Contents 5 5 Credits About this manual 6 1: Introduction 27 4: Cypher’s oscillators in detail 6 6 6 7 8 8 8 9 10 10 10 11 11 11 11 11 12 12 12 1:1 Welcome to DCAM: Synth Squad DCAM: Synth Squad at a glance A note on effects 1:2 Shared aspects of all instruments 1:3 Interface basics Loading presets: preset pickers Other Preset picker controls Preset browser Controlling parameters: initial values (Main view) Fine control over parameters Controlling parame
51 7: Modulation 51 51 52 52 52 53 53 54 54 54 54 55 55 55 56 57 57 57 58 58 59 60 61 62 62 62 63 63 63 64 64 64 65 65 65 66 67 7:1 Introduction to modulation in DCAM: Synth Squad The TransMod system explained 7:2 TransMod system overview Main view TransMod Slot views Basic TransMod system operations Scaling 7:3 Using the TransMod system Setting initial value of controls (Main view) Fine control over parameters Setting TransMod modulation depths Manag
Credits DSP Programming Andrew Simper Additional Programming ngus Hewlett A Steve Baker Paul Chana SKoT McDonald Caleb Reach Project Co-ordination teve Baker S Rhiannon Bankston-Thomas Interface Design lex Akers A Steve Baker Angus Hewlett Artwork/Packaging Design Rus Brockman Web Programming Andreas Schnetzler Manual/Copywriting Mayur Maha Video Production Rory Dow QA ob Bantin R Andrew Vernon Preset design and QA Peter ‘Mod’ Slotwinski Support yan Sellers R Rory Dow Alex V
1: Introduction 1:1 Welcome to DCAM: Synth Squad DCAM: Synth Squad at a glance DCAM: Synth Squad contains 4 individual devices: Strobe • souped-up performance synth • designed for easy programming of classic subtractive analogue synth sounds • centred around a simple 1-oscillator architecture • includes a built-in arpeggiator Strobe is installed as an instrument and as an effect for processing audio through its circuit.
1:2 Shared aspects of all instruments DCAM: Discrete Component Analogue Modelling DCAM: Synth Squad has been built by accurately analysing and modelling real-world components and circuits found in vintage analogue synths. As a result, don’t expect a standard ‘clean VA’ sound from these synths – you would never get perfect waveshapes on a real VCO-based analogue synthesizer.
1:3 Interface basics Loading presets: preset pickers Load to Mod Slot Preset name Audio stream indicator MIDI indicator Prev/Next preset Preset browser Save Tools Preferences preset menu The instruments in DCAM: Synth Squad have a standardized preset selection system. There are 3 ways of browsing through presets: • Drop-down preset menu Click on the preset name to display a simple drop-down list of available presets, arranged by styles.
Preset browser The preset browser allows you to browse through presets ‘in-context’. Refresh Load preset Prev/Next preset Search field Show PC panel Category filters 1. Click on the Browse... button in the preset picker in order to display the preset browser. 2. Click on a preset in the list. 3. Play some MIDI notes into the synth – you’ll hear the selected preset. 4. If you click the Load button, the preset will be loaded into the synth. 5.
Controlling parameters: initial values (Main view) When the ‘Main’ view is selected, only the initial value of a control can be adjusted. Main view Main view: Sliders Main view: Rotary pots The initial value of a control is adjusted by clicking it and dragging up/down. The initial value of a control is adjusted by clicking it and dragging up/down. You can also double-click the control, type a value and press ENTER or RETURN.
TransMod slots When you first launch a DCAM synth, it displays its Main view. The Main view only edits the ‘basic state’ of the synth – the initial values of all controls before any TransMod modulation. TransMod slots 1-8 Prev/Next slot buttons If you click on any of the 8 TransMod slots’ selection area (where it says ‘via’), or use the Prev/Next slot buttons, the synth’s interface changes so that most of its controls are able to set and display modulation depths away from the initial value.
Parameter context menu Right-click (or CTRL-click) on any control to show its parameter context menu, which offers a number of functions and options relating to the control. Reset Param Resets the control’s initial value to its default setting. Clear Param Mod Clears any modulation depths that exist for the control in the current TransMod slot. Clear Param All Mod Clears any modulation depths that exist for the control in all TransMod slots.
2: Strobe 2:1 Overview Strobe is a performance synthesizer, designed to be easy to program so that you can get on with playing great-sounding music! A single-oscillator synth with osc-stacking, sub-oscs and osc sync, it also features a versatile multimode filter, LFO, ramp generator, two envelopes and an arpeggiator.
2:2 Oscillator section Main osc waveform mixer Sub-osc waveform mixer Pulse Width direct mod: Key Pulse Width direct mod: LFO Pulse Width direct mod: Env Pitch direct modulation: - Key - LFO - Env Octave buttons for sub-oscs Oscillator controls Tuning: Pitch & Fine These are the main tuning controls for the oscillator. The Pitch can be modulated from the keyboard, LFO and Mod Envelope using the dedicated controls.
