User Guide

Quick Start Guide
19
When you are checking out sounds, be sure to try on
the controllers for size. This will give you a first
impression of their amazing sound-shaping
possibilities. Read "Free controllers" starting on
page 162 to learn how to integrate controllers into
the modulation matrix.
To experiment with resynator parameters, first
determine whether you want to edit the scape or the
sphere using the scape/sphere button. Then select
the desired parameter level by pressing the
parameter level button. Your best bet is to start
with parameter level 1.
You will find an in-depth explanation of resynators
and all their parameters and control features as well
as a bunch of tips on all key "how-to’s..." starting on
page 69.
Storing snapshots and sounds
Neuron's stick controllers are highly responsive
tools, making it easy for you to manipulate
parameters very subtly. Often very different sounds
are just a figurative "hair" or nudge apart, so you
may find that a touch too much relegates the desired
sound to some digital hell. But help is near in the
form of the snapshot function. Best try it out now
and use it frequently:
• After you have discovered a hip variation on a
sound, simply press the snapshot button
located in the programmer module. Presto, the
current panel settings are assigned a number
and stored. You can store up to 50 snapshots.
• To retrieve a stored snapshot, press the play/
compare button and twist the knob next to the
display to select the desired snapshot number.
Use enter (press the knob) to load the
snapshot.
Snapshots and the play/compare function are
described in detail on page 52.
Resynators, scape/sphere, editing via stick
The resynators are the heart of Neuron’s synthesis
engine. A single model in a resynator offers
astonishingly versatile sound-sculpting
possibilities. Neuron's fundamental sound source,
the model is divided into a scape (that’s the sound-
generating section) and a sphere (the sound-
shaping section). For a piano sound, for instance,
the strings are represented in the scape and the
body in the sphere. There are six sound parameters
distributed over three levels for each scape/sphere.
Parameters differ from model to model and are
provided with descriptive names and functions.
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