USER MANUAL
Information in this manual is subject to change without notice and does not represent a commitment on the part of Applied Acoustics Systems DVM Inc. The software described in this manual is furnished under a license agreement. The software may be used only in accordance of the terms of this license agreement. It is against the law to copy this software on any medium except as specifically allowed in the license agreement.
Contents 1 Introduction 7 1.1 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 1.2 Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.3 Authorization and Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.3.1 Your Computer is Online . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.3.2 Your Computer is Offline . . . . . . . . . . . . . . . . . . . . . . . . . . .
CONTENTS 4 Parameters 22 4.1 General Functioning of the Interface . . . . . . . . . . . . . . . . . . . . . . . . . 22 4.1.1 Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 4.1.2 Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 4.1.3 Drop-down Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 4.1.4 Modulation Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 4.1.
CONTENTS 5 6 8 4.4.7 Pitch Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 4.4.8 Modulation Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 4.4.9 Ribbon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Utility Section 56 5.1 The MIDI LED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 5.2 Polyphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 5.
Introduction 1 Introduction Ultra Analog VA is a virtual analog synthesizer that combines into a modern instrument features of the legendary vintage synthesizers. Ultra Analog VA generates sound by simulating the different components of the synthesizer through physical modeling. This technology uses the laws of physics to reproduce how an object or system produces sound. In the case of Ultra Analog VA, mathematical equations describing how analog circuits function are solved in real-time.
1.2 Installation 1.2 Installation Simply double-click on the installer file that you have downloaded and follow the instructions of the installer. 1.3 Authorization and Registration Ultra Analog VA uses a proprietary challenge/response copy protection system which requires authorization of the product. A challenge code is a long string of capital letters and numbers that is generated uniquely for each machine during the registration process.
Introduction Figure 1: Online Authorization. Your serial number as well as the automatically generated challenge code are displayed but you need to obtain the response code. To do so, take note of your serial number and challenge code and proceed to an internet connected computer. Launch your browser and go to the unlock page of the AAS website located at: http://www.applied-acoustics.
1.4 Getting Started 9 Figure 2: Offline Authorization. 1.4 Getting Started 1.4.1 Using Ultra Analog VA in Standalone Mode Ultra Analog VA comes with a standalone versions allowing you to play it without having to open your sequencer. This can be convenient to explore Ultra Analog VA and its library, play it live or do some sound design work.
Introduction Audio and MIDI Configuration Audio and MIDI configuration tools are available by clicking on the Audio Setup button located in the lower left corner of the Ultra Analog VA interface. The Audio Setup dialog first allows you to select an audio output device from those available on your computer. Multi-channel interfaces will have their outputs listed as stereo pairs. On Windows, the audio output list is organized by driver type.
1.5 Getting Help 1.5 Getting Help 11 AAS technical support representatives are on hand from Monday to Friday, 9am to 6pm EST. Whether you have a question on Ultra Analog VA, or need a hand getting it up and running as a plug-in in your favorite sequencer, we are here to help. Contact us by phone or email at: • North America Toll Free: 1-888-441-8277 • Worldwide: 1-514-871-8100 • Email: support@applied-acoustics.
2 2.1 Architecture of Ultra Analog VA Architecture of Ultra Analog VA General Signal Flow The general architecture of Ultra Analog VA is presented in Figure 3. The primary sound sources of the synthesizer are two oscillators and a noise generator. These sources are mixed before being sent to two different multi-mode filter modules in series with an amplifier. Figure 3: General signal flow of Ultra Analog VA.
2.2 Interface 13 The first view, called the Play view of the instrument, gives access to different performance parameters as well as to a step sequencer. The second and third views, called the Edit and FX views respectively, are used for in-depth editing of the synthesis and effect parameters. One can switch from one view to the other by using the Play, Edit and FX buttons located in the Utility section at the top of the interface.
