Multitimbral Polyphonic Synthesizer User Manual
Overview Overview LuSH-101 is a polyphonic subtractive synthesizer. Its structure is based on “layers” (LuSH-101 has 8 of them). In fact, each Layer is an independent synthesizer with its own parameters and own polyphony. Each of the layers can listen to different MIDI channel and respond to a different keyboard zone. In consequence, the synthesizer may work as multitimbral instrument, in which each Layer is controlled by a different MIDI channel.
Overview The GUI of plug-in looks as follows: 1 Graphical user interface At the top of GUI there is a bar called Control section: Control section Below the bar we can see a part of GUI, which is responsible for editing a single Layer (this is the default view, after opening the LuSH-101 in a host application).
Overview 1 Synthesis view containing layer's parameters In the Control section we can distinguish the following groups of controls: • Options button, which enables access to an Options panel. The entire global configuration is performed from there. Options (about) button • MIDI section contains a Midi act. LED indicating any activity from the MIDI port and the Midi Learn button which enables the Midi Learn mode.
Overview Preset management section for global presets 1 • Three rows of buttons to select a Layer for editing (first row - Select), turning the Layer on/off (second row Enable) and / or muting / soloing the Layer (third row - Mute / Solo). Above, there is a row of Padlocks for locking individual Layers, thus preventing overwriting selected Layers parameters when the Global Preset is loaded.
Layer Layer We access Layer parameters by clicking the Synthesis button in the Control section: 2 View (tab) selector They are displayed in the main part of GUI: Synthesis view containing layer's parameters We can select, which Layer (from the 8 available) we want to edit using Layer select buttons in the Control section: Layer selector 5
Layer In a single Layer we can distinguish the following groups of controls: • Layer settings: 2 Layer settings • Timbre preset browser: Timbre browser • Voices (polyphony management): Voices section • Insert effect: Insert effect section 6
Layer • Layer master: 2 Layer master • Set of sound parameters: Layer's sound parameters 7
Layer • Layer settings • Arpeggio / Gater – set of parameters controlling Layer Arpeggiator 2 Layer's sound parameters Layer settings Parameters from Layer settings, Voices section, Layer Master are stored per each layer independently.
Layer • Layer settings We can distinguish: 2 • Audio output Layer's audio output It is the number of the plug-in output (1-11), to which the signal from the Layer will be sent to. In LuSH-101 we have 11 stereo outputs to our disposal. We edit the number by dragging the LED display with the mouse. Practically, each LED display-like control shown on a GUI is draggable (editable this way).
Layer • Layer settings Layer's transposition in the range of -24 to +24 halftones. • Zone 2 Layer's zone Apart from the MIDI channel, we can also set a keyboard Zone, to which the Layer will be responding, by creating a split, if keyboard zones are disjunctive and Layers listen to the same MIDI channel. The keyboard Zone is defined by two notes, and contains all the notes between those two. The lower note defines the beginning (From) and the higher note defines the end of the Zone (To).
Layer • Layer settings • Voices – It is the total number of voices of Polyphony for Layer (up to 32 voices). If the number of voices is equal to 1 then implicitly the Mono mode is set and other controls in this section start to work. • Mono – This button turns on/off the Mono mode. If the number of voices of Polyphony is greater than 1, then we may use this switch to overturn the Mono mode on. In this situation the Polyphony is automatically reduced to one voice.
Layer • Layer settings 2 Unison spread We need to remember that Unison mode “steals” Polyphony, e.g. when we set Unison to 2, we will not be able to set the polyphony greater than 16, because it would exceed 32 voices in total (Unison voices * Polyphony).
Layer • Layer settings Timbre preset management section: 2 Timbre browser Presets in LuSH-101 can be created and stored on a few levels of hierarchy (for particular groups of parameters only or for all of them), which defines a preset type. For a single Layer or for a combination of all 8 Layers with additional parameters specific for a combination (like parameters of the Mixer). Presets prepared for a single Layer are called Timbres and presets made for a combination of Layers are called Global presets.
Layer • Synthesis Synthesis LuSH-101 is a subtractive synthesizer and the control of the signal flow used here does not differ substantially from most of compact hardware or software synthesizers on the market. It encompasses all the elements and components widely used in modern synthesizers.