2:3 Filter section Filter Power Strobe’s filter is its main source of tonal variation, especially when modulated. While there are direct modulation routings to the cutoff from the keyboard pitch, LFO and Mod Envelope, the filter’s controls can be modulated with the TransMod system for really creative and varied effects. Filter cutoff direct mod: Key Strobe’s filter is based on an OTA (operation transconductance amplifier) cascaded core, with a diode clipper in the feedback section.
2:4 Amp section Strobe’s amp section can be overloaded like that of a real analogue synth VCA (voltage-controlled amplifier). There is a waveshaping stage between the Amp and final Level controls, which is capable of distortion when its components are driven hard. If you want a cleaner sound, keep the Amp control at low settings and increase the Level. If you want to overload the amp by increasing the Amp parameter, remember to turn down the Level control. Otherwise, the output of Strobe may clip.
2:6 Modulation Strobe contains several modulators that feature direct routings and depth controls for certain destinations. These sources can also be used in the TransMod system (see chapter 7) to modulate other parameters and perform more complex modulation. There are many other TransMod sources available beyond the modulators shown on the interface.
2:7 Strobe signal flow The following signal flow diagram represents a single voice of Strobe. Only direct modulation is shown – there are many further possibilities when using the TransMod system.
3: Cypher 3:1 Overview Cypher features a dual-filter/waveshaper architecture and a highly complex, versatile set of 3 modelled oscillators. While it can be used as a 3-osc analogue-style subtractive synth, it has been designed to be used primarily for FM, audio-rate modulation and other advanced oscillator functions. Using Strobe is recommended for most ‘conventional’ subtractive sounds, as it is optimized for quick and easy programming.
3:2 Oscillator section This section is a brief overview of Cypher’s oscillator functions. Please read chapter 4 to gain a full understanding of the oscs’ special capabilities.
Phase Each osc’s phase can be set with the Phase parameter. With the Rset (Reset) button enabled, the phase is reset to the value defined by the Phase parameter on each envelope retrigger event (which is dependent on the Retrig button). Disabling the Reset button means that the phase is effectively free-running. The Phase control can be continuously modulated in real time for phase modulation effects (at control-rate rather than audio-rate).
3:4 Filter section: shared controls Cypher’s dual-filter section features a number of controls for each filter, while others are shared between them. The following controls are shared between both filters: Cutoff The Cutoff control adjusts the cutoff frequency of both filters relative to each filter’s Scale control setting. You can consider this control as the ‘master’ cutoff frequency that adjusts the cutoff of both filters simultaneously.
Scale Each filter’s Scale control offsets its cutoff frequency relative to the master cutoff by positive or negative amounts. At the centre position, the filter’s cutoff is the same as that of the master. Res (Resonance) The Res control adjusts the resonance of each filter. Higher settings result in self-oscillation. Keytrack The KeyTrack parameter controls the amount of direct modulation from keyboard pitch, which is applied relative to the filter’s Scale setting.
3:8 Modulation in Cypher This section covers parameter modulation in Cypher (control-rate modulation). For a detailed guide to Cypher’s audio-rate modulation capabilities, see chapter 4.
3:9 Cypher signal flow The following signal flow diagrams represent the Osc section and the Shaper-Filter/Amp sections of a single Cypher voice. Only direct modulation is shown – there are many further possibilities when using the TransMod system.
Shaper-Filter & Amp sections 26
4: Cypher’s oscillators in detail 4:1 Introduction to audio-rate modulation Basics of audio-rate modulation While subtractive synthesis – using a filter to subtract portions of an oscillator’s frequency range – is relatively easy to understand, FM and other audio-rate modulation tends to perplex most musicians.
Oscillator FM in Cypher Harmonic tuning Cypher’s pitch control unit/snapping options (see section 1:3) allow you to specify each osc’s frequency as either of the following: • an absolute frequency multiplier of the master pitch, expressed in semitones. • a perfect pitch-ratio of the master pitch, expressed in harmonics (using the Just and Harmonic modes). Using the Harmonic mode, you can easily set up harmonic pitch relationships between oscs.
Thru-zero oscillator FM The term ‘thru-zero FM’ refers to the ability to modulate the frequency of an oscillator beyond zero into negative frequency values. Negative frequencies are vitally important for a stable pitch response with any possible amount of modulation, and is a prominent characteristic of the Yamaha DX-series’ implementation of FM.
4:3 Wave modulation Wave Modulation uses audio-rate modulation of an oscillator in order to vary its timbre. However, unlike oscillator FM, it modulates the waveform of an oscillator in order to produce these timbral changes, rather than its frequency.
4:4 Audio-rate sample and hold Cypher features the ability to sample and hold (S+H) an oscillator using the frequency of another, at audio-rate. A sample and hold operation involves the amplitude of one signal being sampled and held at a regular clock pulse. On each clock pulse, the signal’s amplitude value is snapshotted (‘sampled’) and kept constant (‘held’) at the same value until the next clock pulse.