2.2.2 Architecture of Ultra Analog VA The Edit View The Edit view gives access to the synthesis parameters described in details in Chapter 4. The two oscillators modules appear on the left of this view. The middle section includes the two filters and amplifier modules. One can easily switch from one to the other by clicking on the two numbered tabs. The main envelop and LFO parameters are also included in this section for most required adjustments.
2.2 Interface 15 Figure 6: The FX view.
3 Bank and Program Management Bank and Program Management Ultra Analog VA comes with several factory presets, called programs, covering a wide range of sounds. This collection of programs lets you play and familiarize yourself with this synthesizer without having to tweak a single knob. Soon, however, you will be experimenting and creating your own sounds and projects that you will need to archive or exchange with other users. In this section, we review the management of programs. 3.
3.3 The Bank Manager 17 Figure 7: Bank and program manager window. A new bank can be created by clicking on the + button below the bank list. This opens the Create New Bank window in which the name of the new bank can be entered. A bank can be deleted by first selecting it in the bank list and then clicking on the - button. Be careful, this command erases a bank and all the programs it contains; this operation is permanent and can not be undone.
Bank and Program Management original bank. A multiple selection of programs can be used with the Copy and Move commands Programs can be deleted from a bank by first selecting them and then clicking on the Delete button. This will move the programs to a special bank called Trash which is located below the regular list of banks. This means that deleted programs can always be recuperated as long as they are not deleted from the Trash bank.
3.7 Restoring the Factory Library 3.7 Restoring the Factory Library 19 If necessary, it is possible to restore the original factory library of banks and programs.
Bank and Program Management While the great majority of programs should be recuperated without noticeable differences, the conversion program is not infallible which means that some programs might need some readjustments after the conversion. This is due to the fact that the mapping of the parameters from Ultra Analog VA-1 to Ultra Analog VA-2 is not direct as a result of changes in the architecture, modules and the effect section between the two versions.
Parameters 4 21 Parameters This section can be used as a reference for the different controls appearing on the Ultra Analog VA graphical interface. We begin by describing the behavior of the different types of controls appearing on the interface and then describe the parameters of each module of the synthesizer. 4.1 General Functioning of the Interface 4.1.1 Knobs The synthesizer parameters are adjusted using controls such as knobs, switches and numerical displays.
Parameters parameter knob. Turning the modulation knob to the right has the opposite effect and increases the value of the parameter for high notes while decreasing it for low notes. The Vel modulation knobs are used to modulate the value of a parameter depending on the velocity signal received from the keyboard so that the value of a parameter increases as notes are played harder on the keyboard. The position of the knob is used to adjust the amount of modulation applied to the parameter.
4.2 4.2.1 The Edit View 23 The Oscillator Module The Oscillator module is the main sound source of Ultra Analog VA and offers the features of the most reputed analog oscillators. It provides a fine control on the pitch, standard waveforms, a sub-oscillator, and hard synchronization. The Oscillator module is implemented using precise modeling algorithms rather than wave tables providing alias free sources with clean pulse width modulation and synchronization.
Parameters Pitch The pitch of the Oscillator module can be adjusted using the Octave, Semi and Detune controls. The Octave control allows one to transpose the pitch by octaves (upper or lower) while the Semi control is used to transpose the pitch by semitones. To adjust these parameters, click on the corresponding button to select it and drag the mouse (or use the finger on a track pad) up or down to select a value. The Detune knob is used to slightly detune the oscillator.
4.2 The Edit View 25 of each period of the waveform of the master oscillator which therefore acts as a master clock as shown in Figure 9. The perceived pitch of the final output of the oscillator module is the same as that of the master oscillator while the frequency of the slave or synced oscillator only affects the harmonic content and therefore the timbre of the resulting signal. The Shape control applies to the shape of the slave oscillator.