Layer • Synthesis 2 Vco diagram Oscillators can be mixed together in proportions set by sliders placed in the Source mixer section: Synthesis - source mixer Starting from the left side, sliders in this section are responsible for: 15
Layer • Synthesis • Volume of Square oscillator with adjustable pulse width. • Volume of Sawtooth oscillator. • Volume of Suboscillator. 2 • Volume of Noise generator. LEDs (VOL x ENV1) above the SQR, SAW, SUB and Noise sliders allow independent (for each oscillator) modulation of amplitude using ENV1 (first envelope).
Layer • Synthesis 2 Noise type and waveform radio groups HardSync Usually HardSync requires two oscillators. One of them restarts the period of the second one. Master – which has constant frequency based only on note's frequency, Slave – which has frequency based on note frequency varied by additional modulation sources (like envelope or LFO). Master restarts Slave's period.
Layer • Synthesis Supersaw Two last sliders in the Source Mixer section and the LED above them are responsible for controlling the SuperSaw mode for the Sawtooth oscillator. 2 Supersaw parameters Supersaw LED activates and deactivates that mode, and parameters: • Amt. - Amount, the effect strength, the bigger the value is, the more saw oscillators are added. • Detune – This is the detune value between additional saw oscillators. Note: Please note that SuperSaw and HardSync cannot work at once.
Layer • Synthesis Pulse Width Modulation – PWM The three parameters in Pulse section are responsible for controlling the pulse width of the first oscillator in the Source Mixer section: 2 • Width – Pulse width of square wave. • Mod – Amount of pulse width modulation by a modulation source. • Source - Selection of modulation source: LFO1, LFO2, ENV1, ENV2 PWM diagram Envelope generators Envelopes can be used for controlling the signal amplitude, filters, sound pitch or pulse width.
Layer • Synthesis 2 Synthesis - envelopes These are classic ADRS generators with four parameters: • A – Attack time. • D – Decay time. • S – Sustain level.
Layer • Synthesis Depending on a chosen Polarity, the envelopes are straight or inverted. • Trigger – This parameter decides when the Envelope is triggered. We have the following values to choose from: • Trig – Each incoming to LuSH-101 note re-triggers an Envelope. • Gate – The note re-triggers Envelope if any other note is not played at the moment. Therefore, the trigger is not generated for overlapping notes.
Layer • Synthesis Low Frequency Oscillators - LFO In the Layer there are two multipurpose low frequency oscillators, which parameters are located in sections LFO1 and LFO2 on GUI: 2 Synthesis - LFOs Both LFOs can be used for controlling sound pitch, filter parameters, pulse width or sound amplitude. There are two basic parameters for LFO: • Waveform –We can choose one of six available waveforms: • Triangle. • Square. • Sawtooth ascending. • Sawtooth descending. • Random.
Layer • Synthesis Further parameters controlling the LFO work mode: • Reset –decides under what conditions theLFO is reset (it is set on the beginning of its period). We have 4 possibilities: • Trig – Each new incoming note resets the LFO. • Gate - Incoming note resets the LFO if any other note is not currently played (pressed on the keyboard). 2 Retriggering an envelope In Poly mode it does not matter if we choose Trig or Gate, because in both cases the LFO is reset for every incoming note.
Layer • Synthesis • Arpe - This works only when the Arpeggiator is active. The LFO is reset when the Arpeggiator starts generating a sequence, i.e. when we release all the keys on the MIDI keyboard and press them (or one of them) again. • None – the LFO is never reset. 2 • Sync to tempo – This switch is responsible for the LFO’s synchronization with the tempo. By default, the LFO is internally timed (Sync if off).
Layer • Synthesis In VCF section we have access to parameters that control multi-mode resonant filter: 2 Synthesis - VCF filter section From the left respectively: • Type – We have three available filter types to select from: • LP – lo-pass, • BP – band-pass, • HP - hi-pass • Mode - There are two selectable filter modes: • Normal - The overall peak volume of the filter output is constant across the Cutoff frequency and Resonance domain and the filter itself is softer in comparison
Layer • Synthesis • Kybd – Keyboard tracking; applying VCO frequency on cutoff frequency of the filter. The Kybd parameter controls the amount of this effect. When the Kybd is set to min., the cutoff frequency remains unchanged in relation to VCO frequency causing higher notes to be duller with low pass filter turned on. When the Kybd is set to max.