4:5 Variable-depth oscillator sync Compared to FM, oscillator synchronization is far more common on classic analogue synthesizers. This is because it makes complex harmonic timbres possible without suffering from the inherent tuning drawbacks of analogue frequency modulation. Most conventional implementations of osc sync are known as ‘hard sync’. This is when the cycle of an oscillator (called the ‘sync source’ or ‘sync master’) is used to reset the phase of a second oscillator (the ‘sync slave’).
Using variable-depth osc sync in Cypher 1. Change the osc section’s unit/ snapping options to Equal. 2. Fully turn up Osc2’s Gain control. 3. Play a key – you’ll hear a simple saw-wave tone. Now increase the Osc2 Scale control to +15 and play a key. You should hear a 2-note minor chord. 5. Now try a ‘sync sweep’: move the Osc2 Scale control up and down. 4. Increase the Osc2 Sync to 1 control. As the setting goes over about 30%, the chord is no longer heard – it is now a complex waveform.
4:6 Beat detune When two detuned oscillators play together, their differing frequencies cause an audible ‘beating’ effect against one another. The rhythmic rate of this beating varies depending on the notes played, since beating is directly affected by the frequencies of the notes themselves - different notes generate different frequencies. While it is common to use such sounds in a rhythmic way, any performance is always influenced by each note creating a different beating rate.
5: Amber 5:1 Overview Amber represents one of the first attempts to realistically model classic string-ensemble synthesizers from the 1970s. These instruments featured a special oscillator technique for full ‘polyphony’ using a single synth voice. The word ‘polyphony’ is in inverted commas because these instruments were technically not true polyphonic synths. Divide-down synthesis explained To be fully polyphonic, a synth must be able to produce several entire voices simultaneously.
Amber: the next step in divide-down synthesis Amber’s design builds on the string synthesizer legacy, while retaining crucial elements that made them so special. Both single and multiple paraphonic envelope behaviour is possible, along with velocity-sensitivity. A formant filter and three different chorus models are provided for a wide range of sounds.
5:2 Master tuning controls The Pitch and Fine controls allow you to tune the master oscillator bank. Due to Amber’s paraphonic architecture, these controls adjust the pitch of all paraphonic notes within a single voice simultaneously. You will mainly need to use these controls when using multiple Amber voices – try setting some modulation on the Fine control from a Voice or Unison source in order to detune each voice.
5:4 Ensemble section Paraphonic oscillator control Level controls: 8’, 4’ & 2’ The Ensemble section features level controls for 8’, 4’ and 2’ octaves. Inv (Invert) The Inv button inverts the phase of the Ensemble section in relation to the Synth section. This can result in interesting phasecancellation effects when both sections are in use.
5:6 Mixer / Amplifier stage Synth & Ens. (Synth Amp and Ensemble Amp) The mixer/amplifier stage features separate Amp controls for the Synth and Ens. (ensemble) sections of the voice. Since the paraphonic notes have already been summed to single signals by the time they reach this stage, the Synth and Ens. controls effectively mix the levels of the two sections within the voice. Note that the actual mixing stage occurs after the chorus – the Ens.
5:8 Other functions Settings, Glide and Keying controls These parameters are included in all DCAM: Synth Squad synths, and are described in sections 6:2, 6:3 and 6:4. Visualizer scope The visualizer scope provides context-sensitive graphical feedback for each section of Amber. See section 6:6 for more details on this feature. 5:9 Modulation The TransMod system must be used for all programmed modulation in Amber.
Synth and Ensemble Envelopes These envelopes are not gateable modulators like other envelopes in DCAM Synth Squad – they can only be gated by keyboard input. They have two distinct functions: 1. They are used to determine the envelope shape of the 96 amp envelopes for each paraphonic note in the Synth and Ensemble sections. 2.
5:10 Amber signal flow The following signal flow diagram represents a single voice of Amber. Only direct modulation is shown – there are many further possibilities using the TransMod system.
6: Common synth functions 6:1 Arpeggiator (Strobe and Cypher only) Arpeggiators turn a number of keys held down simultaneously into a repeated arpeggio sequence. They’re great for interesting melodic textures, or to suggest a chord while only using 1 synth voice (especially at faster rates). This was a very useful feature on monosynths incapable of any polyphony. Cypher and Strobe both feature a built-in arpeggiator.
Octave This setting is dependent on the number of octaves specified with the Range parameter, and dictates how the octave shifts occur. Multiple octaves, from low to high, are put in a ‘queue’, and the settings for this control specify how the arpeggiator moves through the queue. Up Plays sequentially upwards through the octave queue, from lowest to highest octave. Dn (Down) Plays backwards through the octave queue, from highest to lowest octave.
6:3 Glide controls This section contains a number of controls that relate to glide functions and gateable modulator retriggering. It also contains the only modulateable controls in the common synth functions – the Vel Glide and Pitch Glide parameters. Section 7:6 covers DCAM: Synth Squad’s glide functions in detail, while section 7:5 contains a detailed discussion of gateable modulators and their behaviour. Legato Retrig These buttons allow flexible control of fingered portamento and modulator gating.
