apply the e ect on the Main or Aux bus Send SEND The level of input sent into the e ect 0 to 100 Dry wet DRY WET The balance between the pre e ect dry and post e ect wet s...

Страница 135: ...late between four points LERP4 Calculate Perform successive opera ons on a series of values e g 1 2 3 4 CALC Curve Apply a curve to a value CURVE Quan ze Reduce the resolu on of a value QTZ Smooth Smo...

Страница 136: ...K The me needed to go from 0 to 1 in the a ack phase 0 to 8 seconds Decay me DECAY The me needed to go from 1 to the sustain level in the decay phase 0 to 8 seconds Sustain level SUSTAIN The output le...

Страница 137: ...LFO Simple low frequency oscillator Creates a periodic sinusoidal control signal at a given rate Rate RATE The number of periods of the waveform per second 0 07 to 142 Hz 137...

Страница 138: ...phase Gate GATE Whether the controller controls the gate Retrigger RETRIG Whether to retrigger on a new note Shape SHAPE The shape of the envelope Log Lin Exp A ack me ATTACK The me needed to go from...

Страница 139: ...e me before the envelope starts its a ack phase 0 to 8 seconds Hold me HOLD The me before the envelope starts its decay phase 0 to 8 seconds Hard reset HARD RST Whether the envelope is reset to zero w...

Страница 140: ...second 0 07 to 142 Hz Trigger TRIGGER The trigger used to reset the LFO Shape SHAPE The shape of the oscillator waveform Sine Sine wave with 50 varia on wavefolded sine with more extreme values Trian...

Страница 141: ...The amount of me necessary for the oscilla ng waveform to fully appear le or disappear right 0 to 8 seconds fade out to the le fade in to the right Phase PHASE The amount of phase of the waveform 0 t...

Страница 142: ...moothed using a slew limiter that can independently smooth the value when it increases or decreases Input IN The value source to use Minimum MIN The minimum value of the input to consider 0 to 100 Max...

Страница 143: ...Rise me RISE The amount of smoothing when the value increases 0 to 5 seconds Fall me FALL The amount of smoothing when the value decreases 0 to 5 seconds 143...

Страница 144: ...etween the values indicated by Minimum and Maxi mum If the input is less than Minimum the output will be Minimum If the input is greater than Maximum the output will be Maximum Input IN The value to u...

Страница 145: ...the input around the interval indicated by Minimum and Maxi mum For instance if Minimum is 0 5 and Maximum is 1 then 0 25 will become 0 75 Input IN The value to use Minimum MIN The minimum value 0 to...

Страница 146: ...Maximum For instance as the input decreases con nuously below Minimum the output will increase in mirror un l it reaches Maximum at which point it will decrease and so on so as to always stay between...

Страница 147: ...e between two values Takes two inputs and outputs a point in between these two values do ing a linear interpola on Input 1 IN1 The start value Input 2 IN2 The end value Interpola on posi on LERP The m...

Страница 148: ...on of point P1 0 to 100 P2 Posi on P2 POS The posi on of point P2 0 to 100 Interpola on posi on LERP The mix between the values de ned at 0 P1 P2 and 100 Start value 0 The value when the interpola on...

Страница 149: ...to inputs 1 and 2 Add Add both operands Subtract Subtract both operands Mul ply Mul ply both operands Minimum Take the minimum of both operands Maximum Take the maximum both operands Input 2 IN2 An i...

Страница 150: ...aximum both operands Input 3 IN3 An input value Opera on 3 OP3 The opera on to apply to the previous result and input 4 Add Add both operands Subtract Subtract both operands Mul ply Mul ply both opera...

Страница 151: ...a curve to a value Input IN The value to use Shape SHAPE The shape of the curve to apply Log Exp Log Linear Exp Sigmoid Sigmoid Horiz Linear Sigmoid Vert Amount AMOUNT The amount of curvature to appl...

Страница 152: ...Appendix Module reference Quan ze QTZ Reduce the resolu on of a value Input IN The value to use Steps STEPS The number of di erent possible values of the output 1 to 127 152...

Страница 153: ...me FALL The amount of smoothing when the value decreases 0 to 5 seconds Shape SHAPE Whether smoothing is linear or exponen al Exponen al smoothing Uses a low pass lter Linear smoothing Uses linear int...

Страница 154: ...s ltering HIPASS The amount of high pass ltering on the input 0 to 100 Over ow behavior OVRFLOW The behavior when the accumulator over ows Saturate Keep the value to the maximum un l it is reset Reset...

Страница 155: ...he output will be at 100 when the trigger occurs and gradually fall down to zero Input IN An input value Trigger TRIGGER A trigger used to generate the impulse from the current input value Fall me FAL...

Страница 156: ...ccurrences of a trigger Trigger TRIGGER A trigger Steps STEPS The number of steps to count 1 to 127 Wrap around WRAP Whether to wrap around when the number of steps is reached Reset trigger RST TRIG A...

Страница 157: ...e me since a trigger The output will be at 0 when the trigger occurs and gradually increase to reach 100 in a linear fashion Trigger TRIGGER A trigger Time TIME The me to reach 100 of the output value...

Страница 158: ...ce Latch LATCH Capture a value when a trigger occurs The output will be equal to the input value at the last moment the trig ger occurred Input IN An input value Trigger TRIGGER A trigger used to capt...

Страница 159: ...inimum of a value since a trigger The output will be equal to the minimum value of the input from the last moment the trigger occurred Input IN An input value Trigger TRIGGER A trigger used to reset t...

Страница 160: ...AX Keep the maximum of a value since a trigger The output will be equal to the maximum value of the input from the last moment the trigger occurred Input IN An input value Trigger TRIGGER A trigger us...

Страница 161: ...to a smoothed value The output will follow the amplitude of the selected audio input Input IN The audio input source to use None Audio input Le Audio input Right Main bus post FX Aux bus post FX Rise...

Страница 162: ...parameter to be modulated 0 to 64 Amount AMOUNT The amount by which the source modulates the des na on parameter 100 to 100 Minimum value MIN The minimum source value 0 to 100 Maximum value MAX The m...

Страница 163: ...Scale SCALE The scale of the mapping amount 0 to 100 Sidechain SIDE A value that can be used to modulate the amount Sidechain amount SIDE AMT How much the sidechain modulates the amount 100 to 100 163...

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