Layer • Synthesis Oscillator's frequency control In the Pitch / Sync section on GUI we have a set of parameters which control the influence of the envelopes or LFOs on the frequency of oscillator in the Source Mixer section. 2 Pitch / sync section The first two parameters (starting from left) control the amount of modulation of envelopes or LFOs on the oscillator frequency: • Mod – The depth of modulation of the applied modulation source on a frequency.
Layer • Synthesis Next three parameters control sound pitch andits influence on the filter's frequency: • Range – Pitch transposition by whole octaves: • 16' – Pitch non-transposed. • 8' – Pitch transposed by +1 octave. • 4' – Pitch transposed by +2 octaves. • 2' – Pitch transposed by +3 octaves. • Tracking – Turned on by default. When tracking is turned on, the pitch of incoming midi notes is taken into 2 account when a sound is generated.
Layer • Synthesis 2 Vcf keyboard range affect Amplifier - VCA In this section (VCA) we have only one switch, which allows to select the generator of amplitude. Synthesis - amp section • Source – The switch responsible for selecting the generator: • ENV1 – Sound amplitude is controlled by the ENV1. • ENV2 – Sound amplitude is controlled by the ENV2.
Layer • Synthesis • Gate – Sound amplitude is controlled by the Gate signal, i.e. incoming MIDI Note On message generates positive slope (sound amplitude has maximum value) and MIDI Note Off message generates negative slope (sound amplitude is zero). • LFO2 x ENV2 – The sound amplitude is controlled by the product of LFO2's and ENV2's outputs.
Layer • Synthesis • Wheel – Allows controlling, through the modulation wheel, the depth of effect of LFO1 on the oscillator frequency or/and filter cutoff frequency. We have the following parameters: • VCO – The depth of modulation of the oscillator's frequency by LFO1's output – gives a vibratto effect controlled by the modulation wheel. 2 • VCF – The depth of modulation of the filter frequency by LFO1's output.
Layer • Synthesis The way the VCF parameters in Bender and Wheel sections affect the filter cutoff frequency: 2 Bender and wheel in vcf section Master section There are three available parameters: • Fine tune – It is a precise (fine) tuning of oscillators in the Layer. • Pan – Layer panorama. • Volume – Layer output volume. The A440hz button generates a test signal – sine wave with 440 Hz frequency (middle A key).
Layer • Insert effects Insert effects 2 A single insert effect can be used per Layer: Insert effect section We are able to select one of the available FX algorithms: • Chorus • Flanger • String Ensemble • Phaser • Vowel Filter • Distortion • Decimator • Tremolo Or just turn off the insert effect (for Layer) – no effect. In this situation the Layer output will be directly sent to the synthesizer Mixer without processing.
Layer • Insert effects Chorus 2 Insert effect - chorus • Speed – LFO speed. We have three fixed values: • Slow • Fast • Mid • Mode – Chorus mode. • Thin – Single delay line. • Fat – Double delay line. • Stereo – Stereo phase shift between LFO controlling delay lines for left and right channels. • Dry / Wet – Proportions between processed and unprocessed sound.
Layer • Insert effects • Depth – Depth of flanger effect. 2 • Rate – LFO frequency. • Feedback – Flanger feedback. • Invert – Inverting flanger feedback. • Dry / wet – Proportions between processed and unprocessed sound. String ensemble This is a combination of chorus and phaser effects. Insert effect - string ensemble • String mode – Chorus work mode: • Light – Subtle flow of LFOs controlling delay lines. • Heavy – Higher frequency and depth of LFOs.
Layer • Insert effects Phaser 2 Insert effect - phaser • Speed – LFO frequency. • LFO swtich – The way of controlling the phaser. By default, the Phase is controlled by a single LFO (Sng. position) or by two LFOs (Dbl. Position), however, the second LFO has constant fixed frequency and lesser amplitude. • Stereo – Stereo phase shift between the channels. • Feedback – Phaser feedback. Vowel filter Insert effect - vowel • Reso – Resonance. • Rate – Frequency of the LFO controlling Vowel filter.