6:5 Preferences panel The preferences panel stores global settings that are not stored within presets. They are unique to each plugin in DCAM: Synth Squad. Strobe, Cypher, Amber and Fusor each have their own preferences settings, as do the StrobeFX, CypherFX and AmberFX effect plugins. When the synths are used in Fusor, their preferences settings are ignored: Fusor’s own performance controls and oversampling settings are used instead.
6:6 Visualizer scope Each synth in DCAM: Synth Squad features a real-time context-sensitive visualizer scope. This should not be regarded as an oscilloscope, but rather as an aid to visualising each part of the synths. For example, when the mouse is positioned over a control in the osc section of a synth, the waveshape is displayed in the scope. The display is updated in real time as any relevant controls are adjusted.
6:8 MIDI Learn and host automation MIDI Learn DCAM: Synth Squad features an easy-to-use MIDI Learn system that gives absolute control of a parameter’s initial value using standard MIDI CC (continuous controller) messages. Such messages generally have a relatively low resolution of 128 steps.
Removing assignments • Use the Clear Learn command in the control context menu (right-click or CTRLclick the control) Saving MIDI Learn assignments for future sessions When you make MIDI Learn assignments, they are saved with the current session but are not saved with the preset. If you want assignments to persist for new sessions in the future, you must use the Save as Defaults button in the preferences panel. See section 6:5 for details of this panel.
6:9 Program change panel The program change panel, or PC panel, is opened within the preset browser, using the Show PC Panel button. Clicking this button introduces a scrollable list of 128 slots, numbered 0-127. The preset browser is described in section 1:3. Using the PC panel Each slot corresponds to a MIDI program change number, and presets are assigned by dragging and dropping them from the main listing to a slot.
7: Modulation 7:1 Introduction to modulation in DCAM: Synth Squad There are two ways of modulating parameters within Amber, Cypher and Strobe: • Direct modulation routings Some modulation sources are routed directly to certain commonly-used parameters for convenience. Some examples include LFO, Mod Envelope and keytracking depth controls for the Osc Pitch, Pulse Width and Filter cutoff in Strobe.
7:2 TransMod system overview Each DCAM synth features 9 different ‘views’: Main view: controls can set initial values of parameters 8 additional ‘TransMod slot’ views modulateable controls that set both of the following: • initial values of parameters • modulation depths from the current slot’s mod source Main view TransMod slots 1-8 Prev/Next slot buttons The Main view only edits the ‘initial state’ of all the controls before any TransMod modulation.
Basic TransMod system operations Selecting a TransMod slot Click in the middle portion of the slot (the part labelled ‘via’). Clicking anywhere else in the slot selects it while also showing either the source or scaler menu. When viewing a TransMod slot in this way, any modulated controls display their modulation depths, which can be edited on the controls themselves. Selecting a modulation source Click on the upper segment of the slot.
7:3 Using the TransMod system Setting initial value of controls (Main view) When the ‘Main’ view is selected, only the initial value of a control can be adjusted. Main view Main view: Sliders Main view: Rotary pots The initial value of a control is adjusted by clicking it and dragging up/down. The initial value of a control is adjusted by clicking it and dragging up/down. You can also double-click the control, type a value and press ENTER or RETURN.
Managing modulation with the parameter context-menu Right-clicking or CTRL-clicking on a control brings up the parameter context menu, which contains the following functions relating to the TransMod system (see section 1:3 for details of the rest of the menu): Reset Param This function resets the control’s initial value to its default setting. Clear Param Mod This function clears any modulation depths that exist for the control, in the current TransMod slot.
Load to Mod Slot The TransMod system includes a feature that allows you to load the initial parameter values from a separate preset as the current TransMod slot’s modulation depths. To use this function, firstly, load a preset or create your own. Then, select a TransMod slot and enable the Load to Mod Slot button (located in the synth’s preset picker). Then, load a preset in any of the usual ways (described in section 1:3).
7:4 Velocity and Performance controllers Velocity and performance controllers are special cases in DCAM: Synth Squad. They are the default sources for the first 3 TransMod slots in each supplied preset, based on the philosophy that most people possess 3 main performance controllers.
7:5 Gateable modulators The term ‘gateable modulators’ in DCAM: Synth Squad refers to LFOs, Ramps and Envelopes. LFOs and Ramps are actually ‘triggered’ rather than gated for a variable duration – they are called gateable modulators here in order to simplify the interfaces of the synths. Gateable modulators can be gated or triggered with a number of selectable gate sources, and even with each other to create very complex modulation effects.
Envelope An envelope allows you to shape a sound over time, from its beginning to its end. It is sometimes called a ‘contour’. The Amp Envelope is directly routed internally to the Amp parameter in Strobe and Cypher. This is to avoid needing to make a dedicated modulation connection between them purely for engaging the amp so that notes can be heard.