Parameters 4.2.2 The Filter Module Ultra Analog VA is equipped with two multi-mode filters. The filters are patched in a flexible way in order to allow their use in parallel, in series or any combination of both. For even more flexibility, the cutoff frequency of the Filter 2 can also be locked to that of Filter 1. Each of the multi-mode filters include a resonant low-pass, band-pass, high-pass, notch and two formant filters which can be selected using the Type drop-down menu.
4.2 The Edit View 27 A low-pass filter is used to remove the higher spectral components of the signal while leaving the lower components unchanged. The frequency at which attenuation begins to take effect is called the cutoff frequency and it is controlled using the Frequency knob. In a resonant filter, frequencies located around the cutoff frequency can also be emphasized by an amount called the quality factor or Q-factor of the filter as illustrated by Figure 10.
Parameters Amplitude (dB) Q=10 0dB −3dB Q=4 Q=2 Q=1 Frequency (Hz) Center Frequency Band Width (Q=1) Figure 12: Frequency response of the band-pass filter. Notch Filter Q=10 Q=4 Amplitude (dB) Q=2 Q=1 0dB −3dB Center Frequency Frequency (Hz) Band Width (Q=1) Figure 13: Frequency response of the notch filter. The notch filter, does essentially the opposite of the band-pass filter.
4.2 The Edit View 29 Formant Filter Amplitude (dB) Male Voice Female Voice F1 F2 F3 Frequency (Hz) Formant Frequencies Figure 14: Frequency response of the formant filter. The formant filter reproduces the filtering effect of the vocal tract in the human voice. By changing the position of the tongue, the opening of the mouth and opening or closing the nasal cavities one can change the filter applied to the glottal signal and thus produce the different vowels.
Parameters + Saturation Level (Sym1) Output Level Asym1 Asym2 Asym3 + Saturation Threshold (Sym1) Input Level − Saturation Threshold (Asym1) − Saturation Level (Asym1) Figure 15: Saturation curves of the resonant filters. For asymmetrical curves, the saturation level and threshold are different for positive and negative values of the input level. one to three for both symmetrical and asymmetrical saturation.
4.2 The Edit View 31 Finally, signal from the Filter 1 module can be routed to the input of the Filter 2 module. The amount of signal is controlled using the Filter 1 knob appearing on the mixer of the second filter. In order to have the two filters strictly in series, this knob should be turned clockwise and the VCA 1 switched off as the output of the first filter is hard wired into the input of the VCA 1 module.
Parameters notes depending on their pitch, low notes to the left and high notes to the right where the middle C is the reference note positioned at the location determined by the Pan knob. 4.2.4 The Noise Generator Module The Noise module generates white noise and is followed by a -6dB/Oct low-pass filter used to adjust the frequency content of the noise. The Color knob is used to vary the cutoff frequency of the built-in low-pass filter.
4.2 The Edit View 33 Phase and Reset Mode The LFO module behaves in a polyphonic way which means that a low frequency oscillator is associated with each voice of the polyphony. This allows the LFO module to control notes played on the keyboard individually. The gate signal received from the keyboard is used to reset the LFO waveform when a note is played on the keyboard.
Parameters Amplitude Time Delay Fade in Figure 16: Fade in feature of the LFO. 4.2.6 The Envelope Module Each row of Ultra Analog VA is equipped with two envelope generators, the Filter Env and Amp Env modules which are used to modulate the Filter and Amp modules. Both envelope generators have the same user interface and offer the same functions.
4.2 The Edit View 35 The envelope modules generate a four segment envelope: attack, decay, sustain, release. The attack time is adjusted using the Attack knob. The attack time can also be modulated with the velocity signal received from the MIDI keyboard to make the attack time shorter as the velocity increases, the intensity of this effect being controlled using the Vel knob on the left of the Attack knob.
Parameters Legato Mode This mode is used to choose how the envelope generator reacts when a new note is played before the end of the preceding one. When this occurs, two strategies are possible. The first one consists in triggering a new envelope, from the attack phase, when the new note is played. The second consists in applying the current envelope signal of the first note to the second note which produces a legato effect.