Layer • Insert effects 2 Vowel set Above the fader we see a Vowels' list, which can be modified by the user. The list is composed of five elements. Each of them can be modified by a mouse click (left button goes forward, right button goes backward). We have one vowel of five available to choose from: A, E, I, O, U. • Vocal – Button, that pulls down the list, from which we may select one of available vocal timbres.
Layer • Insert effects Decimator 2 Insert effect - decimator • Preamp - Input signal amplification before it is degraded, the parameter's range is in [0 ..48 dB]. • AA Filter - Turning on and off the Antialias low-pass filter, which cutoff frequency is linked with a decimation frequency (Frequency knob). • Frequency - Decimation frequency [0 .. 44 kHz]. • Quantize - Quantization with a given number of bits [1..
Layer • Arpeggiator Arpeggiator LuSH-101 has a very advanced Arpeggiator section. Just like the other modules in the Layer, this one also works in an independent way for each Layer. This means that for every Layer the Arpeggiator can be activated or not. The Arpeggiator section is located on the right side of Synth view. 2 Arpeggiator (gater) section Here, we can distinguish the following parameters: • Mode – The Arpeggiator's work mode (run mode): • Off – Arpeggiator turned off.
Layer • Arpeggiator • Random – Random order sequencing. • Manual – Sequencing accordingly with the order of pressed keys on the MIDI keyboard. • Range – Arpeggiator range expressed in octaves. 2 • Repeat – Number of repetitions of the Arpeggiator sequence in each octave.
Layer • Arpeggiator • Trigger – When keys are pressed on the keyboard, the notes corresponding to them are added to a sequence. When we press and hold, for example, two keys, they are added to a sequence, even if we release one of them, two notes are still in queue (playing).
Layer • Arpeggiator There is also a Padlock icon in the upper left corner of the Arpeggiator section: 2 Apreggiator's padlock It is used for locking all parameters within the Layer's Arpeggiator, thus preventing overwriting their values when the Timbre preset or Global Preset is loaded. To read the details go to Preset Management chapter.
Layer • Arpeggiator To get a regularly sounding Arpeggiator we have to set all the LEDs in the Gate row, and disable all the LEDs in Tie row.
Layer • Arpeggiator 2 Arpeggiator - example 2 If we instead slightly modify the Tie row, we will receive this sequence: 44
Layer • Arpeggiator 2 Arpeggiator - example 3 Obviously, the maximal length is 16 steps, but you may decrease it: 1. Press the Length button in the Arpeggio / Gater section. 2. Click on any LED in the Gate row making it the last step in a sequence. This is how the length is set. 3. Press the Length button again.
Layer • Arpeggiator • Modulation Matrix At the bottom of the Arpeggio / Gate section there is a preset management system for the Arpeggiator. You can store your own settings for this section or load earlier prepared ones. 2 Arpeggiator - Preset Management In this section we have the following controls: • The text box containing the name of the currently loaded Arpe preset. • Prev / Next – These two buttons are used for linear navigation through the banks of Arpe presets.
Layer • Modulation Matrix 2 Select view section After doing so, you will see the Modulation Matrix view in the front panel of LuSH-101: Modulation matrix As you can see the Control section in the top part of GUI is still visible and accessible, making it possible to switch between the Layers and editing the Modulation Matrix for each of them without the necessity of leaving the Modulation Matrix view.
Layer • Modulation Matrix 2 Modulation Matrix - Source • Destination - Destination parameter, which is supposed to be modified: Modulation Matrix - Destination • Amount - A slider which controls the influence of the Source on a Destination. Modulation Matrix - Amount fader Operating the Modulation Matrix is based on a formula: New Destination parameter's value = Destination parameter + Source controller * Amount Where: • Destination and Source have values (in most cases) in the range of [0..
Layer • Modulation Matrix • Expression - Midi CC #11 (range [0..1]), • Pitch Bend - Midi Pitch Bender (range [-1 .. 1]), • Velocity - Midi Note velocity (range [0..1]), 2 • Pitch - Values (range [0..1]) of Pitch Tracking (see the Timbre settings chapter) assigned to each and every MIDI note, • Channel Pressure - MIDI Channel Aftertouch (range [0..