LFO Rate & Sync The Rate parameter controls the rate or speed of the LFO’s cycle. If the Sync button is enabled, BPM-based units are used. When the Sync button is disabled, the Rate control is adjusted in Hz. The state of the Sync button also dictates how Cypher and Strobe’s built-in arpeggiator Rate is set. Phs (Phase) The Phase parameter allows you to adjust the phase of the LFO between 0 and 360 degrees. Phase can be modulated in real time, and always resets when the LFO is gated.
PW (Pulse Width) Again, you probably won’t have seen a pulse width control on an LFO before. This function changes the curve of each LFO cycle in a similar way to changing the pulse width on a pulse oscillator. It works on all shape modes. The following diagram illustrates how it works on a sine shape: Voltage V Voltage V 0.4 0.4 0.2 0.2 0.5 1.0 1.5 2.0 Time mS 0.5 0.2 0.2 0.4 0.4 Sine LFO, Pulse Width 0 1.0 1.5 2.
7:6 Glide, voices and unison Glide All the synths in DCAM: Synth Squad feature 2 types of Glide. Pitch (Pitch Glide) The Pitch Glide control sets the glide time towards the pitch of new note events. This is the Glide control you will have seen on virtually all classic analogue monosynths. It smooths pitch control signals from the keyboard, meaning that the pitch that you hear ‘glides’ up or down to the next note.
7:7 Tracking the keyboard Pitch keytracking It is usually vital to modulate parameters according to the pitch of keyboard input. This type of modulation is used on oscillator pitch to create a musically useful effect according to the keys played – in other words, to scale notes up the keyboard in semitones. It can also be used to ‘play’ the frequency cutoff of a filter, which is especially useful when using a self-oscillating filter.
7:8 Summary of TransMod sources DCAM: Synth Squad features a wide variety of interesting modulation sources to use with TransMod slots (either as sources or scalers).
Perf source sub-menu This sub-menu contains the two performance controllers, shown to the left of the pitch-bend wheel on each synth’s onscreen keyboard area. Each of these have an assigned monophonic hardware MIDI controller source, which is defined in each synth’s preferences panel. The hardware assignments for these controls can be altered via MIDI Learn or the preferences panel. See section 7:4 for details.
Alt (alternating voice) sources These output a different value for each alternating voice played via the same note on the keyboard. This allows you to enliven parts containing sequential notes of the same pitch by varying parameters for each. • Alt1+- Alternating source per key-on: -1, 1, -1, 1... • Alt1+ As above but positive only: 0, 1, 0, 1... • Alt2+- Alternating source per key-on: -1, 0, 1, -1, 0, 1... • Alt2+ As above but positive only: 0, 0.5, 1, 0, 0.5, 1...
• MRand2+- Identical to MRand1+- but using pink noise • MRand2+ As above but uni-polar • VMRand1+- A random number per voice, per parameter, that is generated at synth load time, generated using white noise This source is useful for having a set of random values that stays constant throughout the current session.
8: Fusor 8:1 What is Fusor? Fusor is a layering and performance environment for any combination of 3 DCAM synth instances. Although it provides a full effects suite, mixer and step-sequencer, it should be considered as an super-instrument or ‘synth rig’ rather than a complete host. It is intended for layered ‘super-patches’, not for full songs or as a conventional multi-timbral sound module.
Edit Status Keys Tempo Sync Start/Stop Preferences Toggles visibility of the Edit workspace and page buttons Toggles visibility of the Status display Toggles visibility of the keyboard and performance controls Click and drag the tempo up/down to change it, or double-click it to type the required tempo manually. This control can only be adjusted when running the Fusor standalone application. When running Fusor as a plugin in a host, it is synchronized to the host tempo.
8:3 Global page The Global page performs several functions: Device picker Tools • MIDI input channel routing to various parts of Fusor • Mixing and routing of channels, aux sends and returns • Device selectors, preset pickers and Edit shortcuts to device pages Device and preset pickers Device and preset pickers are available for all of the following: • Synth and insert FX slots on each synth channel • Aux FX slots • Master insert FX slots Previous/Next preset Preset Browse...
Synth channels Synth and insert FX controls Each of the 3 synth channels feature the following: • Synth device & preset pickers • 3 insert FX (3 device selectors, preset pickers and Power buttons) • Edit shortcut buttons for synth and 3 insert FX • Mute and Solo buttons for the channel Aux Sends The 3 synth channels feature an aux Send Level control for each of the 3 aux FX slots. Sends are very useful for applying the same effect, such as a reverb, to more than one synth.
8:4 Input device pages Key Map page Key map Power Key map 1 Key map display Key map 2 Key map 3 Key map 4 In this example, the lower part of the keyboard is mapped to Synth 1, and the upper part is mapped to Synths 2 & 3. Note the crossfaded area between the 2 keyboard zones. 2 key maps are used for Synths 2 and 3 to facilitate different velocity and Transpose settings.
MonoMod page This page contains Fusor’s additional monophonic modulation sources: • 4 LFOs • 4 envelope followers with hard-wired audio sources These modulators are useful for extra modulation sources for synths or FX devices within Fusor. The FuseMod system must be used on a destination device to modulate its parameters with MonoMod control signals. The LFOs’ outputs are available as the LFO1-4 and LFO1-4 [+] FuseMod sources.