4.3 The FX View 37 the note is released. When the note is released the envelope signal returns to zero following the release phase. The ADR mode is quite similar to the preceding mode and only differs in that the looping is done by cycling trough the attack, decay and release phases. Finally, in the Once mode, the envelope is played normally but the envelope generator cycles once more through the attack and release phase when the key is released. 4.
Parameters factor to components located above a cutoff frequency while leaving those below unchanged. The cutoff frequency of this filter, located above 1 kHz, is adjusted with the help of the Freq knob while the gain factor applied to the signal, in a ±15dB range, is adjusted using Gain knob. In its center position there is no attenuation (0 dB). Turning it clockwise boosts the amplitude of high frequencies while turning it anti-clockwise reduces it.
4.3 The FX View 39 Gain = 30 dB, Q = 2 Amplitude (dB) Gain = 30 dB, Q = 5 Gain = 20 dB Gain = 10 dB 0dB Gain = 30 dB, Q = 2 Freq Frequency (Hz) Figure 20: Peak filter. Tuning The level at which the Compressor starts to enter into action is determined by the value of the Threshold parameter. This value is in dB and corresponds to the amplitude of the input signal as monitored by the first level meter of the module.
Parameters after the EQ module. In this configuration, the control signal of the Compressor is then the output signal from the EQ module while the input signal to the compressor is determined by the position of the SC button. When it is on, the Compressor is in a side-chain configuration. The input signal of the Compressor is then the output signal from the synthesizer. When it is off, the input signal of the Compressor is the output signal from the EQ module.
4.3 The FX View 41 by choosing an intermediate position. In particular when the Pan knob is in its center position, an equal amount of signal is sent in both channels. The output signal from the Delay module can include a mix of input signal (dry) and delayed signal (wet). The Wet and Dry knobs are used to adjust the amplitude of each component in the final output. The amplitude of each component is increased by turning the corresponding knob clockwise from no signal to an amplitude of +6dB.
Parameters The effect is obtained by mixing the original signal with delayed version obtained from the output of delay lines as shown in Figure 21. In the case of a chorus effect, the length of the delay lines must be short in order for the delayed signals to blend with the original signal rather than be perceived as a distinct echo. The length of the delay line can be modulated introducing a slight perceived pitch shift between the voices. Figure 21: Chorus module.
4.3 The FX View 43 channel. Finally, the Mix knob allows one to mix the dry and wet signals. In its leftmost position, there is no output signal from the chorus and one only ears the dry input signals. In its rightmost position, one only ears the wet signal from the chorus module. In its center position, there is an equal amount of dry and wet signal in the output signal from the module.
Parameters Amp Amp Short Delay Time Long Delay Time 0 dB 0 dB Frequency Frequency Figure 23: Frequency response of a Flanger module. Effect of the length of the delay line. The amount of effect is determined by the ratio of wet and dry signal mixed together as shown in Figure 24. As the amount of wet signal sent to the output is increased, the amount of rejection increases.
4.3 The FX View 45 No Feedback Amp Feedback = 0.5 Feedback = 0.9 0 dB f0 2xf0 3xf0 4xf0 5xf0 6xf0 Frequency Figure 25: Effect of the amount of feedback on the frequency response of a Flanger module. turned clockwise and at a frequency fixed with the Rate knob. The Feedback knob is a gain knob used to fix the ratio of wet signal re-injected into the delay. Finally, the Mix knob determines the amount of dry and wet signal in the output signal from the module.
Parameters Figure 26: Phaser algorithm. amount of rejection increases. The shape of the frequency of the Phaser module is also influenced by the amount of wet signal re-injected into the feedback loop. Increasing the feedback enhances frequency components least affected by the all-pass filter. As the feedback is increased, these peaks become sharper. The functioning of the Phaser is very similar to that of the Flanger module.