Layer • Modulation Matrix - Moving up a selected row, - Moving down a selected row A row can be selected by a mouse-click on any of its controls, (selected row becomes highlighted). 2 Voice Volume - A special destination parameter In the Destination column we have a specific parameter available which can be selected, namely Voice Volume (in a Source Mixer node). This parameter has no equivalent in any of the GUI parameters. It controls the volume of a single voice generated by the synthesizer.
Layer • Modulation Matrix This is an exemplary setting of Arpeggiator Tie and Gate rows and corresponding to them sequences of Arpe Gate and Arpe Tie Sources in the Modulation Matrix: 2 Modulation matrix - arpe output example Note: Arpe Gate and Arpe Tie Sources work even if the Layer Arpeggiator is turned off (Apre Mode parameter set to off). Regardless of whether the Arpeggiator is turned on or off the tempo of the generated sequence is controlled by the Rate knob (Arpeggiator section).
Layer • Timbre Preset Settings Timbre Preset Settings Timbre Preset Settings panel contains configuration settings specific for a single Layer / Timbre, that do not necessarily have to be at hand when you edit a sound. To open theTimbre Preset Settings panel use Sett button in the Timbre section in Synthesis view.
Layer • Timbre Preset Settings Pitch tracking tab 2 Timbre preset settings - Pitch tracking tab There is a graph situated in the Pitch tracking tab, which allows to assign a certain value in the range of [1..100] to each MIDI note coming into the Layer. This set of values is used in the Modulation Matrix as a Source: Pitch. Depending on a MIDI note received by LuSH-101 a corresponding value is returned as a Pitch (rescaled to the range [0..1]) in the Modulation Matrix.
Layer • Timbre Preset Settings Miscellaneous tab 2 Timbre preset settings – Miscellaneous tab In this tab, the following options are available: • Velocity dynamics curve - Allows to select between seven different dynamic curves, the one selected is taken into account in Modulation Matrix (Velocity). • Convex 3 • Convex 2 • Convex 1 • Linear • Concave 1 • Concave 2 • Concave 3 Linear is the default one.
Layer • Timbre Preset Settings • Sustain pedal mode - Sustain pedal apart from its basic task of sustaining the played notes, can be also used as a Source in the Modulation Matrix. Therefore we might want to disable sustaining the notes by the pedal, to limit its usage to the Modulation Matrix only. It is possible to perform this action using this option. There are two variants we can select from: 2 Note not sustained - Sustain pedal does not sustaining notes and works in the Modulation Matrix only.
Mixer Mixer In LuSH-101 we have 8 independent Layers, each of them is actually an independent synthesizer with its own set of parameters, completely separated from the others. You can combine and mix the sound from all the Layers together on the Master mixer view. 3 Select view section After clicking the Master mixer button, the Mixer view appears on the front panel of LuSH-101.
Mixer 3 Mixer - layers' channel strips Three succeeding channel strips are the FX channels with three FX algorithms permanently assigned to them (one per each): Mixer - send effects and FX channels strips 57
Mixer • FX1 – Reverb is assigned to FX1 channel, 3 • FX2 – Delay is assigned to FX2 channel, • FX3 – Chorus is assigned to FX3 channel, Each of those send effects has its own set of parameters, and in respect to the complexity (number of parameters) of the Reverb and Delay effects , they have their own preset management system. Each channel (Layer or FX) can be routed to one of the eleven available plug-in outputs.
Mixer • Layer channel strip Layer channel strip Before the signal outgoing from a Layer is mixed with signals from other Layers, it passes through a channel strip.
Mixer • Layer channel strip • Timbre – This text box displays the name of the loaded timbre and allows to change the Timbre's name by clicking on it. • Pan – Panorama, this control corresponds to a Pan knob, which is placed in the Layer master section in the Layer tab. 3 • Audio out – Plug-in Audio output, which the Layer's outgoing signal is routed after processing to in a channel strip. This is conjugated with Audio output in Layer settings section in the Layer tab.
Mixer • Layer channel strip • 1:10 • Thres. - Compressor threshold. Below there is a simple parametric equalizer, the EQ section: 3 Mixer - layer's channel strip - eq • Hi – Hi-shelf gain from -24db to +24db for frequencies >= 8khz. • Mid frq. – Center frequency of the peak for middle frequencies from 100hz to 10khz. • Mid – Gain value for a peak for middle frequencies from -24db to +24db. • Low – Low-shelf gain from -24db to +24db for frequencies <=100hz. The Pre.Comp.