8:5 Synth channel pages Each synth channel features 2 pages: Synth A single instance of Strobe, Cypher or Amber can be launched in each Synth page FX Each Synth channel can contain 3 insert FX Synth1, Synth2 and Synth3 pages When the channel is empty, the synth page displays the synth selector – click the desired synth to load it into the synth channel.
FX1, FX2 and FX3 pages FuseMod slots FX slot device and preset pickers FX slots FX selector Each synth channel features 3 insert FX slots. 4 FuseMod slots are available for each FX slot, allowing any FuseMod sources to modulate FX parameters. Hovering the mouse over any unused slot displays the FX selector – click on the desired FX device to load it into the slot. You can also use each slot’s device picker. Once loaded, the FX slot’s preset picker becomes available.
8:7 Fusor FX suite Overview FX can be used in the following ways in Fusor: • 3 insert FX in each of the 3 synth channels • 3 aux FX with sends from each synth channel • 3 insert FX on the master output Wet Mix control With the exception of the Gain and EQ, all effect devices feature a WetMix control that allows you to blend between dry and processed signals, for quick parallel processing.
RingMod This effect is used for radical timbral shifts and experimental effects. It multiplies the input signal with its internal oscillator, the shape and pitch of which are set with the Mode and Pitch controls. The Drive control sets the amount of distortion on the input signal. TinCanVerb This effect is a recreation of a low-end room reverb unit, perfect for emulating ‘cheap and nasty’ onboard synth FX. Use the included Overloud Breverb devices for high-quality reverb FX.
Breverb Hall Breverb Room Breverb Plate Breverb Inverse The 4 Breverb algorithms, licensed from Overloud Technologies, provide high-end digital reverberation effects. Each algorithm is provided as an individual device, each containing specialised controls. See Appendix 4 for a detailed description of the parameters. Amber Chorus Amber Formants These effects feature Amber’s circuit-modelled chorus and formant filter stages. The controls are identical to those in Amber – see sections 5:4 and 5:5 for details.
X4-Drive Each band can be set to one of 4 Modes – ‘Diode’, ‘OTA’, ‘OpAmp’ and ‘HalfRect’ – with each offering a different distortion flavour. There is a bandpass filter before the drive stage, which can be adjusted using the Pitch and Width controls. The Drive control sets the amount of distortion, while the Lp control adjusts a 1-pole low-pass filter after the drive stage. X4-Comb The Pitch and Feed controls set the frequency and feedback amount of the comb filter.
8:8 Modulation in Fusor FuseMod Fusor’s modulation system, FuseMod, is very similar in concept to the TransMod system in Strobe, Cypher and Amber. It allows most parts of Fusor to modulate each other with control-rate signals, providing many possibilities that can only be found in semi-modular synths.
All of these modulation sources operate monophonically since the sources and destination devices throughout Fusor are monophonic in nature. However, it is possible to use modulation between synths polyphonically using the synths’ own TransMod slots (see below). ‘Syn’ FuseMod sources When a synth is loaded into one of Fusor’s 3 channels, 8 TransMod sources from the synth become available as ‘Syn’ FuseMod sources for modulating Animator, MonoMod LFOs and FX parameters anywhere in Fusor (monophonically).
8:9 Animator: global controls Animator is Fusor’s built-in step-sequencer and arpeggiator. Many classic analogue synths feature a performance sequencer or arpeggiator, while many synthesists employ dedicated analogue step-sequencers to trigger a variety of synths and modulars through CV connections. Step-sequencers and arpeggiators remain extremely popular to this day. Many would suggest that they have been crucial to the existence and development of many modern forms of electronic and dance music.
Engine type Each of the engines can be set to any one of four engine types. The controls available in the engine are dependent on the current engine type setting. Note that some controls are common between several engine types, and their settings persist when switching between engine types. 1. Arpeggiator (section 8:10) This engine type allows easy use of Animator as an arpeggiator.
Animator Graph editor The main ‘LCD’ display in Animator is the Graph editor, which allows you to draw pattern events to use with Animator’s various modes. There are 3 pages of Graph lanes in the Animator LCD: • Pitch / Velocity / Gate • Shift / Duration / Repeat • Modulation / Mod. Glide Graph lanes are always scaled to the current pattern length (set with the Steps parameter). Using the Graph editor • Click in a step to set its value.
Shift (All modes) Shift values represent offsets from grid divisions – you can use them to make arpeggios and sequences feel less robotic and mechanical. Positive values shift the start of the step later in time, and negative values shift it earlier. Using positive Shift values on offbeat steps achieves similar results to classic swing/shuffle functions. This technique can be used as an alternative to the engine-wide Swing function.
8:10 Animator: Arpeggiator engine type The Arpeggiator engine type features minimal controls for simple operation. In addition to the controls listed below, the Graphs can be used to inject more variety than is possible using the standard arpeggiators built into Strobe and Cypher. For example, you can use the Gate Graph to turn steps on and off, or use the Pitch Graph to set specific steps to different octaves or entirely different notes.