4.3 The FX View 47 Tuning The location of the first notch in the frequency response of the module is adjusted with the Frequency knob This frequency can be modulated by an amount controlled with the Depth knob. In its leftmost position, the location of the first notch is fixed but it starts to oscillate by an amount which increases as the Depth knob is turned clockwise. The frequency of the modulation is controlled using the the Rate knob.
4.3.9 Parameters Notch Filter The Notch Filter does essentially the opposite of a band-pass filter. It attenuates the frequencies in a band located around the center frequency and leaves those outside of this band unchanged as shown in Figure 28. As was the case for the Wah Wah effect, the filter can be modulated. Amplitude (dB) 0dB −3dB Center Frequency Frequency (Hz) Band Width (Q=1) Figure 28: Frequency response of a notch filter.
4.3 The FX View 49 Impulse Response of a Room The best way to evaluate the response of a room is to clap hands and to listen to the resulting sound. Figure 29 shows the amplitude of the impulse response of a room versus time. The first part of the response is the clap itself, the direct sound, while the remaining of the response is the effect of the room which can itself be divided in two parts.
Parameters Another parameter which affects the response of a room is its geometry; the more complex the geometry of a room, the more reflexion are observed per unit of time. This quantity is known as the time density and can be set trough the Diffusion knob. In a concert hall, the time density is supposed to be quite high in order not to hear separate echoes which are characteristic of poor sounding rooms.
4.4 The Play View 4.4.2 51 The Key Module The Key module controls how the synthesizer voices respond to the events coming from an external MIDI keyboard or from a MIDI sequencer. The keyboard can be monophonic, allowing one to play only one note at a time, or polyphonic, allowing one the play chords. This behavior is adjusted with the Mode drop-down menu.
Parameters Clicking on the Legato button switches the module into legato mode and the sliding between two notes then only occurs if the second note is played before the first one is released. When a note is played staccato, or in other words if a key is released before the next one is depressed, there is no glide effect. Note that even though the glide effect is available when the Key module is in polyphonic mode, it is mostly dedicated to monophonic playing.
4.4 The Play View 53 and 4 (its maximum value), the notes played are transposed and played sequentially, over a range of one or more octaves depending on the value of the Range parameter. The direction of the transposition is set with the Span drop-down menu. This parameter can be adjusted to Low for downwards transposition, to High for upwards transposition or wide for transposing both upwards and downwards.
4.4.7 Parameters Pitch Wheel The MIDI pitch wheel allows one to vary the pitch of the note played. The pitch wheel can be moved with the mouse but it is also automatically connected to the pitch wheel signal received from your MIDI keyboard. The range of the pitch bend is 2 semi-tones up or down by default but can be changed.
Utility Section 5 55 Utility Section The utility section is located at the top of the Ultra Analog VA interface and it includes important parameters and monitoring tools. For information on Banks and Programs please refer to Chapter 3. 5.1 The MIDI LED The MIDI LED is located on the left of the level-meter. The LED blinks when the synthesizer receives MIDI signal. If the application is not receiving MIDI signal, make sure that the host sequencer is sending MIDI to Ultra Analog VA.
5.4 Utility Section History and Compare The History control allows one to go back through all the modifications that were made to programs since the application was started. In order to travel back and forth in time, use the left and rightpointing arrows respectively. The application will switch between different program states and indicate the time at which they were modified. The Compare button, located above the Program display, is used to switch between Edit and Compare mode.
Audio and MIDI Settings 6 57 Audio and MIDI Settings This chapter explains how to select and configure Audio and MIDI devices used by Ultra Analog VA. Audio and MIDI configuration tools are accessed by clicking on the Audio Setup button located in the lower left corner of the Ultra Analog VA interface and the MIDI button located just below the MIDI led in upper part of the interface. Note that in plug-in mode the audio and MIDI inputs, sampling rate, and buffer size are set by the host sequencer. 6.