Mixer • Layer channel strip • FX1 – Is a send value for FX1 Channel. 3 • FX2 – Is a send value for FX2 Channel. • FX3 – Is a send value for FX3 Channel. The Pre fad. (Pre fader) switch, which controls whether the signal is sent to FX Channels, takes the Volume fader into account.
Mixer • FX Channel strip FX Channel strip The part of the signal, controlled by FX knobs (in Send sections of Layer channel strips), from each Layer is sent to the FX Channel. The input of the FX Channel is a sum of all the parts from all Layers. Each of the FX Channels is assigned to one effect algorithm (Reverb, Delay or Chorus) and then it is further processed. 3 Mixer - FX Channel strip The FX Channel, apart from having an assigned effect algorithm, contains few other elements affecting the sound.
Mixer • FX Channel strip 3 Mixer - FX Channel strip - top section • Audio out – It is the plug-in output number towhich the output signal from the FX Channel will be routed to (1-11). • Pan – Panorama. • Volume – Fader that controls the amplitude of the FX Channel output signal.
Mixer • FX Channel strip • FX algorithms • Hi – Hi-shelf gain from -24db to +24db for frequencies >= 8khz. • Mid frq. - Center frequency of the peak for middle frequencies from 100hz to 10khz. • Mid – Gain value for a peak for middle frequencies from -24db to +24db. 3 • Low – Low-shelf gain from -24db to +24db for frequencies <=100hz. Signal flow through a FX Channel strip FX algorithms In LuSH-101 mixer we have three different fx algorithms assigned permanently to particular FX Channels.
Mixer • FX algorithms Here we can distinguish the following groups of parameters: 3 • Early reflections: Size – Size of the room for early reflections only. • • Diffusion - It is the reflecting surface’s ability to spread the echo out. If this parameter is set to Sharp, the reflecting surface is perfectly flat and does not distort the reflected wave. In the case of setting this value to Smooth, the reflecting surface distorts wave and spread out into different directions.
Mixer • FX algorithms • The text box containing the name of currently loaded Reverb preset. • Prev / Next – These two buttons are used for linear navigation through the bank of Reverb presets. • Browse – This button opens a browser with Reverb presets. 3 • Save / Save as – Storing a current setting as a preset.
Mixer • FX algorithms 3 FX Delay - tempo based delay time For left and right channels (L, R) there are two LED displays per each (arranged vertically and separated by a straight line). The numbers on the top are numerators; on the bottom - denominator. The entire fraction represents a note value, which is a delay time between the taps. The denominator is a rhythmic scale (e.g.
Mixer • FX algorithms 3 FX Delay - example 1 • Join – This LED works only when Sync. is on. If Join is turned on, it means the delay lines for the right and left channel are joined together and we set a delay time globally for both of them by setting a delay time for the left channel only (L column). • St.Spread – Stereo spread is a linear (additional) delay between the left and right channel. Therefore, if: • Sync.
Mixer • FX algorithms The preset section allows for managing the presets for the Delay effect: • The text box containing the name of the currently loaded Delay's preset. • Prev / Next – These two buttons are used for linear navigation through the bank of Delay's presets. 3 • Browse – This button opens a browser for Delay presets. • Save / Save as – Storing a current setting as a preset.
Mixer • Global preset settings Global preset settings This panel contains settings specific for the Global Preset that are not necessarily at hand when you edit a sound. To open the Global Preset Settings panel you need to use Sett.
Mixer • Global preset settings Arpeggio Sync Mode If we use the Arpeggiator on more than one Layer, Arpeggio Sync Mode defines a way of communication / synchronization of the Arpeggiators across the Layers. Timers which tick Arpeggiators in Layers can work either independently, or they can be joined together according to specified criteria.
Preset Management • Preset structure Preset Management 4 Presets structure The presets structure in LuSH-101 is hierarchically organized, there are five kinds of presets, which store different groups of parameters. • Layer preset – In LuSH-101 it is called a Timbre. Within this type of preset the following parameters are stored: • Parameters from the Voices section. • Insert effect type and insert effect parameters. • All parameters from Layer master section.