Using the Advanced engine type as an arpeggiator The Advanced engine type allows more varied and complex arpeggiator behaviour. • You can set the Trigger Mode to ‘Trig’ in order to reset to the start of the pattern on new arpeggios, instead of the pattern synchronizing to the transport (as the default setting is ‘Sync’) • Set the Latch / Hold parameter to ‘Off’ in order to use the Advanced engine type as a conventional arpeggiator.
8:12 Animator: Modulation Sequencer engine type The Modulation Sequencer engine type allows you to send sequenced parameter modulation values (set via the Mod. Value and Mod. Glide Graphs) to a synth while also routing notes through to it. For Mod. Value events to have any effect, the relevant engine must be used as the source in a TransMod or FuseMod slot with suitable depths specified on 1 or more destination parameters.
8:13 Animator: Advanced engine type 4 Introduction 5 6 2 7 3 1 The Advanced engine type offers many features that are not possible in the other engine types. It may look a little complicated at first, but when you learn it you will have a number of very powerful creative functions at your disposal. 1. Pattern memories 12 pattern memories are available, each with their own clocking and engine settings. Several functions are provided for linking edits between engines and patterns. 2.
Pattern memories Each engine features 12 pattern memories, each of which is a distinct set of Graph lanes, with independent engine and clocking settings. The following related functions are also available: Link Pattern – All Engines With this button enabled, selecting a pattern in one engine also selects the same pattern in all other engines. Link Edits – All Engines Engaging this button results in any changes to the Clocking settings being applied to the same pattern in all engines.
Trigger Mode This drop-down menu specifies how the sequencer or arpeggiator pattern is triggered and played. All modes require the Fusor transport to be started, with the exception of the ‘Advance’, ‘NoteScale’, ‘NoteWrap’ and ‘Ext. Mod.’ modes. However, the transport still affects their behaviour, depending on whether you are using the engine for note sequencing or modulation sequencing. See the descriptions of these modes below for more details. Sync (default) Plays in sync with Fusor’s transport.
Arp/Seq section Arp. Mode & Oct. Range These controls are identical to those in the Arpeggiator and Note Sequencer engine types. See section 8:10 for a summary of the various Arp. Mode settings, while Oct. Range is discussed in section 8:11. Oct. Mode This control sets the order in the octave queue when using more than 1 octave. If Oct. Range is set to 1, the Oct. Mode control has no effect. See section 8:11 for a summary of the possible Oct. Mode settings.
Advance Oct. First Reverse Oct. First These buttons control how the arpeggiator organises its note queue when multiple octaves are in use (when Oct. Range is set to 2 or higher). When Advance Oct. First is enabled, the arpeggiator plays through the available octaves in the note queue first, before advancing through the available notes. For example, with an Oct. Range of 3, and the notes C1, E1 and G1 held down: • Advance Oct. First on: • Advance Oct.
8:14 Fusor signal flow The following signal flow diagram represents Fusor’s signal flow. FuseMod modulation inputs/outputs are shown where appropriate.
Appendix 1: Standalone application and plugin usage Using the synth standalone applications The DCAM: Synth Squad synths and Fusor are provided as standalone applications, which can be useful for live performance. The FX versions of the synths (MIDI-controlled audio effects) are not available as standalone applications. They are also very useful as a means of authorizing DCAM: Synth Squad, as the plugin-initializing mechanisms of many hosts can disrupt proper authorization.
Using DCAM: Synth Squad as RTAS plugins in Digidesign Pro Tools 7.x DCAM: Synth Squad requires Pro Tools 7 or later. For best performance, version 7.1 or later is highly recommended. Pro Tools 6.x, or any earlier versions are not compatible. Launching a plugin 1. Insert the Strobe, Cypher, Amber or Fusor RTAS plugin onto a stereo Instrument track. Setting up additional output monitoring for Fusor 1. Create a stereo Aux track. 2.
Using DCAM: Synth Squad as VST or AU plugins in Ableton Live On Mac, Ableton Live supports both VST and AU plugins. There is no real difference between using either format, although you may want to use the VST plugins if you intend to share projects with Windows users (Live only supports VST plugins on Windows). Launching a plugin 1. Drag and drop the Strobe, Cypher, Amber or Fusor VST or AU plugin (Mac only) from the Plug-In Devices list into the Live workspace.
Using DCAM: Synth Squad as VST plugins in Sonar Launching a plugin 1. With a project open, use the Insert menu to insert Strobe, Cypher, Amber or Fusor as a soft synth: Insert • Soft Synths • [VST plugins folder name] • plugin 2. Choose the appropriate output configuration – the synths are stereo, while Fusor has additional stereo outputs. 3. If the ‘MIDI Source’ checkbox was not left checked in the dialog box, you need to create a MIDI track and route its output to the plugin.