Audio and MIDI Settings Depending on your machine you should choose, for a given sampling frequency, the smallest buffer size that allows you to keep real-time for a reasonable number of voices of polyphony. 6.2 MIDI Configuration 6.2.1 Selecting a MIDI Device The list of available MIDI inputs appears at the bottom of the Audio Setup dialog.
6.2 6.2.4 MIDI Configuration 59 MIDI Program Changes Ultra Analog VA responds to MIDI program changes. When a program change is received, the current program is changed to the program having the same number as that of the program change message in the currently loaded bank. If you do not wish Ultra Analog VA to respond to MIDI program changes, open the MIDI configuration window by clicking on the MIDI button and uncheck the Enable Program Changes option. 6.2.
7 Using Ultra Analog VA as a Plug-In Using Ultra Analog VA as a Plug-In Ultra Analog VA is available in VST, RTAS, AAX and AudioUnit formats and integrates seamlessly into the industry most popular multi-track recording and sequencing environments as a virtual instrument plug-in. Ultra Analog VA works as any other plug-in in these environments so we recommend that you refer to your sequencer documentation in case you have problems running it as a plug-in.
License Agreement 8 61 License Agreement IMPORTANT! CAREFULLY READ ALL THE TERMS AND CONDITIONS OF THIS AGREEMENT BEFORE OPENING THIS PACKAGE. OPENING THIS PACKAGE INDICATES YOUR ACCEPTANCE OF THESE TERMS AND CONDITIONS. IF YOU DO NOT AGREE WITH THE TERMS AND CONDITIONS OF THIS AGREEMENT, PROMPTLY RETURN THE UNOPENED PACKAGE AND ALL COMPONENTS THERETO TO THE PARTY FROM WHOM IT WAS ACQUIRED, FOR A FULL REFUND OF ANY CONSIDERATION PAID.
License Agreement 5. LIMITATION OF LIABILITY.
License Agreement 63 rendered inoperative but the remaining provisions shall continue in full force and effect. 9. ENTIRE AGREEMENT.
Index about, 57 adsr, 35 amplifier, 32 architecture, 13 arpeggiator, 53 latch, 54 looping, 54 pattern, 53 rate, 54 rhythmic pattern, 54 synchronization, 54 audio, 58 configuration, 11, 58 device, 58 latency, 58 authorization, 8 auto-wah, 15, 38, 48 backup, 19 band-pass filter, 27, 28 bank, 17 backup, 19 create, 17 delete, 17 factory library, 20 importing, 20 rename, 17 sharing, 19 bank manager, 17 buffer size, 11, 58 challenge code, 8 chorus, 15, 38, 42 mono, 42 stereo, 42 clock, 23, 51 coarse, 22 compare,
INDEX formant filter, 27, 30 free run mode, 36 fx view, 15, 38 glide, 52 hard synchronization, 25 help, 10, 12 high-pass filter, 27, 28 history, 57 installation, 8 interface, 13, 22 drop-down menus, 22 knobs, 22 numerical displays, 22 switches, 22 key module, 52 keyboard, 52 monophonic, 52 polyphonic, 52 priority, 52 sustain pedal, 52 unison, 52 knobs, 22 latency, 58 legato, 52 level, 32 level meter, 57 lfo, 33 fade-in, 34 phase, 34 rate, 33 reset mode, 34 synchronization, 23 wave shape, 33 library importi
saw-tooth, 24 sine, 24 square, 24 sub-oscillator, 25 overdrive, 42 panning, 32 parameters, 22 peak, 57 phase, 34 phaser, 15, 38, 46 pitch bend, 14, 60 pitch modulation, 25 pitch wheel, 55 play view, 14, 51 plug-in, 11 audio configuration, 61 automation, 61 formats, 61 MIDI configuration, 61 multiple instances, 61 performance, 61 saving projects, 61 polyphony, 7, 56 portamento, 52 programs, 11, 17 backup, 19 bank manager, 17 copy, 17 factory library, 20 importing, 20 move, 17 saving, 17 sharing, 19 recta