Preset Management • Preset structure • Arpeggiator preset – Arpeggio / Gater section settings. 4 • Reverb preset – Reverb settings in Mixer tab, FX 1 – Reverb section. • Delay preset – Delay settings in Mixer tab, FX 2 – Delay section. • Global preset – also simply called Preset, which stores the state of the whole synthesizer including: • All layers (see the Layer preset). • Mixer settings and send effects, • Transpositions and keyboard zones (from Layer settings section) for all Layers.
Preset Management • Preset storage Preset storage All kinds of presets are stored on a disk in a particular location, which makes the process of management smooth and allows to easily exchange presets between users. When you insert a plug-in to a host application, before the window opens, some initial actions are performed.
Preset Management • Preset storage • Padlocks By default, presets are kept on the hard drive: • for MacOS – the folder “~/Library/Application Support/D16 Group/LuSH-101/Arpe” • for Windows – the folder "c:\Users\[user_name]\AppData\Roaming\D16 Group\LuSH-101" 4 Following files types are recognized by LuSH-101: • .shprst - Global Preset, • .shtmbr - Timbre (Layer) Preset, • .shfx1 - Reverb effect's Preset • .shfx2 - Delay effect's Preset • .
Preset Management • Padlocks • Preset Browser • Arpe Padlock - This kind of Padlock covers all Arpeggiator parameters in a single Layer and locks them during loading Timbre Presets or Global Preset, but it will not work on Arpeggiator Presets. 4 Apreggiator's padlock To activate the Arpe Padlock use the padlock icon in the Arpeggiator's top bar. Preset Browser As it was mentioned in the previous chapter, presets in LuSH-101 are stored as files on the hard drive.
Preset Management • Preset Browser The hierarchy of the file structure on the disk is represented by columns (each column is a single level in the directory tree), in which the leftmost column is the highest level in the file structure (Preset root folder), and subsequent columns, going to the right, represent successive levels of the directory tree. Each column may contain two kinds of items: 4 • Folder - Which name is emphasized with bold font and an arrow on the right.
Preset Management • Preset Browser 4 Preset Browser - Preset description It contains information like: Preset name, Author and Rating. We can change the Rating according to our recognition by giving it 1 to 5 stars (by mouse clicking on one of the stars). The author's name is assigned automatically to all newly created and saved presets based on information given by user in a Preset tab in Configuration panel.
Preset Management • Preset Browser • By selecting a range of items; click the first one (to mark the beginning) and then click the last one while holding CTRL key (to mark an end). Selected item(s) can be moved to any subfolder using the drag'n'drop method. It is also possible to move a selected Preset / Folder or group level up in the directory tree using the drag'n'drop method, if we drop the selected item(s) onto the column on the right.
Preset Management • Preset Browser Arpeggiator Preset Browser The previous chapter focused on describing general features of the Preset Browser, namely its simplest possible variant, which appears in the case of browsing the Presets for Delay or Reverb effects in the Mixer. The Preset Browser for Layer Arpeggiator is slightly more advanced (level up in complexity), enriched with additional functionality.
Preset Management • Preset Browser 4 Apreggiator's padlock We do not have to leave the Timbre Preset Browser to toggle it.
Configuration Configuration The Configuration panel in LuSH-101 allows us to change the general settings of the plug-in. Use the Options button on GUI to load it: 5 Options (about) button In the Configuration panel the following tabs are available: Configuration Panel - Tabs • Synthesis – Global processing settings. • In / Out – Configuring default MIDI channels and Audio outputs. • Presets – Global actions on preset files. • Parameters – Configuring automatable parameters within the host application.
Configuration • Synthesis tab Synthesis tab This tab is used to control the processing settings and the quality of the sound generated by the synthesizer: 5 Options - Synthesis Tab Current Quality (real-time and offline) Allows to select the current quality for real-time or offline. We can choose from two available grades: • Normal • High High quality chosen, requires more CPU resources. Changing the Current Quality instantly affects the generated sound.
Configuration • Synthesis tab Default Quality Every time a LuSH-101 is loaded in the host application (new instance is created) the Default Quality value is used for a Current Quality setting. Default Quality is stored within a configuration file of LuSH-101. This file is saved at the moment of unloading any of active plug-in instances from the host application.