Potential problems Missing plugin Windows • You must make sure that your host application is set to use the VST plugins folder to which you installed DCAM: Synth Squad’s plugins. See your host’s documentation or contact its manufacturer’s tech support if you do not know how to do this. • By default, the installer suggests the VST folder defined in the HKEY_LOCAL_MACHINE • SOFTWARE • VST registry key. Unless you changed this location during the installer, this is where the plugins are installed.
Appendix 2: Strobe filter modes L2 dB 20 L4 dB 20 H2N2 T dB 20 10 10 10 0 0 0 0 10 10 10 10 20 20 20 20 30 30 30 30 40 40 40 10 20 50 100 200 500 1000 Hz B2 dB 20 10 20 50 100 200 500 1000 Hz B4 dB 20 10 40 10 20 50 100 200 500 1000 Hz N2P2N2 T dB 20 10 10 10 0 0 0 0 10 10 10 10 20 20 20 20 30 30 30 30 40 40 40 10 20 50 100 200 500 1000 H2 dB 20 10 20 50 100 200 500 1000 Hz H4 dB 20 20 50 100 200 500 100
Appendix 3: Cypher waveshaper modes Output V Diode 1.0 0.5 2 1 1 2 1 2 1 2 1 2 Input V 0.5 1.0 Output V OTA 1.0 0.5 2 1 Input V 0.5 1.0 Output V OpAmp 1.0 0.5 2 1 Input V 0.5 1.0 Output V HalfRect 1.0 0.5 2 1 0.5 1.
Appendix 4: Fusor – Overloud Breverb algorithms This adapted version of Overloud’s Breverb provides high-end artificial reverberation effects within Fusor. The controls are cut down from those available in the full Breverb product, but all 4 algorithms are present with their most important controls. Breverb Hall Time (Sec) Sets the duration of the reverberation tail. It is also influenced by the Size parameter.
Breverb Room Time (Sec) Sets the duration of the reverberation tail. It is also influenced by the Size parameter. Size Sets the apparent size of the acoustic space being emulated by the algorithm. Values from minimum to half way up are typical of the ambience of a recording studio. Diffusion Controls the degree to which the initial echo density increases over time. Decay Balances between the late reverberation and the early reflections.
Appendix 5: Host automation parameters Note that the VST plugin specification does not allow very long parameter names (a maximum of 7 characters). In the VST plugin versions of Strobe, Cypher and Amber, parameter names are shortened. Full-length names (shown in the 2nd column in the tables below) are available only in AU and RTAS plugin formats.
Cypher 0 Perf1 49 Osc1BeatSync Osc1 Beat Sync Performance controller 1 50 Osc1Key Osc1 Key Osc1Phase Osc1 Phase 1 Perf2 Performance controller 2 51 2 PerfX (reserved for future use) 52 Osc1Reset Osc1 Rset (Reset) Osc1Pink Osc1 Pink Osc1Blend Osc1 Blend 3 PerfY (reserved for future use) 53 4 FiltCutoff Filter Cutoff 54 (Osc2 S+H by Osc1 / Osc1 / Noise) (adjusts Filter1 and Filter2 cutoff) 5 Filt1Res Filter 1 Resonance 55 Osc1*2 Ring Mod Osc1*2 Osc1Level Osc1 Level 6
100 Lfo2Sync LFO 2 Sync 101 Lfo2Mono LFO 2 Mono 102 Lfo2Gate LFO 2 Gate 103 RampDelay Ramp Delay 104 RampRise Ramp Rise 105 RampMultiplier Ramp Mult 106 RampSync Ramp Sync 107 RampGate Ramp Gate 108 Env1A Mod Envelope 1 Attack 109 Env1D Mod Envelope 1 Decay 110 Env1S Mod Envelope 1 Sustain 111 Env1R Mod Envelope 1 Release 112 Env1Loop Mod Envelope 1 Loop 113 Env1Linear Mod Envelope 1 Linear 114 Env1Sync Mod Envelope 1 Sync 115 Env1Gate Mod Envelope 1 Gate 116
Amber 0 Perf1 51 LfoPhase LFO Phase Performance controller 1 52 LfoSync LFO Sync LfoMono LFO Mono 1 Perf2 Performance controller 2 53 2 PerfX (reserved for future use) 54 LfoGate LFO Gate RampDelay Ramp Delay 3 PerfY (reserved for future use) 55 4 FltCut Synth section filter Cutoff 56 RampRise Ramp Rise RampMultiplier Ramp Mult 5 FltRes Synth section filter Resonance 57 6 FltMode Synth section filter Mode 58 RampSync Ramp Sync 7 FltPwr Synth section filter Powe
Fusor Note that the VST plugin specification does not allow very long parameter names (a maximum of 7 characters). Therefore, in the VST plugin version of Fusor, parameter names are numbered – Par0, Par1 etc. Descriptive parameter names are available only in AU and RTAS plugin formats. 75 EnvFol2 Attack MonoMod Env. Follower2 Attack 76 EnvFol2 Release MonoMod Env. Follower2 Release 77 EnvFol2 Gain MonoMod Env. Follower2 Gain 78 EnvFol3 Attack MonoMod Env.