Configuration • Synthesis tab Current processing settings 5 Options - Current processing settings According to the specification, a plug-in generates or processes the sound in a one-track manner and it is the host application which activates the plug-in in a separate thread. Plug-ins with a large demand for the processor resources can significantly use it up.
Configuration • In / Out tab In / Out tab 5 Allows to modify the default MIDI input channels and / or Audio outputs routing.
Configuration • In / Out tab or default Audio output for any of the three available effect channels: 5 Mixer - FX Channels audio outputs Values set in the In / Out tab are stored within the LuSH-101 configuration file every time the plug-in is unloaded from the host application and recalled when a new instance is created.
Configuration • In / Out tab • Presets tab Default audio outputs This section allows to configure the set of default Audio outputs (from 8 Layers + 3 from FX channels on Mixer): 5 Default audio output section The choice is made using combo boxes. Each of them allows to assign a default Audio output (1-11) to a Layer or FX channel. Use current button copies current Audio outputs configuration (from Layers and Mixer) and makes it the default one.
Configuration • Parameters tab Parameters tab Due to the fact that the number of sound parameters in LuSH-101 synthesizer is counted in thousands, and the parameters automation assured by the host application accordingly with VST/AU technologies allows to use max. 128 automatable parameters, we can map/assign the chosen internal parameters of the synthesizer on 128 automatable (from the host level) general usage parameters in the Parameters tab.
Configuration • Parameters tab 5 Host parameter assignment For example, when we assign the general usage parameter No.1 to the internal synthesis parameter Layer 1 -> Filters -> Filter Type (filter type for the first layer).
Configuration • Parameters tab Then we can automate the chosen parameter from the host application level. 5 Cubase - Layer 1 Filter Type automation Assignment List Management On the right side of parameter assignment list there are editorial function buttons available: - clearing the entire assignment list. - loading the assignment list from a file (.shhpmap) - saving the assignment list to a file (.
Configuration • Midi Control tab Midi Control tab LuSH-101 can assign its controls (on GUI) to any MIDI CC (Midi Control Change) event, allowing the control of the plug-in to use external hardware or software controller. 5 MIDI CC Assignements table and functional buttons Controls included in the tab: • Midi learn mode - Checkbox which activates Midi learn mode. • List of active MIDI CC assignments - containing pairs consisting of MIDI CC number and the name of the plug-in parameter.
Configuration • Midi Control tab Midi learn 5 Assigning a LuSH-101' control to the MIDI controller requires: 1. Checking the Midi Learn mode checkbox in the Midi Control tab: Midi Control tab - Midi Learn mode checkbox or pressing the Midi Learn button in the Control section on GUI: Control Section - Midi Learn 2.
Configuration • Midi Control tab During the above-mentioned actions, the status bar informs about the currently changing values of controls and provides their names. When a link is established between MIDI CC and the sound parameter, a line is added to the list of MIDI CC assignments. 5 MIDI CC Assignements table and functional buttons When a link is established for a controller, it is possible to repeat the operation for next MIDI CC and parameter pairs.
Configuration • Midi Control tab Unlinking and MIDI link management 5 On the right side of the link list there are four function buttons located: Function buttons - Removes a selected link; selectingany link from the list and clicking on it highlights the selected link. Pressing this button removes the selected link. - Removes all MIDI CC links. - Loads a MIDI map from file (.shccmap – LuSH-101 MIDI CC Map). - Saves all links in the list to a MIDI map file.
Configuration • GUI tab GUI tab 5 The GUI tab includes the user interface settings options. Current skin GUI tab - Current Skin Section By using the controls from the Current Skin section it is possible to change the window size of the current plug-in instance.
Contents Contents 1 Overview ............................................................................... 1 2 Layer ....................................................................................... 5 Layer settings . ................................................................. 8 Synthesis . .......................................................................... 14 Oscillators - VCO ....................................................... 14 HardSync . ..................
Contents FX algorithms . ................................................................. 65 Current processing settings .................................. 86 Reverb ............................................................................ 65 Default processing settings ................................... 86 Delay ............................................................................... 67 In / Out tab......................................................................
